«Є небезпека перевищення лімітів в регіонах та застосування обмежень»
«Є небезпека перевищення лімітів в регіонах та застосування обмежень»
«Є небезпека перевищення лімітів в регіонах та застосування обмежень»
Правоохоронці викрили «агента головного управління генерального штабу ЗС РФ (більше відомого як ГРУ)» у прифронтових районах Донеччини
Cindy Williams, who played Shirley opposite Penny Marshall’s Laverne on the popular sitcom “Laverne & Shirley,” has died, her family said Monday.
Williams died Wednesday in Los Angeles at age 75 after a brief illness, her children, Zak and Emily Hudson, said in a statement released through family spokeswoman Liza Cranis.
“The passing of our kind, hilarious mother, Cindy Williams, has brought us insurmountable sadness that could never truly be expressed,” the statement said.
“Knowing and loving her has been our joy and privilege. She was one of a kind, beautiful, generous and possessed a brilliant sense of humor and a glittering spirit that everyone loved.”
Williams also starred in director George Lucas’ 1973 film “American Graffiti” and director Francis Ford Coppola’s “The Conversation” from 1974.
But she was by far best known for “Laverne & Shirley,” the “Happy Days” spinoff that ran on ABC from 1976 to 1983 that in its prime was among the most popular shows on TV.
Williams played the straitlaced Shirley to Marshall’s more libertine Laverne on the show about a pair of roommates who worked at a Milwaukee bottling factory in the 1950s and ’60s.
Marshall, whose brother, Garry Marshall, co-created the series, died in 2018.
“Laverne & Shirley” was known almost as much for its opening theme as the show itself. Williams’ and Marshall’s chant of “schlemiel, schlimazel” as they skipped together became a cultural phenomenon and oft-invoked piece of nostalgia.
«Ситуація залишається стабільною та навіть ще вирівнялася», кажуть у Yasno
Ukraine official said Russian presence at Games would constitute giving the country ‘a platform to promote genocide’
Нещодавно уряд Данії виділив понад 40 млн дол для закупівлі зброї та обладнання для України
Нещодавно стався спалах COVID-19 у Китаї, незабаром після скасування країною більшості карантинних заходів
За попередніми даними, вони причетні до використання установки УР-77 «Метеорит» у міських кварталах Маріуполя
27 січня на академічній конференції «Могилянки» були затверджені нові правила внутрішнього розпорядку, якими заборонено вживати у закладі російську мову
«Триває відновлення об’єктів енергетичної інфраструктури, пошкоджених під час масованої атаки 26 січня»
«Через погоду застосувати дрони їм не вдасться, але розслаблятися не слід»
«Будинок частково зруйнований, жителів евакуювали»
Barrett Strong, one of Motown’s founding artists and most gifted songwriters who sang lead on the company’s breakthrough single “Money (That’s What I Want)” and later collaborated with Norman Whitfield on such classics as “I Heard It Through the Grapevine,” “War” and “Papa Was a Rollin’ Stone,” has died. He was 81.
His death was announced Sunday on social media by the Motown Museum, which did not immediately provide further details.
“Barrett was not only a great singer and piano player, but he, along with his writing partner Norman Whitfield, created an incredible body of work,” Motown founder Berry Gordy said in a statement.
Strong had yet to turn 20 when he agreed to let his friend Gordy, in the early days of building a recording empire in Detroit, manage him and release his music. Within a year, he was a part of history as the piano player and vocalist for “Money,” a million-seller released early in 1960 and Motown’s first major hit. Strong never again approached the success of “Money” on his own, and decades later fought for acknowledgement that he helped write it. But, with Whitfield, he formed a productive and eclectic songwriting team.
While Gordy’s “Sound of Young America” was criticized for being too slick and repetitive, the Whitfield-Strong team turned out hard-hitting and topical works, along with such timeless ballads as “I Wish It Would Rain” and “Just My Imagination (Running Away with Me).” With “I Heard it Through the Grapevine,” they provided an up-tempo, call-and-response hit for Gladys Knight and the Pips and a dark, hypnotic ballad for Marvin Gaye, his 1968 version one of Motown’s all-time sellers.
As Motown became more politically conscious late in the decade, Barrett-Whitfield turned out “Cloud Nine” and “Psychedelic Shack” for the Temptations and for Edwin Starr the protest anthem “War” and its widely quoted refrain, “War! What is it good for? Absolutely … nothing!”
“With `War,’ I had a cousin who was a paratrooper that got hurt pretty bad in Vietnam,” Strong told LA Weekly in 1999. “I also knew a guy who used to sing with (Motown songwriter) Lamont Dozier that got hit by shrapnel and was crippled for life. You talk about these things with your families when you’re sitting at home, and it inspires you to say something about it.”
Whitfield-Strong’s other hits, mostly for the Temptations, included “I Can’t Get Next to You,” “That’s the Way Love Is” and the Grammy-winning chart-topper “Papa Was a Rollin’ Stone” (Sometimes spelled “Papa Was a Rolling Stone”). Artists covering their songs ranged from the Rolling Stones (“Just My Imagination”) and Aretha Franklin (“I Wish It Would Rain”) to Bruce Springsteen (“War”) and Al Green (“I Can’t Get Next to You”).
Strong spent part of the 1960s recording for other labels, left Motown again in the early 1970s and made a handful of solo albums, including “Stronghold” and “Love is You.” In 2004, he was voted into the Songwriters Hall of Fame, which cited him as “a pivotal figure in Motown’s formative years.”
Whitfield died in 2008.
The music of Strong and other Motown writers was later featured in the Broadway hit “Ain’t Too Proud: The Life and Times of the Temptations.”
Strong was born in West Point, Mississippi and moved to Detroit a few years later. He was a self-taught musician who learned piano without needing lessons and, with his sisters, formed a local gospel group, the Strong Singers. In his teens, he got to know such artists as Franklin, Smokey Robinson and Gordy, who was impressed with his writing and piano playing. “Money”’ with its opening shout, “The best things in life are free/But you can give them to the birds and bees,” would, ironically, lead to a fight — over money.
Strong was initially listed among the writers and he often spoke of coming up with the pounding piano riff while jamming on Ray Charles’ “What’d I Say” in the studio. But only decades later would he learn that Motown had since removed his name from the credits, costing him royalties for a popular standard covered by the Beatles, the Rolling Stones and many others and a keepsake on John Lennon’s home jukebox. Strong’s legal argument was weakened because he had taken so long to ask for his name to be reinstated. (Gordy is one of the song’s credited writers, and his lawyers contended Strong’s name only appeared because of a clerical error).
“Songs outlive people,” Strong told The New York Times in 2013. “The real reason Motown worked was the publishing. The records were just a vehicle to get the songs out there to the public. The real money is in the publishing, and if you have publishing, then hang on to it. That’s what it’s all about. If you give it away, you’re giving away your life, your legacy. Once you’re gone, those songs will still be playing.”
“Avatar: The Way of Water” claimed the No. 1 spot on the domestic box office charts for the seventh weekend in a row with an additional $15.7 million, according to studio estimates on Sunday.
It was a quiet weekend overall, notable mostly for the Hindi language blockbuster “Pathaan” that broke into the top five and the post-Oscar nominations rereleases of films like “Everything Everywhere All At Once” and “The Fabelmans.”
“Avatar 2’s” first-place North American run has only been matched by the first “Avatar,” and, in the past 25 years, bested by “Titanic” (which stayed in first place for 15 weeks). All three were directed by James Cameron.
Globally, “The Way of Water” has now grossed an estimated $2.1 billion, passing “Star Wars: The Force Awakens,” to become the fourth-highest grossing film of all time (of which Cameron has directed three).
“James Cameron just keeps ticking off all the records and milestones,” said Paul Dergarabedian, the senior media analyst for Comscore. “And it’s still got a wide-open marketplace.”
Second place went to Universal and DreamWorks’ family-oriented offering “Puss In Boots: The Last Wish,” which made $10.6 million in its sixth weekend. The animated spinoff has earned over $140.8 million in North America and was recently made available to stream at home, too.
Third place went to Sony’s “A Man Called Otto” with $6.8 million from 3,957 locations. The meme-able horror “M3GAN,” a Universal release, snuck into fourth place with $6.4 million in its fourth weekend, bringing its domestic total to $82.3 million.
The Indian film “Pathaan,” starring Shah Rukh Kha in his first role in five years, settled in fifth place with $5.9 million from only 695 screens.
“A top five appearance is really impressive,” Dergarabedian said, noting that the marketplace over the past several years has presented opportunities for Indian films to break into the domestic top 10.
Neon also launched the horror movie “Infinity Pool,” written and directed by Brandon Cronenberg and starring Mia Goth and Alexander Skarsgård, in 1,853 locations following its Sundance debut. It made an estimated $2.7 million. The romantic comedy “Maybe I Do,” with Diane Keaton, Richard Gere and Susan Sarandan, made $562,000 from 465 screens. And Lukas Dhont’s Cannes-winning boyhood drama “Close” opened on four screens in New York and Los Angeles, earning $68,143.
Many studios boasting best picture nominees also chose to capitalize on the buzz of Tuesday’s Oscar nominations with sizable re-releases. “Everything Everywhere All At Once,” which got a leading 11 nominations, came back to theaters in force playing on 1,400 screens where it earned another $1 million. The A24 release has made $71 million domestically to date. Steven Spielberg’s “The Fabelmans,” nominated for seven Oscars, also expanded to 1,962 screens in North America and took in an additional $760,000, bringing its domestic total to $16 million. And Sarah Polley’s “Women Talking” also added a few hundred screens, earning $1 million over the weekend. It’s made $2.4 million to date. The Oscar boosts could continue over the coming weeks, too — the show isn’t until March 12.
“We are seeing in real time the halo effect of the Oscar nominations on these best picture nominees,” Dergarbedian said. “The Oscar bounce is back, something we haven’t seen over the past couple of years.”
Several of the highest profile releases of the weekend were both star-driven comedies that went straight to streaming: Netflix had “You People,” with Eddie Murphy, Julia Louis-Dreyfus, Jonah Hill and Lauren London and Amazon Prime Video offered “Shotgun Wedding,” with Jennifer Lopez, Josh Duhamel and Jennifer Coolidge.
Seven weekends into “Avatar 2,” theater owners are also likely looking for the next big blockbuster, which is still a ways off. “Ant-Man and The Wasp: Quantumania” doesn’t arrive in theaters until Feb. 17.
But, as Dergarabedian said, “2023 is already looking more like 2019 rather than the last three years.”
“This is great news for theaters,” he said. “You have the Oscar bounce in play, an Indian film in the top 5 and ‘Avatar’ breaking records left and right.”
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, with Wednesday through Sunday in parentheses. Final domestic figures will be released Monday.
“Avatar: The Way of Water,” $15.7 million.
“Puss in Boots: The Last Wish,” $10.6 million.
“A Man Called Otto,” $6.8 million,
“M3GAN,” $6.4 million.
“Pathaan,” $5.9 million.
“Missing,” $3.8 million.
“Plane,” $3.8 million.
“Infinity Pool,” $2.7 million.
“Left Behind: Rise of the Antichrist,” $2.4 million.
“The Wandering Earth 2,” $1.4 million.
«Сильні пошкодження. За інформацією, що потребує підтвердження, є постраждалі», повідомив мер міста
«Рашисти атакують мирні населені пункти забороненими запалювальними боєприпасами»
Про це повідомив голова Національної спільки письменників із посиланням на дочку Павличка
Російські війська «закривають міста на в’їзд та виїзд»
Screenwriter Gregory Allen Howard, who skillfully adapted stories of historical Black figures in “Remember the Titans” starring Denzel Washington, “Ali” with Will Smith and “Harriet” with Cynthia Erivo, has died. He was 70.
Howard died Friday at his home in Miami after a brief illness, according to a statement from publicist Jeff Sanderson.
Howard was the first Black screenwriter to write a drama that made $100 million at the box office when “Titans” crossed that milestone in 2000. It was about a real-life Black coach coming into a newly integrated Virginia school and helping lead their football team to victory. It had the iconic line: “I don’t care if you like each other or not. But you will respect each other.”
Howard said he shopped the story around Hollywood with no success. So he took a chance and wrote the screenplay himself. ″They didn’t expect it to make much money, but it became a monster, making $100 million,” he said. “It made my career,” he told the Times-Herald of Vallejo, California, in 2009. The film made the Associated Press’ list of the best 25 sports movies ever made.
Howard followed up “Remember the Titans” with “Ali,” the 2002 Michael Mann-directed biopic of Muhammad Ali. Smith famously bulked up to play Ali and was nominated for a best actor Oscar.
Howard also produced and co-wrote 2019′s “Harriet,” about abolitionist Harriet Tubman. Erivo lead a cast that included Leslie Odom Jr., Clarke Peters and Joe Alwyn.
“I got into this business to write about the complexity of the Black man. I wanted to write about Martin Luther King, Malcolm X, Muhammad Ali, Marcus Garvey. I think it takes a Black man to write about Black men,” he told the Times-Herald.
Born in Virginia, his family moved often due to his stepfather’s career in the Navy. After attending Princeton University, graduating with a degree in American history, Howard briefly worked at Merrill Lynch on Wall Street before moving to Los Angeles in his mid-20s to pursue a writing career.
He wrote for TV and penned the play “Tinseltown Trilogy,” which focused on three men in Los Angeles over Christmastime as their stories interconnect and inform each other.
Howard also wrote “The Harlem Renaissance,” a limited series for HBO, “Misty,” the story of prima ballerina Misty Copeland and “This Little Light,” the Fannie Lou Hamer story. Most recently, he wrote the civil rights project “Power to the People” for producer Ben Affleck and Paramount Pictures.
He is survived by a sister, Lynette Henley; a brother, Michael Henley; two nieces and a nephew.
За попередніми даними трагедія сталась через встановлення генератора в гаражному приміщенні, яке примикало до будинку і мало погану вентиляцію, зазначили в поліції
«Ворог гатить по житлових кварталах міста»