#paul hoeniger
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Paul Hoeniger (German, 1865 - 1924) • Moulin de la Galette • 1894
#art#fine art#painting#paintings of interiors#cabaret interior#paul hoeniger#paris salon exhibitor#genre scene#german painter#late 19th century european art#paris#art appreciation#art blogger#moulin de la galette#pagan sphinx art blog#artwork#painter#artist
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Paul Hoeniger ~ (German: 1865-1924) ~ "The Make-Up, 1893"
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Paul Hoeniger
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The Keep (Michael Mann, 1983)
Cast: Scott Glenn, Alberta Watson, Jürgen Prochnow, Robert Prosky, Gabriel Byrne, Ian McKellen, William Morgan Sheppard, Royston Tickner, Michael Carter. Screenplay: Michael Mann, based on a novel by F. Paul Wilson. Cinematography: Alex Thomson. Production design: John Box. Film editing: Dov Hoenig. Music: Tangerine Dream.
Could the 210-minute cut of The Keep that Michael Mann originally submitted to Paramount really have been a better film -- or even a good one? Because the 96-minute version now available on the Criterion Channel is a hopeless mess, incoherent and only mildly provocative in what ideas it seems to contain about good and evil. The story of its muddled production, the result of studio interference and the death of a key member of the crew, visual effects supervisor Wally Veever, has been widely told. Even its fine cast, which includes Scott Glenn, Jürgen Prochnow, Gabriel Byrne, and Ian McKellen, can't save it. Glenn, who is one of those actors who make almost any film they're in better, is oddly cast as some kind of superhero named Glaeken Trismegistus, who instead of setting to work immediately dealing with the monster called Radu Molasar (Michael Carter), spends time bedding Eva Cuza (Alberta Watson), the daughter of the professor (McKellen) brought in to solve the mystery of the keep, the fortress constructed to contain Molasar. Moreover, the professor and his daughter are Jewish, but the SS commandant (Byrne) who has taken charge of the keep doesn't mind pulling them out of the crowd waiting to be sent to a concentration camp: He's losing too many Nazi soldiers to the monster. Yes, there's the makings of a good horror thriller in the film, and there are those who claim to find it in what exists, by filling in its many blanks. But I can only dismiss this as a rare failure by the director who gave us such exceptional films as The Last of the Mohicans (1992), Heat (1995), The Insider (1999), Collateral (2004), and the first movie (and one of the best) to feature Hannibal Lecter, Manhunter (1986). Talk about bouncing back!
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PILC/MOUTIN/HOENIG at SMALL’S JAZZ CLUB, 16-17 FEBRUARY 2024
Of course I was going to see all of this special band’s recent run at Small’s. I’m a little surprised that it’s taken me an 8 day week to see all four sets as I am not watching/listening/writing quite so compulsively. But throw in that I watched and wrote about the very first set along with the Marc Copland/Drew Gress/Billy Drummond set that happened at Mezzrow’s at the same time, then I guess I haven’t completely slacked off. Still, with this on my radar, I didn’t closely follow the regular goings on at these clubs for two weeks.
This is a magical and stunning band that intrigues me no end, a sleek sports car that can roar and whisper, floor it and turn on a dime. They de-, un-, re- construct trio dynamics in ways that make The Bad Plus or even (I may blaspheme here) Bill Evans/Scott LaFaro/Paul Motian experimentations with decentralization seem quite tame indeed. They actually hew very closely to standards, so, particularly this time around, I never felt lost which made what they were doing even more astounding. Keith Jarrett/Gary Peacock/Jack DeJohnette also are very very strong and do standards, but they too are tame. Maybe (but I’ll check) they play against expectations as Tony Williams exhorted Miles’ Second Great Quintet to do going into the Plugged Nickel gigs at the end of 1965. The term “anti-music” required lots of counter-intuitive explaining then and doesn’t fit P/M/H either. But it’s bracing and fresh.
I don’t know about how their internal expectations work, but they must have an intuitive sense about where each other is. There is constant mischief and trading instigators. My sense of Friday 7:30 it was FRANCOIS MOUTIN leading from the bass whereas JEAN-MICHEL PILC was Harpo throwing music in the air in the second set. The Saturday opener gave me the insight that the key to ARI HOENIG’s drumming—and I’ve listened to him here and with his own trio and with Billy Childs often and with great delight—is that he is always playing the song, its melody and harmony as well as the rhythm. Elbows into drum heads, tom toms with mallets and sticks and brushes, strategic strikes on cymbals and rims, the bass drum, handwork—all contribute to multidimensional sound as varied as any other instrument. I used to think Hoenig heard rhythms inside of rhythms—and he does—not simply as a drummer but as a horn or bass or piano. Indeed, the closing sets insight was that, although Pilc and Moutin started off tunes and then “led” them, Moutin and Hoenig always were having a conversation inside the discussion.
If Hoenig (with Pilc and Moutin) is always playing the song, what tunes they play. Monk teases and flat out tunes, Ellington (Caravan and a Don’t Mean a Thing tease for the Saturday second set closer), All Blues twice and Someday My Prince Will Come and My Funny Valentine to signal Miles, probably it was Afro Blue to check off the Coltrane box, The Song Is You (the title cut on their new album) immediately followed by On Green Dolphin Street (more Miles) in the Saturday 7:30 set as well as Dear Old Stockholm twice to make me extremely happy with particularly favorite tunes, The Way You Look Tonight, You and the Night and the Music, Someone To Watch Over Me. Chestnuts all but turned inside out and all the way around, but the touch points close enough to keep me oriented.
There will be Ari Hoenig’s trio to catch from time to time until they come back. Very special stuff.
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University of Colorado - Boulder, US / Basic Photography :: Jan-May.87
University of Colorado – Boulder, US / Basic Photography :: Jan-May.87
Steve Argo, Colin Baumann, Sandia Dubas, John Hall, Henry Hoenig, Eva Jenner, Guy Knauer, Stacy Lyon, Peter McCabe, Paul McQuade, Chris Nagamine, Stef Nicovich, Jim Folkestad, Sara Maschoff, Meghan Murphy, Deb Rosenberg, Tony Sterling, Julian Friedlander, Ellen Glimcher, Elaine Musselman, Tracey Silberman, Amy Williams, Curtis Clark
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Paul Hoeniger The Make up 1893
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Paul Hoeniger, Spittelmarkt, 1912
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One of the infamous dance events at the Moulin de la Galette
Poster for one of the famous balls at the Moulin de la Galette
Entrance to the Moulin de la Galette
Henri de Toulouse-Lautrec Moulin de la Galette, 1889
Paul Hoeniger. Moulin de la Galette. 1894
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My own/homemade ST characters's playlists. #2
Mike Wheeler's playlist
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(Note: These are subjective and personal, it is the way I see and feel about the characters and are my own interpretations of them. It is how I want to represent them.
It contains any type of music from any period of time and media. This playlist will/could be modified (with new added songs) in the future. So enjoy!)
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Is This Love by Survivor (1986)
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Days of Thunder by The Midnight (2014)
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The Golden Boy by Espen Kraft (2017)
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Lights Are On by Tom Rosenthal (2018)
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To Wish Impossible Things by The Cure (1992)
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Superstar by Carpenters (1971)
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More Than Words Can Say by Alias (1990)
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Main Title of "Baldur's Gate II: Shadows Of Amn" by Michael Hoenig (2000)
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ARAWA by Electric Youth (2019)
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Stranger Love by Ollie Wride and Sunglasses Kid (2020)
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Through The Night by Grum (2009)
Why Did I Say Goodbye by Sally Shapiro and Tommy'86 (2014)
Midnight City by M83 (2011)
Fine Line by Harry Styles (2019)
Forbidden Love by Madonna (2005)
Listen To Your Heart by Roxette (1988)
Holding Back The Years by Simply Red (1985)
Every Time You Go Away by Paul Young (1985)
Everywhere by Fleetwood Mac (1987)
7 by Prince and The New Power Generation (1992)
#byler#byeler#mike wheeler is gay#mike wheeler#mike stranger things#stranger things mike#mike x will#will x mike#stranger things#Youtube
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Christmas Fairytale Vote 2019 | Round 1 - Part 1
The Vote is over. Princess Maleen and About the Youth Who Went Forth to Learn What Fear Was move on to Round 2.
How it works
As mentioned on my youtube channel, I want to translate a fairytale adaptations for Christmas but I cannot decide on which one because there are so many. Usually I would do one poll but youtube only allows for five options, so this will be done in rounds. In the first round, the two movies with the most votes per part will move to the next round where they will be set against the other parts winners. In round 2, a winner and a second place of different parts of round 1 compete against one another. The winner of each poll moves on to the final round where the Christmas Fairytale Movie I will translate 2019 will be decided on. Overall you will be able to choose your winner out of 15 movies.
The Contestants
Prinzessin Maleen [Princess Maleen]
According to her father's will, Princess Maleen is supposed to marry Baron Raimund. For seven years, she is imprisoned in a tower but she cannot forget her true love, Landgrave Konrad. Finally freed, Maleen finds a devasted land, and her father is dead. During her travels, Maleen also come to Konrad's estate. There the wedding to the extraordinary ugly Walpurga is being prepared.
With Cleo von Adelsheim, Peter Foyse, Paula Paul, Lucas Reiber, Mariella Ahrens, Konrad Hochgruber and more
Jorinde und Joringel [Jorinde and Joringel]
Jorinde and Joringel dream of a future together. But since Joringel only works as servant on Jorinde's father's court, he thinks him to be a wastrel and varmint. He wants something better for his daughter. When he forbids them to marry, the lovers flee. The only safe way for the searching parents leads through the enchanted forest. It has been avoided by the people for many years.
With Llewellyn Reichmann, Jonas Nay, Mika Seidel, Katja Flint, Uwe Kockisch, Naomi Krauss, Veit Stübner and more.
Das singende, klingende Bäumchen [The Singing Ringing Tree]
The beautiful princess must grow up without her mother. Her father loves her but his loves consists of keeping her away from the real life and all challenges. Often alone with her self, the princess grows up to be an arrogant and cold-hearted young woman. When her father wants to marry her off, she declines. She wants to own the singing ringing tree. But she does not know that it only rings with true love.
With Jytte-Merle Böhrnsen, Lucas Prisor, Christel Bodenstein, Steffi Kühnert, Heinz Hoenig, Oli Bigalke, Gro Swantje Kohlhof and more.
Vom Fischer und seiner Frau [The Fisherman and His Wife]
A fisherman lives with his wife Ilsebill in an old tub by the sea. One day, the fisherman catches a halibut who is an enchanted prince and lets him free again. Ilsebill asks her husband if he did not wish for anything in exchange for the fish's freedom. Again and again she demands of her husband to aks the halibut for bigger and bigger things.
With Katharina Schüttler, Fabian Busch, Jan Fedder, Peter Heinrich Brix, Leander Lichti, Rudolf Kowalski, Patrick Heyn, Catrin Striebeck und Alexander Simon.
Von einem, der auszog das Fürchten zu lernen [About the Youth Who Went Forth to Learn What Fear Was]
Potter's son Michel just cannot fear, not even a little bit. He sets out into the world, to learn to fear. Princess Elisabeth lives with her father, The King, in a makeshift tent city. The King's castle is occupies by ghosts. That is why The King promised his daughter to the person who can end the haunting of the castle. But so far all contestants failed.
With Tim Oliver Schultz, Isolda Dychauk, Milan Peschel, Heiner Lauterbach, Michael Kessler, Rick Kavanian, Anna Thalbach and more.
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HANGING OUT AT MEZZROW’S
MIKE LEDONNE with John Webber and Willie Jones III, 3 FEBRUARY 2024, 7:30 pm
STEVE ASH with Harvie S and Alvester Garnett, 3 FEBRUARY 2024, 10:30 pm
RAY GALLON with Paul Gill and Jason Brown, 1 FEBRUARY 2024, 10:30 pm
It is rarely a bad week for pianos in general and at Mezzrow’s, I have been pleasantly “stuck” with them after a sojourn of drummerless trios with brass. Back to basics and yet there are connections to those standards heavy shows. Most especially, the best parts of Richie Vitale’s gig were STEVE ASH’s forceful piano and Paul Gill’s bowed bass solos. So I got to see both of them more on their own terms, including Gill with regular partner RAY GALLON.
I had also ventured into Alvaro Torres’ freer/New Music set with John Hebert and Barry Altschul comfortable enough to have my ears stretched that way. He is a sparer pianist, so the counter was a strong set from Miki Yamanaka and then, in person, Billy Childs with Ari Hoenig. Yamanaka, Childs, MIKE LEDONNE, and Ash all play with rich power and insistent swing. Far from tame, they each have nifty surprises within structures that give a sense of familiarity.
I have often found MIKE LEDONNE a bit heavy handed particularly in trios (his role in large ensembles plays to that strength), but he was well suited to my mood. The tunes were bright and interesting—from Billy Eckstine, Cedar Walton, Coltrane maybe (it was a not too reverential After the Rain), and a couple of originals. He was like all of them, a nice mix of fluidity, percussiveness, and lyricism. Willie Jones III was, as always, delightful and important; John Webber was strong and fluid. They were a big, bright band.
STEVE ASH was also very strong and dynamic, maybe a tiny bit subtler. He did have Harvie S on bass and, with Alverster Garnett, they had a new recording to highlight. I liked their material—You and the Night and the Music, I’m Just a Lucky So and So, Bud Powell’s Una Nocha Con Francis (bebop and Latin!), a Jobim, Effendi (strong and modal but evoking McCoy Tyner, not imitating him), an original (I think) ballad, and Speak Low. Harvie S’s strums high on the finger board on Effendi stood out, but it was interesting to see him with a “bigger” trio than with Alan Broadbent and Billy Mintz.
I hope it is not faint praise to call RAY GALLON a welterweight among these cruiser- even heavy- weights. Calling Hank Mobley the middleweight champion of the tenor in the 1950s was meant as an insult, though it shouldn’t be. I simply mean his touch is lighter and he goes a bit back into the source material. He did not open, as he did the last few times I saw him, with Ellington’s Harlem Air Shaft, but did include Moon Song from a 1959 Louis Armstrong date with Oscar Peterson. Pops is Pops and timeless, but he doesn’t get as directly referenced much these days. Still the original opener Plus One sounded Ellington-ish, particularly given my expectations. His previous second tune Two Track Mind was the closer, but a slightly deconstructed Nardis was third almost as expected. His Zombette did have a French feel, a bit of those Debussy Preludes discordances. His touch is just slightly lighter and the rhythmic drive subtler. Perhaps Gill’s arco solos are part of that, but Jason Brown’s drumming with just one ride cymbal was as crisp and inventive as Garnett and Jones III.
Throw in Yamanaka and Childs and this is a strong run for me with my preferred format.
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HDO 353. Y hoy… un estándar: The Way You Look Tonight (003) [Podcast]
Y hoy… un estándar. Es el turno de “The Way You Look Tonight” con música de Jerome Kern y letra de Dorothy Fields, compuesto en 1936 para la película Swing TIme (en España En alas de la danza). Las interpretaciones están a cargo de Teddy Wilson & His Orchestra con Billie Holiday, Sonny Rollins, Ari Hoenig, Art Pepper, David Pastor Nu-Roots con la voz de Deborah J. Carter, Billy Bauer, Gwilym…
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#Ari Hoenig#Art Pepper#Billie Holiday#Billy Bauer#David Pastor#David Pastor Nu-Roots - Deborah J. Carter#Deborah J. Carter#Gwilym Simcock#Keith Jarrett Standards Trio#Lionel Hampton#Lionel Hampton - His All Stars#Pachi Tapiz#Paul Gonsalves#Sonny Rollins#Tal Farlow#teddy wilson#Teddy Wilson - His Orchestra - Billie Holiday
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