Adobe Audition is a digital audio workstation developed by Adobe Inc. featuring both a multitrack, non-destructive mix/edit environment and a destructive-approach waveform editing view.

Origins
Syntrillium Software was founded in the early 1990s by Robert Ellison and David Johnston, both former Microsoft employees. Originally developed by Syntrillium as Cool Edit, the program was distributed as crippleware for Windows computers. The full version was useful and flexible, particularly for its time. Syntrillium later released Cool Edit Pro, which added the capability to work with multiple tracks as well as other features. Audio processing, however, was done in a destructive manner (at the time, most computers were not powerful enough in terms of processor performance and memory capacity to perform non-destructive operations in real-time). Cool Edit Pro v2 added support for real-time non-destructive processing, and v2.1 added support for surround sound mixing and unlimited simultaneous tracks (up to the limit imposed by the computer hardware). Cool Edit also included plugins such as noise reduction and FFT equalization.

Ever since the earliest versions, Cool Edit 2000 and Cool Edit Pro supported a large range of import/export codecs for various audio file formats. When MP3 became popular, Cool Edit licensed and integrated the original Fraunhofer MP3 encoder. The software had an SDK and supported codec plugins (FLT filters), and a wide range of import/export format plugins were written by the developer community to open and save in a number of audio compression formats. The popular audio formats and containers supported by Cool Edit with built-in codecs or plugins were Fraunhofer MP3, LAME MP3, Dolby AC3, DTS, ACM Waveform, PCM waveform, AIFF, AU, CDA, MPEG-1 Audio, MPEG-2 Audio, AAC, HE-AAC, Ogg Vorbis, FLAC, True Audio, WavPack, QuickTime MOV and MP4 (import only), ADPCM, RealMedia, WMA Standard, WMA Professional, WMA Lossless and WMA Multichannel.

Adobe purchased Cool Edit Pro from Syntrillium Software in May 2003 for $16.5 million, as well as a large loop library called "Loopology". Adobe then renamed Cool Edit Pro to "Adobe Audition".

Version

Version 1
Adobe Audition was released on August 18, 2003. It had bug fixes but no new features and was essentially a more polished Cool Edit Pro 2.1 under a different name. Adobe then released Audition v1.5 in May 2004; major improvements over v1 included pitch correction, frequency space editing, a CD project view, basic video editing and integration with Adobe Premiere, as well as several other enhancements.

Version 2
Adobe Audition 2 was released on January 17, 2006. With this release, Audition (which the music recording industry had once seen as a value-oriented home studio application, although it has long been used for editing by radio stations) entered the professional digital audio workstation market. The current version included two sections. Multitrack View supported up to 128 digital audio mono or stereo tracks at up to 32-bit resolution. In the track controls section one could select the input and output for each track (the program supported multiple multi-channel sound cards), select "record", "solo", and "mute", and access the effects rack. New features included Audio Stream Input/Output (ASIO) support, VST (Virtual Studio Technology) support, new mastering tools (many provided by iZotope), and a redesigned UI. Adobe also included Audition 2.0 as part of its Adobe Production Studio bundle.

Version 3
Adobe Audition 3 was released on November 8, 2007. New features included VSTi (virtual instrument) support, enhanced spectral editing, a redesigned multi-track interface, new effects, and a collection of royalty-free loops.

CS2 activation servers' shutdown: Adobe Audition 3, with some other CS2 products, was released with an official serial number, due to the technical glitch in Adobe's CS2 activation servers (see Creative Suite 1 & 2).

Version 4 (CS5.5)
Audition 4, also known as Audition CS5.5, was released on April 11, 2011, as part of Adobe Creative Suite. Audition 4 was shipped as part of the Adobe Creative Suite 5.5 Master Collection and Adobe Creative Suite 5.5 Production Premium, replacing the discontinued Adobe Soundbooth. Audition 4 was also made available as a standalone product. Enhanced integration with Adobe Premiere Pro allowed editing of multitrack Premiere projects, and users of third-party software were served by the introduction of OMF- and XML-based import-export functions. Other new features included improved 5.1 multichannel support, new effects (DeHummer, DeEsser, Speech Volume Leveler, and Surround Reverb), a history panel, faster and fully supported real-time FFT analysis, and a new audio engine (more reliable and faster) for non-ASIO devices.

According to Adobe, Audition CS5.5 was rewritten from the ground up to take advantage of parallel/batch processing for performance and make it a platform-agnostic product. Audition CS5.5 now works on Windows and Mac platforms. Over 15 years of C++ code was analyzed, and many features of the previous Audition 3 were ported or enhanced. Notable features that were present in Audition 3, but removed for CS5.5, include VSTi support and MIDI sequencing. Unlike all the previous versions, this is the first release to be available as a Mac version as well as a Windows version. Many other features from previous Windows versions of Adobe Audition, such as FLT filters, DirectX effects, clip grouping, many effects (Dynamic EQ, Stereo Expander, Echo Chamber, Convolution, Scientific filters, etc.) were removed  as the product was rewritten to have identical cross-platform features for Windows and macOS. Some of the features were later restored in Audition CS6 but the wide range of audio codec compression/decoding filters for import/export of various audio file formats were discontinued.

Version 5 (CS6)
Adobe showed a sneak preview of Audition CS6 in March 2012 highlighting clip grouping and automatic speech alignment (which had its technology previewed in September 2011).
Audition CS6 was released on April 23, 2012, as part of both Creative Suite 6 Master Collection and Creative Suite 6 Production Premium. It included faster and more precise editing, real-time clip stretching, automatic speech alignment, EUCON and Mackie control surface support, parameter automation, more powerful pitch correction, HD video playback, new effects, and more features.

Version 6 (CC)
Adobe Audition 6, also more commonly known as Audition CC, was released on June 17, 2013. It is the first in the Audition line to be part of the Adobe Creative Cloud. Also, Audition CC is now the first 64-bit application in the Audition line. This can provide faster processing time when compared to Audition CS6. New features include sound remover, preview editor, and pitch bender.

See also

Comparison of multitrack recording software

References

External links

2003 software
Audition
Audition
Digital audio workstation software

Adobe Audition


Molodezkoje (, ) ist ein Ort in der russischen Oblast Kaliningrad. Er gehört zur kommunalen Selbstverwaltungseinheit Stadtkreis Gurjewsk im Rajon Gurjewsk.

Geographische Lage
Molodezkoje liegt 21 Kilometer östlich der Oblasthauptstadt Kaliningrad (Königsberg) und ein Kilometer nördlich von Uschakowo (Heiligenwalde, Dorf). Der Ort, dessen Anblick schon von weitem Erdöltürme erkennen lassen, wird im Norden von der alten Trasse und im Süden von der neuen Trasse der Föderalstraße A229 (ehemalige deutsche Reichsstraße 1, heute auch Europastraßen 28 und 77) begrenzt. Eine Bahnanbindung besteht nicht.

Geschichte
Das ehemals als Heiligenwalde, Domäne bezeichnete und frühere Gutsdorf kam 1874 zum neu gebildeten Amtsbezirk Heiligenwalde mit Sitz in der Landgemeinde Heiligenwalde (heute russisch: Uschakowo). Er gehörte bis 1939 zum Landkreis Königsberg (Preußen), von 1939 bis 1945 Landkreis Samland, im Regierungsbezirk Königsberg der preußischen Provinz Ostpreußen.

Der Gutsbezirk Heiligenwalde, Domäne, zählte im Jahre 1910 insgesamt 52 Einwohner. Im Jahre 1928 gab der Gutsbezirk seine Eigenständigkeit auf und wurde in die Landgemeinde Heiligenwalde (Uschakowo) eingemeindet.

1945 kam der Ort innerhalb des nördlichen Ostpreußens zur Sowjetunion. Im Jahr 1950 erhielt er die russische Bezeichnung Molodezkoje und wurde gleichzeitig dem Dorfsowjet Nisowski selski Sowet im Rajon Gurjewsk zugeordnet. Von 2008 bis 2013 gehörte Molodezkoje zur Landgemeinde Nisowskoje selskoje posselenije und seither zum Stadtkreis Gurjewsk.

Kirche
Vor 1945 war die Bevölkerung der Domäne Heiligenwalde fast ausnahmslos evangelischer Konfession. Das Dorf war in das Kirchspiel der Kirche Heiligenwalde im Kirchenkreis Königsberg-Land II innerhalb der Kirchenprovinz Ostpreußen der Kirche der Altpreußischen Union eingepfarrt. Letzter deutscher Geistlicher war Pfarrer Paul Kortzitzki.

Heute liegt Molodezkoje im Einzugsbereich der in den 1990er Jahren neu erbauten evangelisch-lutherischen Auferstehungskirche in Kaliningrad (Königsberg), der Hauptkirche der Propstei Kaliningrad im Verbund der Evangelisch-lutherischen Kirche Europäisches Russland (ELKER).

Weblinks
 Molodezkoje bei bankgorodov.ru

Einzelnachweise

Ort im Rajon Gurjewsk (Kaliningrad)

Molodezkoje


Hôtel de Boisgelin er et fredet hôtel particulier i Aix-en-Provence.

Beliggenhed
Bygningen er beliggende på 11, rue du Quatre Septembre på det Place des Quatre Dauphins, i Quartier Mazarin i Aix-en-Provence.

Historie
Det blev tegnet af arkitekterne Pierre Pavillon (1612-1670) og Jean-Claude Rambot (1621-1694), og er bygget til Louis Le Blanc de Montespin i 1650. I 1697 blev det købt af Pierre-Joseph Laurens-Brue. Samme år bestilte han arkitekt Laurent Vallon (1652-1724) til at designe en storslået trappe indeni. Det blev senere arvet af de Boisgelin familie.

Bygningen kommer med en gårdsplads og en have. I haven er der et springvand under trækronerne, og dermed altid i skyggen i dagtimerne.

Historisk værdi
Det har været listet som et monument historique siden 1964.

Henvisninger

Bouches-du-Rhône
Hoteller
Fredede bygninger

Hôtel de Boisgelin (Aix-en-Provence)


Route 710, consisting of the non-contiguous segments of State Route 710 (SR 710) and Interstate 710 (I-710), is a major north–south state highway and auxiliary Interstate Highway in the Los Angeles metropolitan area of the U.S. state of California. Also called the Los Angeles River Freeway prior to November 18, 1954, the highway was initially planned to connect Long Beach and Pasadena, but a gap in the route exists from Alhambra to Pasadena through South Pasadena due to community opposition to its construction.

The completed southern segment is signed as I-710 and is officially known as the Long Beach Freeway, and it runs north from Long Beach to Valley Boulevard, just north of I-10 (San Bernardino Freeway), near the boundary between the cities of Alhambra and Los Angeles. South of I-5, I-710 follows the course of the Los Angeles River, rarely wandering more than a few hundred feet from the riverbed. South of SR 1 in Long Beach, I-710 is officially part of the Seaside Freeway.

SR 710 is the designation of the completed portion of the proposed northern extension of the route to Pasadena. This segment runs from California Boulevard in Pasadena north to its northern terminus at SR 134 and I-210. It remains unsigned, except for onramps onto the stub which are signed as onramps onto I-210 instead of SR 710. Legislation passed in 2019 authorizes its relinquishment to the City of Pasadena on or after January 1, 2024.

Prior to 1983, the road was not an Interstate, although it was built to Interstate Highway standards. Until 1964 it was State Route 15, but it was renumbered to State Route 7 in the 1964 renumbering because of the existence of I-15, and to I-710 in 1983. However, the northern stub still contains postmile markers designating such stub as both Route 7 and Route 710.

Route description

Section 622 of the California Streets and Highways Code defines Route 710 as "from Route 1 to Route 210 in Pasadena". Section 622.1 amends the definition, stating "Route 710 shall also include that portion of the freeway between Route 1 and the northern end of Harbor Scenic Drive, that portion of Harbor Scenic Drive to Ocean Boulevard, that portion of Ocean Boulevard west of its intersection with Harbor Scenic Drive to its junction with Seaside Boulevard, and that portion of Seaside Boulevard from the junction with Ocean Boulevard to Route 47."

The southern terminus of the freeway presently signed as I-710 is at Ocean Boulevard in Long Beach. From there, the Long Beach Freeway follows the course of the Los Angeles River to Atlantic Boulevard in the city of Bell. I-710 then travels roughly north, east of downtown Los Angeles, to its current northern terminus at Valley Boulevard (just north of I-10) in Alhambra and the El Sereno neighborhood of Los Angeles.

Near its southern terminus, I-710 separates into three spur freeways. The first spur splits at the 9th Street interchange, with the left-branching ramps crossing the Shoemaker Bridge over Los Angeles River and becoming West Shoreline Drive as they head to downtown Long Beach, passing the Aquarium of the Pacific and the Long Beach Convention Center among other attractions. This spur becomes a surface arterial at the intersection with South Chestnut Place and the Pike Parking Garage. The second spur continues south as Harbor Scenic Drive, leading to the eastern piers of the Port of Long Beach and the Queen Mary. Meanwhile, the main segment continues south as the Seaside Freeway, keeping the I-710 designation, until the interchange with Ocean Boulevard, where offramps to Ocean Boulevard west carry both the Seaside Freeway name and I-710 designation across the Long Beach International Gateway Bridge. The I-710 designation then terminates at the interchange with SR 47, while the Seaside Freeway designation continues west along with SR 47 towards the Vincent Thomas Bridge.

There is a part of Route 710 in Pasadena that is constructed to freeway standards, extending from California Boulevard north to the Foothill (I-210)/Ventura (SR 134) freeway interchange. However, the route designation on this freeway stub is unsigned, and is instead marked as if it were merely freeway entrance and exit ramps to and from I-210.

I-710 and SR 710 are part of the California Freeway and Expressway System, and north of SR 1 are part of the National Highway System, a network of highways that are considered essential to the country's economy, defense, and mobility by the Federal Highway Administration.

History

1930–1965
Legislative Route 167 (LR 167) was defined in 1933 to run from San Pedro east to Long Beach and north to Monterey Park. An extension was added in 1947, taking it north to Pasadena. State Route 15 was signed in 1934 along the section of LR 167 from Pacific Coast Highway (SR 3, later U.S. Route 101 Alternate, now SR 1) in Long Beach north to Garvey Avenue (U.S. Route 99 (US 99), replaced by I-10) in Monterey Park. The original pre-freeway alignment ran along Los Robles Avenue (Pasadena) and Atlantic Boulevard. The freeway replacement of SR 15/LR 167 was built from 1953 to 1965. The whole route of LR 167, including the proposed extensions west to San Pedro and north to Pasadena, was renumbered State Route 7 in 1964, after it was decommissioned from portions of the San Diego Freeway (which is now I-405) as part of the state highway renumbering, as the number 15 conflicted with I-15 (Ironically, SR 15 still exists from I-8 to I-5 in San Diego). In 1965, the route was truncated to SR 1 in Long Beach; the part from SR 1 south and west to SR 47 was deleted, and the rest from SR 47 west to SR 11 (now I-110) became part of SR 47.

1964–present
The Long Beach Freeway was approved as a non-chargeable Interstate in September 1983 by the FHWA, and on May 30, 1984, AASHTO approved the SR 7 designations to be renumbered to Interstate 710. In October 1984, the FHWA approved an additional  extension from CA 1 to Ocean Boulevard. The short stub in Pasadena was built in 1975, along with the adjacent sections of I-210 and SR 134. There are still remaining overhead street signs pointing motorists to SR 7 on Ford Boulevard at its intersection with Floral Drive in Monterey Park. These are the last known signs to date.

The existing freeway from SR 1 south to Ocean Boulevard was taken over by the state on August 25, 2000, in a trade with the City of Long Beach for former SR 103 north of SR 1. In 2013, Caltrans adopted the remainder of the Seaside Freeway from Ocean Boulevard to SR 47 over the Gerald Desmond Bridge as part of Route 710. Caltrans and the Port of Long Beach completed the replacement for the old Gerald Desmond Bridge in October 2020; it was named the Long Beach International Gateway Bridge in May 2021.

Future

I-710 corridor project
The significant growth of cargo volumes handled at the ports of Los Angeles and Long Beach has added a large amount of truck traffic to the Long Beach Freeway, since it is the most direct route between the port complex and the railyards in Vernon and East Los Angeles, as well as the Pomona and San Bernardino freeways that connect Los Angeles to railyards in San Bernardino and Colton. The freeway's pavement has been badly damaged as a result since it was not designed to carry nearly as large of a load of truck traffic. It has also become a major source of air pollution, emanating from diesel-fueled trucks idling in rush-hour traffic congestion and giving cities along its route some of the worst air quality in already smoggy Southern California. In response, as of 2011 an Environmental Impact Statement/Environmental Impact Report is being conducted to analyze possible significant improvements to I-710 between the Ports of Long Beach and Los Angeles and the Pomona Freeway (SR 60).

In March 2018, Caltrans considered plans to expand I-710, which would have entailed adding lanes for trucks and demolishing homes. However, this would have exacerbated the problem of air pollution around the freeway, by enabling more diesel-power trucks to travel on it. The area around the freeway is already described as a "diesel death zone" due to the pollution. These plans were indefinitely shelved due to public opposition.

Another potential solution to the problem is shifting freight to the Alameda Corridor. This is a freight railroad that runs parallel to I-710. Right now, 33% of freight moving to and from the Port of L.A. goes by rail.

The South Pasadena gap

Overview
The planned segment from Alhambra to Pasadena through South Pasadena has been subject to legal battles which have stopped construction. Because of these legal disputes, the freeway's northern terminus has been Valley Boulevard since the 1960s. However, a short unsigned freeway does exist in Pasadena, heading south from the interchange of I-210 and SR 134 to California Boulevard.

As a result of the route's incomplete condition, freeway signs are inconsistent in their identification of the northbound Long Beach Freeway's destination, with some indicating Pasadena as a control city and others identifying Valley Boulevard as the freeway's terminus. For example, approaching I-710 from SR 60 (Pomona Freeway) in East Los Angeles, westbound traffic is given Valley Boulevard as the destination for northbound I-710, while eastbound traffic is given a destination of Pasadena. Signs at the interchange with I-105 show Pasadena as the destination for northbound I-710.

Currently, traffic headed for Pasadena on I-710 is redirected to I-10 (San Bernardino Freeway) eastbound by signs at the interchange between the two routes in Monterey Park. These signs identify both Pasadena and San Bernardino as control cities for the eastbound San Bernardino Freeway, although it does not actually pass through Pasadena. Rather, traffic to the city is directed to take SR 19 (Rosemead Boulevard) northbound from its junction with I-10 (about  east of the Long Beach Freeway) to reach Pasadena.  Traffic from northbound I-710 is routed onto Fremont Avenue in Alhambra and South Pasadena, and the Pasadena Freeway (SR 110).

The areas around I-710, northeastern Los Angeles and the northwestern San Gabriel Valley are subject to traffic congestion. There are no completed north–south freeways in the  area between I-5 (Golden State Freeway) and I-605 (San Gabriel River Freeway). Pro– and anti–I-710 lobbies have debated whether finishing I-710 would alleviate any of the San Gabriel Valley's traffic congestion, or merely displace it from surface streets to the freeway.

2009–2012 corridor studies
Caltrans and its local partner, the Los Angeles County Metropolitan Transportation Authority (Metro), researched the possibility of extending the Long Beach Freeway from Valley Boulevard to Pasadena by building a bored tunnel under Alhambra, El Sereno, and South Pasadena. The premise was that a tunnel would allow Caltrans to extend the freeway without disturbing the residential neighborhoods on the surface, similar to other tunnels throughout the world. The proposed twin  tunnels would have been the longest in the United States, but were small compared with others around the world. Between January and May 2009, Caltrans conducted soil samples for the tunneling project in the Pasadena area and completed a combined environmental impact statement (EIS) and environmental impact report (EIR), in which the tunnel was one option.

In August 2012, Metro narrowed down the list of potential alternatives to study in the EIR/EIS process. The alternatives included: (1) a no-build alternative, where no additional infrastructure would be built to address the gap in the freeway plan between Valley Boulevard and I-210; (2) a roadway tunnel without exits to connect the northern terminus of the freeway at Valley Boulevard to Pasadena; (3) a light rail line connecting East L.A. with Pasadena using a route that travels along the I-710 right of way until Valley Boulevard where it would become a subway until connecting with the Metro Gold Line at the Fillmore Metro station in Pasadena; (4) a bus rapid transit line from Montebello to Pasadena; and (5) Transportation System Management/Transportation Demand Management (TSM/TDM).

Termination
In February 2017, California Assemblyman Chris Holden (D-Pasadena) sponsored a bill to block the completion of the I-710/I-210 gap by tunnel or other means, and his position was supported by South Pasadena and Pasadena. This unanimously led to a decision by the Los Angeles Metro authorities in May to completely defund the completion of the I-710 freeway gap between the northernmost terminus at Valley Blvd in Alhambra, to the I-210 interchange in Pasadena.

The $780 million allocated through Measure R for the intended project of closing of the gap will now be allocated to improvement of certain local surface street projects, improved traffic signal synchronizations, and other "mobility improvement projects". Holden, along with State Senator Anthony Portantino introduced similar legislation, Assembly Bill 29 and Senate Bill 7 respectively, to officially delete this segment of Route 710 from the highway grid. Signed by governor Gavin Newsom in October 2019, they will take effect on January 1, 2024. Among others, the new laws authorize the maintenance of the existing portion of Route 710 between California Boulevard and the I-210/SR 134 interchange to be transferred to the City of Pasadena, and remove that segment from the California Freeway and Expressway System.

Exit list

South Harbor Scenic Drive spur (exit 1A)

Shoreline Drive spur (exit 1C)

References

External links

No 710 Action Committee
Friends of Southern California's Highways
The Life and Death of Great American Freeways: The 710 Case Study by John Dutton
Long Beach Freeway Gap and Stubs
AARoads: Interstate 710
California Highways - Interstate 710

10-7
Interstate 710
Interstate 710
710
10-7
7
Unfinished buildings and structures in the United States
Alhambra, California
El Sereno, Los Angeles
710

Interstate 710 and State Route 710 (California)


Når solen skinner er en dansk film fra 2016, filmen er instrueret af Frederik Barington.

Medvirkende
 Elias Munk som Sofus
 Laura Kjær som Sarah
 Vibeke Ankjær som Helle
 Kasper Løfvall Stensbirk som Peter
 Sonny Lindberg som Poul
 Anna Søgaard Frandsen som Esther
 Jacob Clemen Utzon Krefeld som tjener

Eksterne Henvisninger

Danske film fra 2016
Dramafilm fra Danmark
Dansksprogede film

Når solen skinner


TCG Gür ha sido el nombre utilizado por tres submarinos de la Armada de Turquía:
 El TCG Gür fue un submarino construido en los astilleros gaditanos Echevarrieta y Larrinaga, botado en octubre de 1930, activo en tre 1936 y 1947.
 El TGG Gür (S-334) fue un submarino de clase balao, ex- USS Chub (SS-329) de la Armada de los Estados Unidos, que participó en la campaña del Pacífico durante la Segunda Guerra Mundial, permaneció activo en la armada turca desde 1948 a 1975.
 El TCG Gür (S-357) es un submarino del tipo 209T2/1400 botado en 2002, y activo desde 2003.

Referencias

Nombres de barcos de la Armada de Turquía

TCG Gür


Alexandru "Alex" Iordăchescu ()  un regizor de film, scenarist și producător. Trăiește în Elveția din 1979. În 2005, a fondat la Geneva compania de producție Elefant Films. A regizat filme ca Andreea și tramvaiul (2004) sau Copilăria lui Icar (2009).

Primul său film de lungmetraj, Copilăria lui Icar a fost lansat în 2011 deși filmările au avut loc în 2009. Regizorul a așteptat  2 ani deoarece în timpul filmărilor în România actorul Guillaume Depardieu s-a îmbolnăvit de o severă pneumonie virală și a murit la 13 octombrie 2008 la spitalul din Garches la vârsta de 37 de ani.

Filmografie

Ca regizor
 Le jardin des autres roses (film TV, 2000)
  Les démolisseurs (scurtmetraj, 2003)
 Andreea și tramvaiul (scurtmetraj, 2004)
  Copilăria lui Icar (2009)
 The World Below (preproducție)

Ca producător
 Ryna (2005) – producător executiv
 Copilăria lui Icar (2009)
 La Cosmétique du Bonheur (2010)
 Lullaby to My Father (2012)
 La cosmétique du bonheur (2013)
 Miracolul din Tekir (2015)
 Varză, cartofi și alți demoni (2016)

Note

Legături externe
 Alex Iordăchescu la cinemagia.ro
Alex Iordăchescu la IMDb.com
 Alexandra Olivotto -  Alex Iordăchescu: "Paradoxal, Guillaume era omul cel mai liber pe care l-am cunoscut", EVZ.ro, 24 aprilie 2011

Nașteri în 1974
Nașteri pe 1 mai
Regizori de film români
Scenariști români
Producători de film români
Bucureșteni
Cineaști români în viață

Alex Iordăchescu


Jeanette Anna MacDonald (June 18, 1903 – January 14, 1965) was an American singer and actress best remembered for her musical films of the 1930s with Maurice Chevalier (The Love Parade, Love Me Tonight, The Merry Widow and One Hour With You) and Nelson Eddy (Naughty Marietta, Rose-Marie, and Maytime). During the 1930s and 1940s she starred in 29 feature films, four nominated for Best Picture Oscars (The Love Parade, One Hour with You, Naughty Marietta and San Francisco), and recorded extensively, earning three gold records. She later appeared in opera, concerts, radio, and television. MacDonald was one of the most influential sopranos of the 20th century, introducing opera to film-going audiences and inspiring a generation of singers.

Early years
MacDonald was born Jeannette Anna McDonald on June 18, 1903, at her family's Philadelphia home at 5123 Arch Street. She was the youngest of the three daughters of Anna May (née Wright) and Daniel McDonald, a factory foreman and a salesman for a contracting household building company, respectively, and the younger sister of character actress Blossom Rock (born Edith McDonald), who was most famous as "Grandmama" on the 1960s TV series The Addams Family. She was of Scottish, English, and Dutch descent. The extra N in her given name was later dropped for simplicity's sake, and A added to her surname to emphasize her Scottish heritage. She began dancing lessons with local dance instructor Caroline Littlefield, mother of American ballerina/choreographer Catherine Littlefield, when very young, performing in juvenile operas, recitals, and shows staged by Littlefield around the city, including at the Academy of Music. She later took lessons with Al White and began touring in his kiddie shows, heading his "Six Little Song Birds" in Philadelphia at the age of nine.

Acting career

Broadway

In November 1919, MacDonald joined her older sister Blossom in New York. She took singing lessons with Wassili Leps and landed a job in the chorus of Ned Wayburn's The Demi-Tasse Revue, a musical entertainment presented between films at the Capitol Theatre on Broadway. In 1920, she appeared in two musicals: Jerome Kern's Night Boat as a chorus replacement, and Irene on the road as the second female lead; future film star Irene Dunne played the title role during part of the tour, and Helen Shipman played the title role during the other part of the tour. In 1921, MacDonald played in Tangerine as one of the "Six Wives." In 1922, she was a featured singer in the Greenwich Village revue Fantastic Fricassee, for which good press notices brought her a role in The Magic Ring the next year. MacDonald played the second female lead in this long-running musical which starred Mitzi Hajos. In 1925, MacDonald again had the second female lead opposite Queenie Smith in Tip Toes, a George Gershwin hit show.

The following year, 1926, found MacDonald still in a second female lead in Bubblin' Over, a musical version of Brewster's Millions. She finally landed a starring role in Yes, Yes, Yvette in 1927. Planned as a sequel to producer H.H. Frazee's No, No, Nanette, the show toured extensively, but failed to please the critics when it arrived on Broadway. MacDonald also played the lead in her next two plays: Sunny Days in 1928 in her first show for the producers Lee and J.J. Shubert, for which she received rave reviews; and Angela (1928), which the critics panned. Her last play was Boom Boom in 1929, with her name above the title; the cast included young Archie Leach, who would later become Cary Grant.

While MacDonald was appearing in Angela, film star Richard Dix spotted her and had her screen-tested for his film Nothing but the Truth. The Shuberts, however, would not let her out of her contract to appear in the film, which starred Dix and Helen Kane (the "Boop-boop-a-doop girl"). In 1929, famed film director Ernst Lubitsch was looking through old screen tests of Broadway performers and spotted MacDonald. He cast her as the leading lady in The Love Parade, his first sound film, which starred Maurice Chevalier.

Film career

Paramount, controversial move to Fox Film Corporation
In the first rush of sound films during 1929 and 1930, MacDonald starred in six films—the first four for Paramount Studios. Her first, The Love Parade (1929), directed by Ernst Lubitsch and co-starring Maurice Chevalier, was a landmark of early sound films, and received a Best Picture nomination. MacDonald's first recordings for RCA Victor were two hits from the score: "Dream Lover" and "March of the Grenadiers." The Vagabond King (1930) was a lavish two-strip Technicolor film version of Rudolf Friml's hit 1925 operetta. Broadway star Dennis King reprised his role as 15th-century French poet François Villon, and MacDonald was Princess Katherine. She sang "Some Day" and "Only a Rose." The UCLA Film and Television Archive owns the only known color print of this production.

1930 was an extremely busy year for Paramount and MacDonald. Paramount on Parade was an all-star revue, similar to other mammoth sound revues produced by major studios to introduce their formerly silent stars to the public. MacDonald's footage singing a duet of "Come Back to Sorrento" with Nino Martini was cut from the release print due to copyright reasons with Universal Studios, which had recently acquired the copyright to the song for an upcoming movie, King of Jazz. Let's Go Native was a desert-island comedy directed by Leo McCarey, co-starring the likes of Jack Oakie and Kay Francis. Monte Carlo became another highly regarded Lubitsch classic, with British musical star Jack Buchanan as a count who disguises himself as a hairdresser in order to woo a scatterbrained countess (MacDonald). MacDonald introduced "Beyond the Blue Horizon," which she recorded three times during her career, including performing it for the Hollywood Victory Committee film Follow the Boys.

In hopes of producing her own films, MacDonald went to United Artists to make The Lottery Bride in 1930. Despite music by Rudolf Friml, the film was not successful. MacDonald next signed a three-picture deal with the Fox Film Corporation, a controversial move in Hollywood; every other studio was far superior in the eyes of many, from their budgets to the fantastical entertainment of their films. Oh, for a Man! (1930) was more successful; MacDonald portrayed a temperamental opera singer who sings Wagner's "Liebestod" and falls for an Irish burglar played by Reginald Denny. In 1931, Don't Bet on Women was a non-musical drawing-room comedy in which a playboy (Edmund Lowe) bets his happily married friend (Roland Young) that he can seduce his friend's wife (MacDonald). Annabelle's Affairs (1931) was a farce, with MacDonald as a sophisticated New York playgirl who does not recognize her own miner husband, played by Victor McLaglen, when he turns up five years later. Although highly praised by reviewers at the time, only one reel of this film survives.

MacDonald took a break from Hollywood in 1931 to embark on a European concert tour, performing at the Empire Theater in Paris (Mistinguett and Morris Gest were said to have been in the crowd) and at London's Dominion Theatre, and was invited to dinner parties with British Prime Minister Ramsay MacDonald and French newspaper critics. She returned to Paramount the following year for two films with Chevalier. One Hour with You in 1932 was directed by both George Cukor and Ernst Lubitsch, and simultaneously filmed in French with the same stars, but a French supporting cast. Currently, no surviving print of Une Heure près de toi (One Hour With You) is known. Rouben Mamoulian directed Love Me Tonight (1932), considered by many film critics and writers to be the perfect film musical. Starring Chevalier as a humble tailor in love with a princess played by MacDonald, much of the story is told in sung dialogue. Richard Rodgers and Lorenz Hart wrote the original score, which included the standards "Mimi," "Lover," and "Isn't It Romantic?"

MGM, Nelson Eddy partnership

In 1933, MacDonald left again for Europe, and while there signed with Metro-Goldwyn-Mayer. Her first MGM film was The Cat and the Fiddle (1934), based on the Jerome Kern Broadway hit. Her co-star was Ramón Novarro. The plot about unmarried lovers shacking up just barely slipped through the new Production Code guidelines that took effect July 1, 1934. Despite a Technicolor finale—the first use of the new three-color Technicolor process other than Disney cartoons—the film was not a huge success. It lost $142,000. In The Merry Widow (1934), director Ernst Lubitsch reunited Maurice Chevalier and MacDonald in a lavish version of the classic 1905 Franz Lehár operetta. The film was highly regarded by critics and operetta lovers in major U.S. cities and Europe, but failed to generate much income outside urban areas, losing $113,000. It had a huge budget of $1.6 million, partially because it was filmed simultaneously in French as La Veuve Joyeuse, with a French supporting cast and some minor plot changes.

Naughty Marietta (1935), directed by W. S. Van Dyke, was MacDonald's first film in which she teamed with newcomer baritone Nelson Eddy. Victor Herbert's 1910 score, with songs like "Ah! Sweet Mystery of Life," "I'm Falling in Love with Someone," "'Neath the Southern Moon," "Tramp, Tramp, Tramp," and "Italian Street Song," enjoyed renewed popularity. The film won an Oscar for sound recording, and received an Oscar nomination for Best Picture. It was voted one of the Ten Best Pictures of 1935 by the New York film critics, was awarded the Photoplay Gold Medal Award as Best Picture of 1935 (beating out Mutiny on the Bounty, which won the Oscar), and in 2004 was selected to the National Film Registry. MacDonald earned gold records for "Ah! Sweet Mystery of Life" and "Italian Street Song." The following year, MacDonald starred in two of the highest-grossing films of that year. In Rose-Marie, MacDonald played a haughty opera diva who learns her young brother (pre-fame James Stewart) has killed a Mountie and is hiding in the northern woods; Eddy is the Mountie sent to capture him. Nelson Eddy and she sang Rudolf Friml's "Indian Love Call" to each other in the Canadian wilderness (actually filmed at Lake Tahoe). Eddy's definitive portrayal of the steadfast Mountie became a popular icon. When the Canadian Mounties temporarily retired their distinctive hat in 1970, photos of Eddy in his Rose Marie uniform appeared in thousands of U.S. newspapers. San Francisco (1936) was also directed by W.S. Van Dyke. In this tale of the 1906 San Francisco earthquake, MacDonald played a hopeful opera singer opposite Clark Gable as the extra-virile proprietor of a Barbary Coast gambling joint, and Spencer Tracy as his boyhood chum who has become a priest and gives the moral messages.

In the summer of 1936, filming began on Maytime, co-starring Nelson Eddy, Frank Morgan, and Paul Lukas, produced by Irving Thalberg. After Thalberg's untimely death in September, production was shut down and the half-finished film scrapped. A new script was filmed with a different storyline and supporting actors (including John Barrymore, whose relationship with MacDonald was strained due to his alcoholism). The 'second' Maytime (1937), was the top-grossing film worldwide of the year, and is regarded as one of the best film musicals of the 1930s. "Will You Remember" by Sigmund Romberg brought MacDonald another gold record.

The Firefly (1937) was MacDonald's first solo-starring film at MGM with her name alone above the title. Rudolf Friml's 1912 stage score was borrowed, and a new song, "The Donkey Serenade," added, adapted from Friml's "Chanson" piano piece. With real-life Americans rushing to fight in the ongoing revolution in Spain, this historical vehicle was constructed around a previous revolution in Napoleonic times. MacDonald's co-star was tenor Allan Jones, who she demanded get the same treatment as she would, such as an equal number of close-ups. The MacDonald/Eddy team had split after MacDonald's engagement and marriage to Gene Raymond, but neither of their solo films grossed as much as the team films, and an unimpressed Mayer used this to point out why Jones could not replace Eddy in the next project. The Girl of the Golden West (1938) was the result, but the two stars had little screen time together, and the main song, "Obey Your Heart," was never sung as a duet. The film featured an original score by Sigmund Romberg, and reused the popular David Belasco stage plot (also employed by opera composer Giacomo Puccini for La fanciulla del West).

Mayer had promised MacDonald the studio's first Technicolor feature, and he delivered with Sweethearts (1938), co-starring Eddy. In contrast to the previous film, the co-stars were relaxed onscreen and singing frequently together. The film integrated Victor Herbert's 1913 stage score into a modern backstage story scripted by Dorothy Parker and Alan Campbell. MacDonald and Eddy played a husband-and-wife Broadway musical-comedy team who are offered a Hollywood contract. Sweethearts won the Photoplay Gold Medal Award as Best Picture of the Year. Mayer dropped plans for the team to co-star in Let Freedom Ring, a vehicle first announced for them in 1935. Only Eddy starred, whereas MacDonald and Lew Ayres co-starred in Broadway Serenade (1939) as a contemporary musical couple who clash when her career flourishes while his founders. MacDonald's performance was subdued, and choreographer Busby Berkeley, just hired away from Warner Bros., was called upon to add an over-the-top finale in an effort to improve the film. Broadway Serenade did not entice audiences in a lot of major cities, with Variety claiming that New York, Chicago, and Los Angeles' cinema attendances were "sad," "slow,"and "sour."

Following Broadway Serenade, and not coincidentally right after Nelson Eddy's surprise elopement with Ann Franklin, MacDonald left Hollywood on a concert tour and refused to renew her MGM contract. Months later she summoned her manager Bob Ritchie from London to help her renegotiate. After initially insisting that she wanted to film Smilin' Through with James Stewart and Robert Taylor, MacDonald finally relented and agreed to film New Moon (1940) with Eddy, which proved to be one of MacDonald's more popular films. Composer Sigmund Romberg's 1927 Broadway hit provided the plot and the songs: "Lover, Come Back to Me," "One Kiss," and "Wanting You," plus Eddy's version of "Stout Hearted Men." This was followed by Bitter Sweet (1940), a Technicolor film version of Noël Coward's 1929 stage operetta, which Coward loathed, writing in his diary about how "vulgar" he found it. Smilin' Through (1941) was MacDonald's next Technicolor project, the third adaptation filmed in Hollywood, with Brian Aherne and Gene Raymond. Its theme of reunion with deceased loved ones was enormously popular after the devastation of World War I, and MGM reasoned that it should resonate with audiences during World War II, but it failed to make a profit. MacDonald played a dual role—Moonyean, a Victorian girl accidentally murdered by a jealous lover, and Kathleen, her niece, who falls in love with the son of the murderer.

I Married an Angel (1942), was adapted from the Rodgers & Hart stage musical about an angel who loses her wings on her wedding night. The script by Anita Loos suffered serious censorship cuts during filming that made the result less successful. MacDonald sang "Spring Is Here" and the title song. It was the final film made by the team of MacDonald and Eddy. After a falling-out with Mayer, Eddy bought out his MGM contract (with one film left to make) and went to Universal, where he signed a million-dollar, two-picture deal. MacDonald remained for one last film, Cairo (1942), a cheaply budgeted spy comedy co-starring Robert Young as a reporter and Ethel Waters as a maid, whom MacDonald personally requested. Within one year, beginning in 1942, L.B. Mayer released his four highest-paid actresses from their MGM contracts; Norma Shearer, Joan Crawford, Greta Garbo, and Jeanette MacDonald. Of those four stars, MacDonald was the only one whom Mayer would rehire.

Final roles

After opening the Metropolitan Opera's membership campaign, MacDonald appeared as herself in Follow the Boys (1944), an all-star extravaganza about Hollywood stars entertaining the troops. The more than 40 guest stars included Marlene Dietrich, W.C. Fields, Sophie Tucker, and Orson Welles. MacDonald is shown during a concert singing "Beyond the Blue Horizon," and in a studio-filmed sequence singing "I'll See You in My Dreams" to a blinded soldier. She returned to MGM after five years off the screen for two films. Three Daring Daughters (1948) co-starred José Iturbi as her love interest. MacDonald plays a divorcée whose lively daughters (Jane Powell, Ann E. Todd, and Elinor Donahue) keep trying to get her back with her ex, but she has secretly remarried. The song "The Dickey Bird" made the hit parade. The Sun Comes Up (1949) teamed MacDonald with Lassie in an adaptation of a short story by Marjorie Kinnan Rawlings. MacDonald played a widow who has lost her son, but warms to orphan Claude Jarman Jr. It would prove to be her final film.

She frequently attempted a comeback movie, even financing and paying a screenwriter. One of the possible film reunions with Nelson Eddy was to be made in England, but Eddy pulled out when he learned MacDonald was investing her own funds. Eddy preferred to publicly blame the proposed project as mediocre, when in fact MacDonald was uninsurable due to her heart condition. A reunion with Maurice Chevalier was also considered. Other thwarted projects with Eddy were The Rosary, The Desert Song, and a remake of The Vagabond King, plus two movie treatments written by Eddy for them, Timothy Waits for Love and All Stars Don't Spangle. Offers continued to come in, and in 1962, producer Ross Hunter proposed MacDonald in his 1963 comedy The Thrill of It All, but she declined. 20th Century Fox also toyed with the idea of MacDonald (Irene Dunne was briefly considered) for the part of Mother Abbess in the film version of The Sound of Music. It never moved beyond the discussion stages partly because of MacDonald's failing health.

An annual poll of film exhibitors listed MacDonald as one of the top-10 box-office draws of 1936, and many of her films were among the top-20 moneymakers of the years they were released. In addition, MacDonald was one of the top-10 box-office attractions in Great Britain from 1937 to 1942. During her 39-year career, MacDonald earned two stars on the Hollywood Walk of Fame (for films and recordings) and planted her feet in the wet concrete in front of Grauman's Chinese Theater.

Musical theatre
In the mid-1950s, MacDonald toured in summer-stock productions of Bitter Sweet and The King and I. She opened in Bitter Sweet at the Iroquois Amphitheater, Louisville, Kentucky, on July 19, 1954. Her production of The King and I opened August 20, 1956, at the Starlight Theatre. While performing there, she collapsed. Officially, it was announced as heat prostration, but in fact it was a heart seizure. She began limiting her appearances, and a reprisal of Bitter Sweet in 1959 was her last professional stage appearance.

MacDonald and her husband Gene Raymond toured in Ferenc Molnár's The Guardsman. The production opened at the Erlanger Theater in Buffalo, New York, on January 25, 1951, and played in 23 Northeastern and Midwestern cities until June 2, 1951. Despite less-than-enthusiastic comments from critics, the show played to full houses for virtually every performance. The leading role of "The Actress" was changed to "The Singer" to allow MacDonald to add some songs. While this pleased her fans, the show closed before reaching Broadway.

In the 1950s, talks with respect to a Broadway return occurred. In the 1960s, MacDonald was approached about starring on Broadway in a musical version of Sunset Boulevard. Harold Prince recounts in his autobiography visiting MacDonald at her home in Bel Air to discuss the proposed project. Composer Hugh Martin also wrote a song for the musical, entitled "Wasn't It Romantic?"

MacDonald also made a few nightclub appearances. She sang and danced at The Sands and The Sahara in Las Vegas in 1953, The Coconut Grove in Los Angeles in 1954, and again at The Sahara in 1957, but she never felt entirely comfortable in their smoky atmospheres.

Music career

Concert tours, World War II charity work
Starting in 1931 and continuing through the 1950s, MacDonald engaged in regular concert tours between films. Her first European tour was in 1931, where she sang in both France and England. Her first American concert tour was in 1939, immediately after the completion of Broadway Serenade. MacDonald performed at the Mayo Civic Auditorium in Rochester, Minnesota on April 19, 1939, to open that venue before an audience. She sang several times at the Hollywood Bowl and Carnegie Hall. When America joined World War II in 1941, MacDonald co-founded the Army Emergency Relief and raised funds on concert tours. When she was home in Hollywood, she held an open house at her home on Sunday afternoons for GIs. On one occasion, at the request of Lt. Ronald Reagan, she was singing for a large group of men in San Francisco who were due to ship out to the fierce fighting in the South Pacific. She closed with "The Battle Hymn of the Republic," and 20,000 voices spontaneously joined in. She auctioned off encores for donations and raised almost $100,000 for the troops (over $1.5 million, adjusted for inflation). President Franklin D. Roosevelt, who considered MacDonald and Eddy two of his favorite film stars, awarded her a medal. She also did command performances at the White House for President Dwight D. Eisenhower.

Opera

Unlike Nelson Eddy, who came from opera to film, MacDonald in the 1940s yearned to reinvent herself in opera. She began training for this goal with Lotte Lehmann, one of the leading opera stars of the early 20th century. "When Jeanette MacDonald approached me for coaching lessons," wrote Lehmann, "I was really curious how a glamorous movie star, certainly spoiled by the adoration of a limitless world, would be able to devote herself to another, a higher level of art. I had the surprise of my life. There couldn't have been a more diligent, a more serious, a more pliable person than Jeanette. The lessons which I had started with a kind of suspicious curiosity turned out to be sheer delight for me. She studied Marguerite with me—and lieder. These were the ones which astounded me most. I am quite sure that Jeanette would have developed into a serious and successful lieder singer if time would have allowed it."

MacDonald made her opera debut singing Juliette in Gounod's Roméo et Juliette in Montreal at His Majesty's Theatre (May 8, 1943). She quickly repeated the role in Quebec City (May 12), Ottawa (May 15 and 17), Toronto (May 20 and 22), and Windsor (May 24). Her U.S. debut with the Chicago Opera Company (November 4, 11 and 15, 1944) was in the same role. She also sang Marguerite in Gounod's Faust with the Chicago Opera. In the summer of 1945, she appeared with the Cincinnati Opera as Juliette in two performances of Roméo et Juliette (July 10 and 25) and one as Marguerite in Faust (July 15). That November, she did two more performances of Roméo et Juliette and one of Faust in Chicago. On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music.

Claudia Cassidy, the music critic of the Chicago Tribune wrote, "Her Juliet is breathtakingly beautiful to the eye and dulcet to the ear." The same critic reviewed Faust: "From where I sit at the opera, Jeanette MacDonald has turned out to be one of the welcome surprises of the season ... her Marguerite was better than her Juliet ... beautifully sung with purity of line and tone, a good trill, and a Gallic inflection that understood Gounod's phrasing ... You felt if Faust must sell his soul to the devil, at least this time he got his money's worth."

Radio and television

MacDonald's extensive radio career may have begun on a 1929 radio broadcast of the Publix Hour. She was on the Academy Awards ceremony broadcast in 1931. She hosted her own radio show, Vicks Open House, from September 1937 to March 1938, for which she received $5,000 a week. However, the time demands of doing a weekly live radio show while filming, touring in concerts, and making records proved enormously difficult, and after fainting on-air during one show, she decided not to renew her radio contract with Vicks at the end of the 26-week season. Thereafter, she stuck to guest appearances.

MacDonald appeared in condensed radio versions of many of her films on programs such as Cecil B. DeMille's Lux Radio Theater, often with Nelson Eddy, and the Railroad Hour, which starred Gordon MacRae. These included The Merry Widow, Naughty Marietta, Rose Marie, Maytime, Sweethearts, Bitter Sweet, Smilin' Through, and The Sun Comes Up, plus other operettas and musicals such as Victor Herbert's Mlle Modiste, Irene, The Student Prince, Tonight or Never with Melvyn Douglas, A Song for Clotilda, The Gift of the Magi, and Apple Blossoms. Other radio shows included The Prudential Family Hour, Screen Guild Playhouse, and The Voice of Firestone, which featured the top opera and concert singers of the time. In 1953, MacDonald sang "The Star-Spangled Banner" at the inauguration of President Dwight D. Eisenhower, broadcast on both radio and TV.

MacDonald sang frequently with Nelson Eddy during the mid-1940s on several Lux Radio Theater and The Screen Guild Theater productions of their films together. She also appeared as his guest several times on his various radio shows such as The Electric Hour and The Kraft Music Hall. He was also a surprise guest when she hosted a war-bonds program called Guest Star, and they sang on other World War II victory shows together. The majority of her radio work in the mid to late 1940s was with Eddy. Her 1948 Hollywood Bowl concert was also broadcast over the air, in which she used Eddy's longtime accompanist, Theodore Paxson.

MacDonald appeared on early TV, most frequently as a singing guest star. She sang on The Voice of Firestone on November 13, 1950. On November 12, 1952, she was the subject of Ralph Edwards' This Is Your Life. Her surprise guests included her sisters, a sailor she danced with at the Hollywood Canteen, her former English teacher, her husband and the clergyman who married them, and Nelson Eddy appeared as a voice from her past, singing the song he sang at her wedding; his surprise appearance brought her to tears. Shortly thereafter, she appeared as the mystery guest on the December 21, 1952, episode of What's My Line? After the panelists guessed her identity, she told John Daly she was in New York for the holidays and would have a recital at Carnegie Hall on January 16. On February 2, 1956, MacDonald starred in Prima Donna, a television pilot for her own series, written for her by her husband Gene Raymond. The initial show featured guest stars Leo Durocher and Larraine Day, but it failed to find a slot. In December 1956, MacDonald and Eddy made their first TV appearance as a team on the Lux Video Theatre Holiday Special. In 1957, Eddy and she appeared on Patti Page's program The Big Record, singing several songs. On Playhouse 90 (March 28, 1957), MacDonald played Charley's real aunt to Art Carney's impersonation in "Charley's Aunt."

Personal life

When MacDonald was born, her father quickly doted on her. Although he had hoped for a son who would pursue "an American dream" life that he believed he had failed to live himself, he advised his three daughters to do this instead. MacDonald was the only daughter in the family that had inherited both her father's red hair and blue-green eyes, although she often admired her sisters' beauty, such as Blossom's dimples and her elder sister Elsie's (1893—1970) blonde hair and blue eyes. Elsie could play the piano, and taught toddler MacDonald a variety of popular waltzes and Stephen Foster's compositions. At this time, MacDonald discovered that she was an extrovert who enjoyed socializing with friends and performing for others, admitting that "[I] needed people to watch and applaud me as much as I needed food and drink." At the end of her first performance in the local church as a child, "I paused ever so slightly and then, when I realized they needed prodding, I promptly began clapping my hands and said to the congregation, 'Now everybody's got to clap!'"

MacDonald cited the number thirteen as her lucky number. Her characters always had a name beginning with M, the first letter of her surname and the 13th letter of the English alphabet, a ritual upon which she had insisted. Interestingly, thirteen became a recurring number throughout her life, such as the thirteen-year gap between her overseas tours in Europe; principal photography for The Merry Widow had taken thirteen weeks to film; her first movie, The Love Parade, was the number-one box-office draw for 13 weeks; MacDonald performed opera for the first time for a screen test thirteen years after meeting Newell (who was also on set); the thirteen-year gap between her and sister Blossom's death; and husband Gene Raymond's birthday was August 13.

On sets, MacDonald would never lip-sync, instead singing along to song playbacks during filming, which Lew Ayres discovered when he starred alongside her in Broadway Serenade, whereupon he was supplied with earplugs after the volume nauseated him.

A recurrent issue throughout MacDonald's career was her health. Her handwritten letter from August, 1929 indicates that MacDonald, age 26, had recently suffered a heart attack. She also suffered from stage fright throughout her life to the point that her therapist told her to imagine that all of the members of the audience were lettuce. Due to her heart condition, she could not carry a pregnancy to term; she had blackouts and fainting spells, became stressed to the point of not being able to eat, and was frequently in and out of hospitals and trying different treatments (one being massage therapy), which only worked for a limited time. A few years before her death, MacDonald became a Religious Scientist. Her illnesses would not allow her to perform early morning filming shoots, much to her colleagues' annoyance.

MacDonald was a Republican, but she mostly avoided commenting on politics. When approached by the House Un-American Activities Committee about whether she had heard any gossip about Communist activity in Hollywood, she replied, "As at any focal point, there are some belligerents, but they are no more numerous than in any other community." Neither she nor Gene Raymond were ever considered or subpoenaed for a HUAC hearing; in a radio interview, MacDonald was quoted as saying, "Let he who is without sin cast the first stone" in response to what her opinion was on the investigations. She fired her manager Charles Wagner for anti-Semitic abuse of her Jewish friend Constance Hope, and declared during the 1940 presidential election, "I sing for Democrats and Republicans, black and white, everyone, and I just can't talk politics."

Relationships
MacDonald met Jack Ohmeis (1901-1967) at a party during her appearance in Tangerine. He was an architecture student at New York University and the son of a successful bottle manufacturer. His family was hesitant about the relationship, assuming that MacDonald was a gold-digger, but accepted her after they met. She and Ohmeis became engaged a year later, but their future plans and aspirations forced them to go their separate ways; the sudden death of MacDonald's father was another factor in the break-up. Unfortunately, the Ohmeis family would lose a lot of their fortune after the Wall Street Crash, so MacDonald loaned money to Jack, and he repaid her as soon as he could, which was as late as the 1950s. MacDonald next dated Irving Stone (1901-1968) from around 1926–28; they met when she was touring in Chicago in The Magic Ring. Stone, who lived in Milwaukee, was the nephew of the founder of the Wisconsin Boston Store, and worked in the family business. Few details were known of Stone's romance with MacDonald until the discovery of hundreds of pages of handwritten love letters she wrote to him that were found in his apartment after his death, which happened three years after her death.

MacDonald eventually dated a Wall Street rep named Robert Ritchie (died 1972), 12 years her senior, who claimed that he was the son of a fallen millionaire. They traveled with MacDonald's family to Hollywood, and he became a press agent for MGM. Rumors circulated that they were engaged and/or secretly married, since Ritchie was by MacDonald's side during her European tour and they lived together—MacDonald even signing her return address as "JAR" (Jeanette Anna Ritchie) and referring to him as her "darling husband." Despite Ritchie's family claiming that he was married to MacDonald but the marriage had been annulled in 1935, he never confirmed the claims. He later relocated to Europe as an MGM representative, becoming responsible for recruiting Greer Garson, Hedy Lamarr, and Luise Rainer.

MacDonald married Gene Raymond in 1937. She met him at a Hollywood party two years earlier at Roszika Dolly's home; MacDonald agreed to a date, as long as it was at her family's dinner table. Despite the strong relationship, Raymond's mother did not like MacDonald, attempting to snub her a few times (such as arranging her son with Janet Gaynor as a plus-one at a charity ball), and did not attend the wedding. The Raymonds lived in a 21-room Mock Tudor mansion named Twin Gables with their pet dogs and their horse White Lady, which Raymond gave to MacDonald as a birthday present; after MacDonald's death, it was briefly owned by John Phillips and Michelle Phillips of The Mamas and Papas. MacDonald often worried about her husband's self-esteem; his acting career was constantly shaky, and RKO Pictures eventually sold out his contract when he had two movies left to make with them in the 1950s. Although she appreciated his support, MacDonald wished that their success was equal.

Raymond was sometimes mistaken for Nelson Eddy by MacDonald's fans and passersby, which MacDonald later admitted that she never liked: "Of course we always laughed it off—sometimes Gene even obliged by signing Nelson's name—but no one will ever know the agonies I suffered on such occasions. More than anything else in the world those days, I wanted to see him receive as much acclaim as I, to spare him these humiliations." When she reunited with Chevalier in 1957, he asked her why she had retired from films, to which she replied, "Because for exactly twenty years I've played my best role, by his [Raymond's] side. And I'm perfectly happy."

Death

MacDonald died at the Houston Methodist Hospital from heart failure on January 14, 1965, with Raymond by her hospital bed. Two years before, she had been assigned Dr. Michael DeBakey, who had recently operated successfully on the Duke of Windsor, in the hope that he could save her. Despite the surgery, MacDonald became ill with pleurisy the week after, and was in Houston Methodist Hospital for over a month. In December 1964, her condition worsened and she was rushed to UCLA Medical Center. DeBakey suggested open-heart surgery, and Raymond brought MacDonald into the hospital January 12. On the afternoon of the 14th, Raymond was at her bedside massaging her feet when she died. He said that their last conversation was when MacDonald said, "I love you," and he replied, "I love you too;" she then sighed deeply, and her head hit the pillow.

The funeral took place on January 18. Along with close family and widower Raymond, it was notably attended by a handful of MacDonald's costars (such as Eddy, Allan Jones, Chevalier, Joe E. Brown, Spencer Tracy, Lloyd Nolan, etc.), representatives of her fan club, former presidents Harry S. Truman and Dwight D. Eisenhower, Senator George Murphy, former vice-president Richard Nixon, future governor & president Ronald Reagan, and Mary Pickford; Dr. Gene Emmet Clark of the Church of Religious Science officiated. Newsreel footage shows Nelson Eddy as the last person to exit the church, with Lauritz Melchior and other celebrities offering him condolences. MacDonald was interred in a pink-marbled crypt at Forest Lawn Memorial Park, Glendale, which reads "Jeanette MacDonald Raymond." Hers is next to Nat King Cole, and George Burns and Gracie Allen.

Honors and commemorations
MacDonald was crowned as the Queen of the Movies in 1939 with Tyrone Power as her king. The ceremony was filmed and presented by Ed Sullivan.

MacDonald was awarded an honorary doctor of music degree from Ithaca College in 1956.

MacDonald was named Philadelphia's Woman of the Year in 1961. Of the award, she said, "It is strange how awards, decorations, doctorates, etc., can be conferred from various parts of the country, and even the world. And yet, the funny satisfaction of being recognized in one's home town seems to be a more gratifying recognition than all."

Posthumous
Shortly after MacDonald's death, surviving classmates from her high school contributed a $150 donation in her name to the Children's Heart Hospital of Philadelphia.

The USC Thornton School of Music built a Jeanette MacDonald Recital Hall in her honor.

A bronze plaque for MacDonald was unveiled in March 1988 on the Philadelphia Music Alliance's Walk of Fame in Raymond's presence.

Controversy

Autobiography
MacDonald began developing an autobiography in the 1950s. She wanted her readers to both be inspired by her career and understand how she had coped with balancing a public and personal life. In one early version she intended to candidly discuss Nelson Eddy but dropped that idea when Eddy feared public fallout. She hired and fired other ghostwriters and wrote a manuscript solo but it was rejected by the publisher for being "too genteel"; MacDonald refused to include many personal details about Eddy and she deleted already typed pages admitting to one single pregnancy that ended in miscarriage. Her last ghost writer, Fredda Dudley Balling, noted that MacDonald was too ill to work more than a couple hours a day, so a final draft was never completed. The unfinished manuscript was published and annotated in 2004. MacDonald said that publishers wanted her to spice up her story. She refused to gossip about her colleagues and said she did not live that kind of life. In the last year of her life, despite declining health, she still was trying to find a publisher. An early version of the book, written with James Brough, is in the Cinematic Arts Library, Doheny Memorial Library, University of Southern California.

Relationship with Nelson Eddy

Despite public denials from the stars themselves of any personal relationship between Jeanette MacDonald and Nelson Eddy, documentation shows otherwise. In a handwritten 1935 letter by Nelson to "Dearest Jeanette," written on his letterhead, Nelson Eddy writes: "I love you and will always be devoted to you."

In the biography Sweethearts by Sharon Rich, the author presents MacDonald and Eddy as continuing an adulterous affair after their marriages. Rich, who was a close friend of MacDonald's older sister Blossom Rock, also knew Gene Raymond, and documents that the relationship lasted—with a few breaks—until MacDonald's death. Newsreel footage from MacDonald's funeral shows Eddy as the last person exiting the chapel, circled by other celebrities, such as Lauritz Melchior, who offer him condolences.

MacDonald had a reported eight pregnancies by Eddy, the first while they were filming Rose Marie. This was before she had an intimate relationship with Gene Raymond. Raymond was physically unable to father children, and MacDonald alluded to this fact in her unfinished autobiography, writing that she returned from her Hawaii honeymoon with Raymond with the knowledge and accurate admittance that "The MacRaymonds had no children." Nevertheless, MacDonald had additional, later, documented and visible pregnancies while married to Raymond, all of which ended in miscarriage.

Rich's findings also included documentation that Raymond physically and emotionally abused MacDonald, and had affairs as early as their honeymoon when MacDonald allegedly discovered Raymond in bed with Buddy Rogers. Raymond was arrested three times, the first in January 1938, as verified by a court document, and also in England during his army service, for his behavior. Raymond's wedding to MacDonald, orchestrated by Louis B. Mayer, forced MacDonald to become Raymond's "beard," and the 1938 arrest resulted in Mayer blacklisting him in Hollywood for almost two years.

Biographer E. J. Fleming also alleged that Eddy had confronted Raymond for abusing MacDonald, who was visibly pregnant with Eddy's child while filming Sweethearts, which ended with Eddy attacking him and leaving him for dead, though newspapers reported Raymond was recovering from a fall down the stairs.

At that time Mayer adamantly refused to allow MacDonald to annul her marriage and elope. The situation ended with MacDonald losing her baby at nearly 6 months. The boy was named Daniel Kendrick Eddy, and Nelson buried him (or his ashes) on private property in Ojai, California.

Other co-stars and friends verified the MacDonald/Eddy relationship.

Over the decades, MacDonald and Eddy privately occupied several homes together. In 1938, they had a small Burbank house located at 812 S. Mariposa Street in Burbank. In the 1940s, Nelson leased and remodeled for himself and MacDonald the old cowboy bunkhouse at 1330 Angelo Drive, Beverly Hills. Starting in 1947, they used 710 N. Camden Drive, which had been the home of MacDonald's mother until her death. They also alternately stayed at favorite hotels and homes across the country owned by celebrity friends including Lily Pons and Irene Dunne. In 1963, MacDonald and Raymond moved into two adjoining apartments at the Wilshire Comstock in Westwood, on the 8th floor in the East building. Nelson Eddy had his own apartment on the 7th floor of the West building, and allowed MacDonald to decorate it; they used it as a rendezvous spot until she was too weak to walk the few yards over to his building. (After Eddy's death, his widow Ann learned of the apartment and moved into it.)

Forbidden to marry early on by MGM studio boss Louis B. Mayer, MacDonald and Eddy performed a mock wedding ceremony at Lake Tahoe while filming Rose Marie. They considered that "by God's laws" they were married, although they were never able to do so legally. Every autumn, they returned to Lake Tahoe to renew their vows. As late as 1948, MacDonald's desk diary has a "Lake Tahoe" entry. After their 1943 visit, Eddy wrote a lengthy diary entry about their trip and his love for her, calling her "my wife," which he did in private to the end of her life.

Credits

Filmography

Discography

MacDonald performed and recorded more than 50 songs during her career, working exclusively for RCA Victor in the United States. She also did some early recordings for HMV in England and France while she was there on a concert tour in 1931. She earned three gold records, one for the LP album, Favorites in Stereo that she did with Nelson Eddy in 1959.

MacDonald in Song (1939)
Religious Songs (1945)
Operetta Favorites (1946)
Romantic Moments (1950)
Favorites (c. 1951)
Favorites in Stereo (1959)
Smilin' Through (1960)
Jeanette MacDonald Sings Songs of Faith and Inspiration (1963)

Concerts

Tours

Footnotes

Citations

References
Barclay, Florence L., The Rosary by Florence L. Barclay, new introduction by Sharon Rich, comments by Jeanette MacDonald and Nelson Eddy, Bell Harbour Press, 2005. This 1910 #1 best seller featured two singers in a "Jane Eyre" plot, and the heroine's nickname was Jeanette. Eddy chose it as a possible film vehicle for himself and MacDonald in 1948. This edition features a new introduction with excerpts from their written correspondence of 1948, in which the film project was discussed.
Castanza, Philip, The Films of Jeanette MacDonald and Nelson Eddy, Citadel Press, 1978.
Eddy, Nelson, "All Stars Don't Spangle" movie treatment for himself and MacDonald, reprinted in its entirety in Mac/Eddy Today magazine, issue #50.
Hamann, G.D. (Ed.), Collections of contemporary newspaper and magazine references in the following: Jeanette MacDonald in the 30s. (141 pp.), Jeanette MacDonald in the 40s (100 pp.), Nelson Eddy in the 30s and 40s (128 pp.), and Filming Today Press, 2005, Hollywood, California (www.GDHamann.com).
Knowles (Dugan), Eleanor, The Films of Jeanette MacDonald and Nelson Eddy, Booksurge Llc, 2006.
 Letters by MacDonald are reproduced and annotated. MacDonald dated Stone in 1927–28 and remained friends afterwards, so most of these are love letters. In one letter from August 1929 she tells Stone she is recovering from a heart attack.
 The complete, typewritten autobiography with MacDonald's handwritten editing, deletions and comments noted throughout. Annotated and with original letters from MacDonald's collaborator on the project.

 This is an updated edition of Rich, Sharon, Sweethearts: The Timeless Love Affair - On-screen and Off - Between Jeanette MacDonald and Nelson Eddy, Donald I. Fine, 1994. Footnotes are from 2001 edition. Updated again in 2014.
Skeel, Sharon. (2020) Catherine Littlefield: A Life in Dance. Oxford University Press.

External links

1903 births
1965 deaths
American film actresses
American musical theatre actresses
American operatic sopranos
American people of Scottish descent
Singers from Philadelphia
Actresses from Philadelphia
Vaudeville performers
Burials at Forest Lawn Memorial Park (Glendale)
Metro-Goldwyn-Mayer contract players
20th-century American actresses
Paramount Pictures contract players
American people of Dutch descent
American people of English descent
California Republicans
Pennsylvania Republicans
RCA Victor artists
Texas Republicans
20th-century American women opera singers
Classical musicians from Pennsylvania
American Christian Scientists

Jeanette MacDonald


Adriana Abreu Magalhães Dias (1970 — 29 de janeiro de 2023) foi uma brasileira antropóloga, feminista, antifascista e militante pelos direitos de pessoas com deficiência e doenças raras. Por causa de seu trabalho, Dias foi apelidada de caçadora de nazistas.

Biografia
Formada em Ciências Sociais pela Universidade Estadual de Campinas, mestre (2007) e doutora (2018) em antropologia pela mesma instituição. Desde sua graduação, Dias se especializou no estudo do neonazismo no Brasil; seu trabalho discorre sobre a organização desses grupos em ambientes virtuais. Em sua metodologia, sempre que encontrava um site neonazista, ela o imprimia fisicamente e o denunciava até que ele fosse derrubado. Dias identificou 334 células neonazistas em atividade no país, esse número tendo saltado para 530 em 2021. Uma de suas descobertas foi uma carta de 2004 assinada pelo então deputado Jair Bolsonaro divulgada em um site neonazista; nela o político escreve: "Todo retorno que tenho dos comunicados se transforma em estímulo ao meu trabalho. Vocês são a razão da existência do meu mandato."

Dias era portadora de osteogênese imperfeita, e ficou conhecida por seu ativismo pelos direitos das pessoas com deficiência e doenças raras. Ela foi a criadora do Instituto Baresi,fórum nacional associando pessoas com doenças raras, deficiências  e outros grupos de minoria, coordenou do Comitê "Deficiencia e Acessibilidade" da Associação Brasileira de Antropologia e foi membro da American Anthropological Association. Na política, integrou a Frente Nacional de Mulheres com Deficiência, foi parte da  Associação Vida e Justiça de Apoio às Vítimas da Covid-19, participou da equipe de transição do terceiro governo de Luiz Inácio Lula da Silva, em 2022, participou de audiências da Comissão Parlamentar de Inquérito da Câmara de Campinas que investigava crimes nazifascistas, e foi importante na criação do Projeto de Lei que instituiu o Dia Nacional de Doenças Raras. Também ficou conhecida por ter denunciado o médico abusador Roger Abdelmassih.

Dias morreu aos 52 anos em 29 de janeiro de 2023, de câncer cerebral.

Ligações externas
 Currículo Lattes de Adriana Dias

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Antropólogas do Brasil
Alunos da Universidade Estadual de Campinas
Pessoas com doenças raras

Adriana Dias


Tiago Strepa, foi um frei franciscano polonês que nasceu no ano de 1340 na Galácia, foi ordenado bispo em 1391 para a Arquidiocese de Leópolis e morreu na arquidiocese no ano de 1409. O Papa Pio VI em 1791, aprovou a sua beatificação.

Biografia
Tiago Strepa nasceu em 1340 na Galácia, de uma nobre família polonesa. Muito jovem tinha grande devoção à São Francisco de Assis e o fez ingressar nos franciscanos. Exerceu por muito tempo na Ordem a função de vigário-geral na Russia e trabalhou ativamente para a unidade dos cristãos.

Em 1391 foi eleito pelo Papa Bonifácio IX, bispo da Diocese de Halicz, que depois mudou a sua sede metropolitana para Leópolis, trabalhou ativamente na criação de paróquias, fundando casas religiosas e realizando as visitas pastorais.

Ele também atuou na Associação dos Irmãos Peregrinos para Cristo, que era um grupo de franciscanos e dominicanos que evangelizaria por toda a Europa em lugares como a Moldávia e foi o responsável pelas missões franciscanas. Por seus atos, foi proclamado defensor e custódio de sua pátria.

O bispo Tiago morreu no dia 20 de outubro de 1409 e seu corpo, considerado incorrupto, foi transladado para a Catedral de Leópolis. No dia 11 de setembro de 1709, o Papa Pio VI aprovou seu culto e a beatificação, que aconteceu na Basílica de São Pedro no ano de 1790. É considerado o patrono da Arquidiocese de Leópolis e da Província polonesa da Ordem dos Frades Menores Conventuais.

Ver também

 Ordem dos Frades Menores Conventuais
 São Francisco de Assis
 Arquidiocese de Leópolis

Santos da Polônia
Santos franciscanos
Místicos católicos

Tiago Strepa


Tatsuki Nara (født 19. september 1993) er en japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Consadole Sapporo, FC Tokyo og Kawasaki Frontale.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Tatsuki Nara


El Burgo (llamada oficialmente Santiago do Burgo) es una parroquia y una aldea española del municipio de Culleredo, en la provincia de La Coruña, Galicia.

Etimología

Toma su nombre de su pequeña iglesia de Santiago de El Burgo, del .

Geografía

Pequeña parroquia situada en el fondo de la ría del Burgo formada por dos núcleos de población con más de 4000 habitantes cada uno, por lo que la parroquia cuenta con una de las densidades de población más elevadas de Galicia.

Localización

Se sitúa enfrente de la villa de El Temple (Cambre), de la que la separa el puente medieval de El Burgo, antiquísima vía de comunicación con la ciudad de La Coruña.

Geografía

Limita al norte-noreste con la ría a la que da nombre y se une con El Temple, del municipio de Cambre, a través de un puente romano y otro contemporáneo. Al oeste-noroeste con el municipio y ciudad de La Coruña. Y al sur con Ombre y Carcabelos, en la parroquia de Almeiras, también del municipio de Culleredo, y con el Aeropuerto de La Coruña.

Pertenece al área metropolitana de la ciudad de La Coruña con la que linda al noroeste sin solución de continuidad. Por sus buenas comunicaciones y por ser adyacente, es la principal área de crecimiento natural de La Coruña (pues siendo una península, el mar impide orográficamente otras posibilidades de expansión). El núcleo de Acea de Ama se convirtió en una verdadera ciudad dormitorio de La Coruña, disparándose su población en los últimos años, cuando pasó de ser un pequeño caserío de molineros, labradores y pescadores a la pequeña ciudad dormitorio que es actualmente.

El Burgo posee un extenso paseo a la orilla de la ría del Burgo y la desembocadura del río Trabe.

Entidades de población

Entidades de población que forman parte de la parroquia:
 Acea da Ma (Acea de Ama)
 El Burgo (O Burgo)

Demografía

Parroquia

Aldea

Transporte
En la estación de ferrocarril de El Burgo-Santiago paran trenes de media distancia que unen La Coruña con Ferrol y Monforte de Lemos.

Referencias

Bibliografía

Enlaces externos

Parroquias de Culleredo
Localidades de Culleredo
Localidades de la provincia de La Coruña

El Burgo (La Coruña)


Clovis Paulo Stocker conhecido como Paulo Stocker ou Clovis Stocker (Santa Catarina, 1965) é cartunista, desenhista,  caricaturista, professor e artista plástico.

Biografia
Clovis Paulo Stocker, nasceu em Brusque, Santa Catarina, no ano de 1965 e é radicado em São Paulo, vive em São Paulo desde 1995.

Em 2006, publicou o livro "Stockadas", através da Editora Lettera, foi colaborador nas revistas Revista Coyote, Caros Amigos, periódicas como O Pasquim e o Jornal do Brasil. No ano de 2010, lançou o livro Tulípio em cooautoria com o Eduardo Rodrigues, através da editora Devir.

Prêmios

 Recebeu o prêmio de melhor cartum, pela Revista Tulipio, no HQMix, em 2008.

Obras artísticas
Suas obras são encontradas nas paredes de São Paulo, principalmente na Rua Augusta, o artista trabalha com grafite pintando muros de bares, comércios...

Suas tirinhas são retratadas em camisetas, quadros, pôsteres e canecas personalizadas.

As personagens "Clóvis" e Augusta, criada pelo Paulo Stoker é bastante conhecida, ambas as personagens foi criada pelo autor quando ele soube que ia ser pai, na criação de vários desenhos acabou dando vida a ambas as personagens de forma criativa. A personagem Clóvis tem traços trabalhados em nanquim e os quadrinhos são pantomímicos.

Livros
 Stockadas, Editora Lettera, 2006;
 Clovis, Literare Books International, 2020;
 Ducineia Catadora, 2020;

Antologia

 Tulipio Humor de Botequim, Editora Devir, 2009, obra organizada junto com o Eduardo Rodrigues e com a participação de outros autores, prefácio e participação de Aldir Blanc, dentre outros.

Ligações externas

Cartunistas do Brasil
Desenhistas do Brasil
Caricaturistas do Brasil
Cartunistas
Desenhistas
Santa Catarina
Estado de São Paulo
Professores

Paulo Stocker


Reel Bad Arabs ist eine Dokumentation aus dem Jahre 2006 von Sut Jhally, welche auf dem Buch Reel Bad Arabs von Jack Shaheen beruht. Der Autor Jack Shaheen begleitet den Zuschauer auch als Sprecher durch den Film.

Die 50-minütige Dokumentation beschäftigt sich mit der Darstellung von Arabern in Hollywoodfilmen und der Verquickung Hollywoods mit der Außenpolitik der amerikanischen Regierung. Laut Auffassung des Autors ist diese Darstellung verzerrt und sie bedient rassistische, islamophobe, fremdenfeindliche Klischees.
Der Dokumentation liegt die Analyse von über 900 Spielfilmen zugrunde. Jhally zeigt dabei immer wieder Ausschnitte von Filmszenen, um Shaheens Thesen zu belegen.

Inhalt

Das mythische Araberland
Shaheen zeigt auf, dass sich die verzerrte Darstellung der Araber ein Thema ist, welches sich seit Jahrzehnten durch Hollywood-Filme zieht. Er macht dafür einen Sprung von der Darstellung Araber in Filmen der zwanziger Jahre bis zum Zeichentrickfilm "Aladdin", einem Film, der sich besonders an junge Zuschauer richtet. Der (arabische) Sänger singt im Intro des Films ein Lied über das altertümliche Arabien mit der Textzeile ("wo man dir die Ohren abschneidet, das klingt zwar barbarisch, aber hey, es ist meine Heimat") diese Textzeile wurde später nach Protesten des American-Arab Anti-Discrimination Committee abgemildert. Der Zeichentrickfilm zeigt weiterhin gute Protagonisten mit eher westlichen Gesichtszügen und böse Araber mit Hakennasen und dunklerem Erscheinungsbild. Abgesehen davon herrscht totale Anarchie. Im 1940er-Jahre Zeichentrickfilm der Firma Looney Tunes Ali Baba, der wahnsinnige Hund aus der Wüste wurde bereits Jahrzehnte vorher ein ähnliches Bild gezeichnet. Shaheen schließt weitere Szenen an: In Jäger des verlorenen Schatzes dienen die Ägypter dem Helden Indiana Jones nur als Zielscheibe. Und in Happy Hooker goes to Washington (1977) erzählt ein Araber, er würde mit Hunden und Ziegen Sex haben. In True Lies werden die Araber gezeigt als eine Mischung aus Trotteln und teuflisch Gerissenen, die die USA bedrohen. In Auf dem Highway ist die Hölle los wird der Araber als hakennasiger Finsterling dargestellt, der sexbesessen ist und eine besondere Vorliebe für Blondinen hat, da er von Frauen mit Schnurrbärten die Nase voll habe. Die Blonden wolle er für seinen Harem. Das Klischee des Arabers, der verrückt nach westlichen Frauen ist, wird weiterhin bedient in Sahara, Protocol – Alles tanzt nach meiner Pfeife, Sag niemals nie, Auf der Jagd nach dem Juwel vom Nil. Im Spielfilm "Chapter two" wird die Frage "Wie war London?" mit "Voller Araber" beantwortet. Jack Shaheen fordert den Zuschauer dazu auf, sich vorzustellen, die Antwort hätte "voller Juden" oder "voller Latinos" gelautet.

Eine der schlimmsten Darstellungen ist seiner Meinung nach die Darstellung eines Arabers in Vater der Braut 2. Ein hakennasiger Araber verhandelt mit Steve Martin in schlechtem Englisch über dessen Haus, als die arabische Ehefrau etwas sagen will, wird sie von ihm vor allen angeschrieen und hält danach unterwürfig den Mund. Der Araber hat das Haus gekauft und als Steve Martin das Haus wiederhaben will, nutzt er geldgierig seine Notsituation aus. Shaheen sieht hier die antisemitischen Klischees vom bösartigen geldgierigen und gerissenen Juden, der den ehrlichen weißen Christen übers Ohr haut, auf den Araber übertragen. Auch beim Film Gladiator wird der Hauptdarsteller von einem arabischen Sklavenhändler verkauft.

Mit diesen beiden Szenen möchte Shaheen deutlich machen, dass auch in Filmen, in denen Araber eigentlich keine Rolle spielen (Gladiator schildert das Schicksal eines Römers, der in Rom für einen römischen Gladiatoreninhaber kämpfen muss, Vater der Braut 2 schildert einen weißen christlichen Amerikaner, der sich um die Probleme seiner christlichen Familie kümmert), Araber als Schurken künstlich in die Handlung eingebaut werden.
Ein weiteres Beispiel für dieses "absurde" Einfügen von Arabern ist Zurück in die Zukunft: Mitten in den USA, rasen "Libyer" gehüllt in Palästinensertücher in einem VW-Bulli durch die Nacht und verüben in einer Mischung aus Brutalität und Idiotie Mordanschläge, als wären sie in Beirut während des Bürgerkrieges.

Die arabische Bedrohung: Nahostpolitik und Hollywood
Mit dem Zitat Jack Valentis " Washington und Hollywood sind genetisch verwandt" beginnt das nächste Kapitel des Films. Wichtige Aspekte der Filmindustrie sind der Nahostkonflikt, in dem die USA treu auf der Seite Israels stehen, das arabische Öl-Embargo 1973, das die Amerikaner wegen des Benzins sehr geärgert hat, und die islamische Revolution im Iran 1979. Diese Ereignisse hätten sich tief in das amerikanische Bewusstsein gebrannt. Ein wichtiges Klischee, das immer wiederkehrt, ist der schmierige Scheich: So in Das Rollover-Komplott, wo der Filmemacher der Verschwörungstheorie anhängt, die Araber würden die Weltwirtschaft so beherrschen, dass sie eine Weltwirtschaftskrise auslösen könnten. Die Figur des schmierigen Scheichs taucht ebenfalls in Indiana Jones und der letzte Kreuzzug und Ernest in the Army auf.

Im Film Network (1976) wird laut Shaheen extrem gegen Araber gehetzt. Hier wird die Verschwörungstheorie vertreten, die "Araber" würden die USA aufkaufen und nur das amerikanische Volk könne sich dagegen erheben. Anschließend zeigt Shaheen Parallelen zur antisemitischen Nazi-Propaganda auf. In Jud Süß wird "der Jude" als raffgierig dargestellt. Vergleichbare Bilder lieferte der Stürmer. Der Jude ist als hässlicher, raffgieriger Finsterling dargestellt, der deutsche Kinder bedroht und untermauert ist dies durch Propagandaplakate des Nazi-Regimes, auf denen ein Geld an sich raffender Jude abgebildet ist. Shaheen stellt ein Bild aus dem Film Aladdin dagegen, welches fast aus dem Stürmer kopiert worden sein könnte: Der Araber als dunkler, hakennasiger Finsterling, der gierig Schätze an sich rafft.
Er vergleicht diese Darstellung ebenfalls mit dem Jud Süß-Plakat und dem Araber in Gladiator.

Terror inc.: Dämonisierung von Arabern und Muslimen
Seit der Gründung Israels haben die USA immer deutlich gemacht, auf wessen Seite sie stünden, so Shaheen. Die Interessen der Palästinenser im Nahen Osten seien für die Amerikaner immer irrelevant gewesen. Shaheen behauptet, dass es keine einzige positive Darstellung eines Palästinensers in Hollywoodfilmen gäbe. Angehörige dieses Volkes seien ausschließlich Bestien in Menschengestalt. Dies wird durch Ausschnitte von Death before Dishonor untermalt, wo auch Palästinenserinnen Monster sind, die unschuldige Amerikaner foltern. Den Beginn dieser Darstellung macht Shaheen im Jahre 1960 an den Film Exodus fest, wo die Palästinenser, mit den Nazis in Verbindung gebracht werden. Ebenfalls kritisiert wird der Film Der Schatten des Giganten. Kirk Douglas' Worte sind laut Shaheen die "kritiklos Übernahme der Propaganda Israels". Palästinenser indes werden ausschließlich als Bestien dargestellt, die jederzeit grundlos morden würden. In einer "absurden" Szene erschießen sie auch einen wehrlosen Israeli, der eine weiße Taube in der Hand hält. Weiterhin sieht man verstümmelte Frauenleichen. Man hört die Palästinenser weiterhin niemals reden, in einer Szenen schreien sie, aber nur, um Israelis zu terrorisieren. Zehn Jahre später im Film Schwarzer Sonntag (1977) tauchen wieder Palästinenser auf, diesmal um 80.000 Amerikaner zu ermorden, in Helden USA (OT: Death before Dishonor), wieder ein Jahrzehnt später werden erneut Palästinenser als Monster gezeigt.

Vor allem den israelischen Produzenten Yoram Globus und Menahem Golan wirft Shaheen vor, besonders viele Propagandafilme gedreht zu haben: Innerhalb von 20 Jahren hätten diese mindestens 30 antiarabische Filme gedreht. Darunter The Human Shield, Firewalker, Bolero, The Hitman. Ein besonders "absurdes Beispiel" dieser Filme sei der Film "Hell Squad" wo dickbusige Las-Vegas-Showgirls in Miniröcken bewaffnet gegen Araber kämpfen. Einer der "schlimmsten Filme" sei laut Shaheen der Film "Delta Force" und der am stärksten antipalästinensische Film sei True Lies. Was niemals gezeigt werde, seien leidende Palästinenser oder palästinensische Flüchtlinge. Es scheine ein ungeschriebenes Gesetz in Hollywood zu sein, niemals einen leidenden Palästinenser zeigen zu dürfen. Ebenfalls gäbe es keinen Film, wo Palästinenser wenigstens als normale Menschen dargestellt werden.

Der einzig gute Araber…
Shaheen zeigt ebenfalls auf, dass Filme, die er für antiarabisch hält, wie etwa Der stählerne Adler oder Navy Seals – Die härteste Elitetruppe der Welt in Zusammenarbeit mit dem amerikanischen Verteidigungsministerium entstanden sind. Den Film, den Shaheen als antiarabischsten überhaupt hält, ist Rules – Sekunden der Entscheidung, ein Film, der vom ehemaligen US-Marineoffizier Jim Webb mitgeschrieben worden war. Hier werde der Massenmord an Arabern gleich welchen Alters oder Geschlechts gerechtfertigt. Der Film beginnt mit einer Demonstration von Jemeniten vor der US-Botschaft. Dort werden plötzlich die US-Marines unter Feuer genommen und schießen zurück. Zunächst hat der Zuschauer Mitleid mit den Arabern, auch ein kleines etwa siebenjähriges Mädchen hat ein Bein verloren. Dann jedoch beginnt Tommy Lee Jones seine Ermittlungen und findet heraus, dass alle Araber lügen. Später stellt sich sogar heraus, dass sogar das kleine Mädchen auf die Amerikaner geschossen hat. So wird das Mitleid ausgelöscht und der Zuschauer sagt sich: "Nicht einmal die Kinder verdienen Mitleid". Der Offizier sieht die massakrierten Jemeniten und gibt lakonisch "mission completed" durch. Shaheen stellt sich die Frage, wozu solche Filme dienen sollen und stellt für sich fest: "Dem Friede diene diese Darstellung jedenfalls nicht".

Islamophobie
Die Islamophobie wird von Shaheen bereits als Teil der amerikanischen Alltagskultur angesehen. Die Dämonisierung hat auch den Effekt, dass es einfacher für die Politik ist, Araber im wirklichen Leben zu töten, wie es im Irakkrieg geschehen ist. Der Anschlag vom 11. September 2001 kann einfacher in das Weltbild eingeordnet werden. Man kann behaupten, die Aktionen der Terroristen würden die Wünsche von 1,3 Milliarden reflektieren. Allerdings würde niemand behaupten, die Aktionen des Ku-Klux-Klans würden das Christentum reflektieren. Timothy McVeigh war irischer Christ, niemand käme auf die Idee, seine Religion als Hintergrund des Anschlags zu sehen. Shaheen erinnert daran, wie nach dem Anschlag von Oklahoma ohne irgendwelche Beweise Politiker und Journalisten Muslime hinter der Tat vermuteten.

Dies sieht er als einen Effekt jahrzehntelanger Beeinflussung durch die Medien an. Einen besonderen Vorwurf macht Shaahen Fernsehserien wie etwa Sleeper Cell, die neben den in arabischen Ländern lebenden Arabern jetzt auch noch die arabischstämmigen Amerikaner unter Generalverdacht nehmen würden. Die neuen Serien dehnten den Kreis der Verdächtigen auch auf "westlich" aussehende Araber aus.

Shaheen zeigt auch Beispiele von christlichen Fernsehsendern, die mit Hasspropaganda arbeiten. In einer Sendung wird die Zahl der Muslime von 1,3 auf 2 Milliarden aufgebläht, um ein Gefühl der Bedrohung zu erzeugen. Jedes Terrornetzwerk auf der Welt werde diesem Video zufolge von Muslimen geführt. Etliche nichtmuslimische Terrorgruppen werden unterschlagen. Man sieht Mike Gallagher gegen Muslime hetzen, indem er die Auffassung vertrete, jeder sei ein Terrorist. Diese Propaganda führe dazu, dass der Tod von Arabern oder deren Demütigung keine Gefühle mehr beim Zuschauer auslösen würde, bzw. das Mitgefühl stark reduzieren würde. Um das deutlich zu machen, blendet Shaheen eine Rede des populären Radiomoderators Rush Limbaugh ein, der über die Folterungen von Abu Ghuraib sagte, sie seien doch nicht schlimmer als "Initiationsrituale an Universitäten". Shaheen sieht einen Zusammenhang zwischen der Beeinflussung der Medien und der angestiegenen Zahl sogenannter "Hate crimes", also Verbrechen, die aus Hass auf eine bestimmte Gruppe ausgeübt werde, gegenüber Muslimen oder muslimisch aussehender Personen in den USA.

Getting Real
Shaheen bemängelt, dass es wenig positive oder wenigstens normale Darstellungen von Arabern gibt. Man sieht kaum normale Teenager, Frauen und Familienväter, die ihre Familie mit Liebe behandeln. Arabische Christen kämen kaum vor. Shaheen zeigt einige wenige arabische Stand-up-Comedians, die sich über ihr Schicksal als Terrorverdächtige lustig machen. Der Komödiant Ahmed Ahmed schildert, wie er sich für eine Rolle als Araber bewarb: Er karikierte die antiarabischen Klischees bei seiner Performance und erntete Begeisterung und eine Zusage. Ihm wurde mitgeteilt, er solle sich allerdings noch ein bißchen "arabischer" benehmen, was ein Synonym für "haßverzerrt" und "fanatisch" war.

Der Spielfilm Ein perfekter Mord zeige als Ausnahme einen normalen arabischstämmigen Araber, Three Kings zeige böse und gute Araber zugleich und sei damit wenigstens ausgeglichen. Eine Ausnahme sei auch Königreich der Himmel. Ebenfalls Syriana, der Terroristen einerseits und positive Araber andererseits zeige, sei ein Lichtblick in der Darstellung der Araber. Positiv sei auch Hideous Kinky. Shaheen zieht abschließend dennoch ein positives Fazit. Die rassistischen Vorurteile gegenüber Juden und Schwarzen seien auch abgebaut worden. Er verlange keine Besserbehandlung, sondern eine Gleichbehandlung von Arabern in Filmen.

Weiteres
Ähnliche Dokumentarfilme sind Reel Injun und Imagining Indians, die sich mit der Verunglimpfung von Indianern beschäftigen.

Einzelnachweise

Weblinks

 Transkript des Films auf der Webpräsenz der Media Education Foundation

Filmtitel 2006
Dokumentarfilm
US-amerikanischer Film
Filmwirtschaft im Film

Reel Bad Arabs (Film)


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Sin City (çizgi roman) - Sin City, Frank Miller tarafından yaratılmış; film noir havasında ve çizgi-roman şeklinde anlatılmış bir hikâyeler dizisidir. On üç bölümden oluşur.

 Sin City (film)

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Sin City


Teatrul Momulo, zis și Teatrul Mic, a funcționat în București, pe Podul Mogoșoaiei (azi Calea Victoriei), la casele Slătineanului, unde frații Capșa și-au făcut, ceva mai târziu, cofetărie, apoi cafenea și hotel.

Spirit întreprinzător, Momulo (Geronimo Momolo) a închiriat Sala Slătineanu, cu acordul domnitorului Gheorghe Bibescu, unul dintre cei mai seduși, dintre reprezentanții aristocrației românești, de ideea de a avea un teatru în București. Numai că Sala Momolo nu era destinată decât înaltei societăți bucureștene, locație unde reprezentațiile erau de cele mai multe ori ocazionale, asociate cu seratele și balurile Curții.

Acest Momulo, pe numele lui Girolamo Cardini, era un italian, supus austriac, care s-a stabilit la București și, norocos în speculațiuni, avea în proprietate la 1830 terenul cuprins pe locul unde s-au aflat ulterior cofetăria și hotelul Capșa, porțiunea dintre strada Edgar Quinet și colțul străzii Academiei, din dosul Universității. Aici a construit primul local de teatru din București, Teatrul Vechi care a funcționat douăzeci de ani, până la înălțarea Teatrului Național. Pe Calea Mogoșoaiei ținea cofetărie și restaurant, iar deasupra restaurantului se găsea o sală mare destinată balurilor mascate ale nobilimii.
Momulo a murit în 1859, fără descendenți, și a lăsat toată moștenirea soției sale, Ecaterina Momolo Cardini fostă Timotei Gheorghevici care era după mamă nepoată a negustorului brașovean Mihai Alexovici, strămoșul matern al lui Ion Luca Caragiale. Mai târziu, după ce a murit și văduva sa, banii și bunurile au ajuns în posesia lui Caragiale.

După alte surse, Momulo era fostul bucătar al lui Grigore Ghica. El a deschis un birt în casele pe care le-a cumpărat de la boierii Slătineanu. La scurt timp după deschiderea birtului, acesta a devenit renumit prin bucatele alese pe care le oferea clientelei. Cum birtul era destinat celor cu dare de mână, nu oricine putea să deguste felul numit curcan țințirom devenit celebru în epocă. Acest fel a fost denumit de Momulo după o mâncare originară din Italia care purta numele de curcanul gentilom. După mărturiile din acele vremuri se pare că nu degeaba a făcut epocă țințiromul. Există mențiuni documentare care precizează că la sala lui Momulo a venit și a ținut reprezentații și celebra trupă nemțească (companie) a lui Muller care a luat locul spectacolelor ținute de o altă trupă renumită a lui Kraining.

La 11 decembrie 1835, la teatrul "Momulo" a fost prezentat primul vodevil românesc, Triumful Amorului, de Eric Winterhalder. Adaptarea muzicală a spectacolului a aparținut compozitorului Ioan Andrei Wachmann.

La 9 decembrie 1846 - În sala Teatrului Momulo din București a avut loc primul concert susținut de pianistul ungar Franz Liszt în cadrul turneului său pe meleaguri românești.

După ce a adresat un memoriu comisarului plenipotent, semnat de 12 actori, în 1854, Matei Millo a primit autorizație să-și deschidă al doilea teatru în sala lui Momulo.

Prin anii 1840, în sala lui Girolamo Cardini, zis Momulo, se țineau cele mai "bune" baluri. "Abonații" sunt mulți și entuziaști, astfel că Momulo pune în "lucrare" baluri ori de câte ori i se cere. Și apoi "plătește" un oarecare să dea la gazetă pentru a stârni dorințe și invidii. În 1843, în "Vestitorul Românesc" a apărut o astfel de relatare:
Balurile masche ce s-au dat de domul Momulo la 28 ghenarie, la întîiu și 4 februarie curgător au fost foarte desfătătoare. O adunare numeroasă și aleasă, niște toalete elegante și cu atît mai plăcute cu cît era mai simple. O mulțime de măști foarte frumoase, arcușul cel plin de măiestrie al domnului Vist, directorul orhestrii, în sfîrșit mulțumirea și bucuria ce se vedea zugrăvită pe chipul tuturor, înfățișa o priveliște încîntătoare.

Note

Teatre din București

Teatrul „Momulo”


Kvindernes 800 meter løb ved sommer-OL 2016fandt sted i perioden 17. august til 20. august på det olympiske stadium.

Referencer

800 meter løb (damer)

Atletik under sommer-OL 2016 - 800 meter løb (damer)