Popular Baby Names 1989 - Dole Baby Maker - Designer Baby Rooms
The Best of Luther Vandross
The classiest of R&B's lover men, Luther Vandross eschews the sweaty soul intensity of his predecessors for a silky-smooth sound that achieves its romantic aims nonetheless. In the hands of a lesser artist, Vandross's narrow focus on love songs would seem restrictive, but he somehow finds endlessly entertaining ways of conveying simple messages like "I love you," "I miss you," and "Why did you leave me?" The Best of Love is just that--a 20-song retrospective that clocks Vandross's brilliant career through its first decade, including such gems as his gorgeous reworking of the Bacharach-David chestnut "A House Is Not a Home," Smokey Robinson's "Since I Lost My Baby," and his own early hit "Never Too Much." Vandross was a staple on the R&B charts throughout the '80s, but the set culminates with "Here and Now," his 1989 crossover smash. Since then, Luther has belonged to everyone; this set shows it should have been that way all along. --Daniel Durchholz80% (16)
Italian postcard by Grafiche Biondetti (GB), Verona, no. 54. Italian singer Mina (1940) dominated the Italian charts for fifteen years and reached an unsurpassed level of popularity in Italy. The ‘Queen of Screamers’ was a staple of musicarellos (the popular Italian musical comedies of the early 1960’s) and Italian television variety shows. During five decades, she had more than 70 singles in the Italian charts. Mina was born as Anna Maria Mazzini into a working class family in Busto Arsizio, Lombardy in 1940. After finishing high school in Cremona, she attended college where she majored in accounting. She was caught up in the wave of rock and roll sweeping across Italy in 1958. Mina listened to American rock and roll and jazz records, and was a frequent visitor of the Derby, the Santa Tecla and the Taverna Messicana clubs of Milan, known for promoting rock and roll. She started a musical career with the backing of the band Happy Boys. Her repertoire included clumsy imitations of British and American rock and jazz songs, while her extra-loud and syncopated version of the song Nessuno showcased her excellent sense of rhythm. She soon signed with Davide Matalon, owner of the small record company Italdisc. She introduced her stage name Mina with her first single, Non partir/Malattia. Her performance at the Sei giorni della canzone festival of Milan was described by the La Notte newspaper as the ‘birth of a star’. In 1959, Mina's TV appearances were the first for a female rock and roll singer in Italy and they were a revelation. Her loud syncopated singing earned her the nickname ‘Queen of Screamers’. The public also labelled her the ‘Tiger of Cremona for shaking her head, hands, and hips wildly to the rhythm. Her first Italian #1 hit was the surf pop Tintarella di luna (Moon Tan) in September 1959. It was performed in her first musicarello (musical comedy film), Juke Box Urli d'amore/Juke Box Howls of Love (1959, Mauro Morassi) with Karin Baal. In the following year she was seen in the films I Teddy Boys della canzone/The Teddy Boys of Music (1960, Domenico Paolella), Urlatori alla sbarra/ (1960, Lucio Fulci) opposite Adriano Celentano, Madri pericolose/Dangerous mothers (1960, Domenico Paolella) with Ave Ninchi, and Mina... fuori la guardia/Mina... Watch Out! (1961, Armando W. Tamburella). In his review of I Teddy Boys della canzone, Tod Kimmell (The Willing Mind) writes at IMDb: “There has never been a film before or since like I Teddy Boys della canzone. Mainly, and blessedly, a vehicle for the incomparable Mina.(...) The big finale field party is almost impossible to watch, and certainly impossible to NOT watch. There are so many disparate sounds and beats fighting for attention, it’s like having delirium tremens... yet incredibly satisfying. I promise that if I ever, EVER, find a copy of this on 16mm, I will show it all over the country, outdoors, for free. Seeing it is a life altering experience that needs to be shared!”. Mina introduced a more refined sensual manner of singing in 1960 when she sang Gino Paoli's ballad Il cielo in una stanza (The Sky in a Room). The American version of the song, This World We Love In, charted on the Billboard Hot 100 in 1961. Performances of the song were included in the musicarellos Io bacio... tu baci/I Kiss... You Kiss (1961, Piero Vivarelli) opposite Umberto Orsini, and Appuntamento a Ischia/Rendezvous in Ischia (1962, Mario Mattoli) with Antonella Lualdi. After turning to light pop tunes, she also scored in other countries. The presentation of her German single Hei?er Sand (1962, Hot Sand) on Peter Kraus's TV show caused a boom of 40,000 record sales in ten days in Germany. The record went to #1 and spent over half a year on the German charts. Mina had six more singles on the German charts in the next two years. With her single Suna ni kieta namida (Tears Disappear in the Sand), she also had a #1 in Japan and earned the title of the best international artist there. Her films such as Canzoni nel mondo/Songs of the World (1963, Vittorio Sala) with Gilbert Becaud, and Per amore... per magia.../For Love... for Magic (1967, Ducio Tessari) with Gianni Morandi were also shown abroad. Her song L'eclisse twist was used on the soundtrack of Michelangelo Antonioni's classic film L'eclisse (1962) starring Monica Vitti and Alain Delon. In 1963, Mina was banned by the RAI, the Italian public broadcasting service, because she would not cover up her love affair (and pregnancy) with actor Corrado Pani. He was already married although separated from his wife. Their son, Massimiliano Pani, was born in 1963. In Italy divorce was illegal and single motherhood was considered shameful, so her behaviour certainly did not accord with the dominant Catholic and bourgeois morals. Despite the ban, Mina's record sales were unaffected and due to public demand, the ban was ended in 1964. Later, the RAI tried to continue to prohibit her songs, which were forthright in dealing with subjeBETTY BOOP [unfortunately this shop has ceased trading]
Betty Boop made her first appearance on August 9, 1930 in the cartoon Dizzy Dishes, the sixth installment in Fleischer's Talkartoon series. She was originally designed by Grim Natwick, a veteran animator of the silent era who would become lead director and animator for the Ub Iwerks and Walt Disney studios. The character was modeled after a combination of Helen Kane,the famous popular singer of the 1920s and contract player at Paramount Pictures, the studio that distributed Fleischer's cartoons and Clara Bow who was a popular actress in the 1920s who had not managed to survive the transition to sound because of her strong Brooklyn accent, yet became a trademark for Betty. By direction of Dave Fleischer, Natwick designed the original character in the mode of an anthropomorphic French poodle. The character's voice was first performed by Margie Hines, and was later provided by several different voice actresses including Kate Wright, Ann Rothschild (a.k.a. Little Ann Little), Bonnie Poe, and most notably, Mae Questel who began in 1931 and continued with the role until 1938. While the original design was rather ugly and awkward, she was developed further after Natwick's departure under Berny Wolf, Seymour Kneitel, Roland Crandall, and Willard Bowsky. Betty became finalized as completely human by 1932 in the cartoon Any Rags. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty appeared in ten cartoons as a supporting character, a flapper girl with more heart than brains. In individual cartoons she was called "Nancy Lee" and "Nan McGrew", usually served as a girlfriend to studio star Bimbo. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon Betty Co-ed, this "Betty" was, an entirely different character. Though the song may have led to Betty's eventual christening, any references to Betty Co-ed as a Betty Boop vehicle are incorrect. (The official Betty Boop website describes the titular character as a "prototype" of Betty.) In all, there were at least 12 Screen Songs cartoons that featured either Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon 'Poor Cinderella', her only theatrical color appearance (1934). Betty made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in her traditional black and white, saying work had "gotten slow since cartoons went to color," but she still had "what it takes." Betty Boop became the star of the Talkartoons by 1932, and was given her own series in that same year beginning with Stopping the Show. From this point on, she was crowned "The Queen of the Animated Screen." The series was hugely popular throughout the 1930s, lasting until 1939. But her best appearances are considered to be in the first three years due to her "Jazz Baby" character with innocent sexuality, which was aimed at adults. However the content of her films was affected by the National Legion of Decency and the Production Code of 1933. The Production Code guidelines imposed on the Motion Picture Industry placed specific restrictions on the content films with references to sexual innuendo. This greatly affected the content of the films of Mae West at Paramount, as well as the Betty Boop cartoons until the end of the series. Betty Boop was the subject of additional publicity in 1934 when Helen Kane launched a major lawsuit against Max Fleischer and Paramount Studios for the "deliberate caricature" that produced "unfair competition" that exploited her personality and image. While Miss Kane had risen to fame in the 1920s as "The Boop-Oop-A-Doop Girl" star of stage, recordings, and films for Paramount, her career was over by 1930. Interestingly, Paramount promoted the development of Betty Boop following Miss Kane's decline. As Miss Kane's claims seemed on the surface to be valid, it was proven that her appearance was not unique in that she and the Betty Boop character bore a resemblance to Clara Bow, another major star of Paramount. But the largest evidence against Miss Kane's case was her claims to the origins of her singing style. While an outgrowth of Jazz "scat singing," testimony revealed that Miss Kane had witnessed a black performer, "Baby Esther" using a similar characterization in an act at the famous Cotton Club nightclub in Harlem some years earlier. An early test sound film was discovered of Baby Esther performing in this style, disproving Miss Kane's claims. While "Betty Boop" continued in production for the next five years, her best films had already been released, since her personality was greatly neutralized from that point on. Due to a combination of policies affected by the Production Code and also changes in the content of Paramount's films also affected Betty's later appearances. Whi
There are unique periods in history when a single year witnesses the total transformation of international relations. The year 1989 was one such crucial watershed. This book uses previously unavailable sources to explore the momentous events following the fall of the Berlin Wall twenty years ago and the effects they have had on our world ever since.See also:
Based on documents, interviews, and television broadcasts from many different locations, including Moscow, Berlin, Bonn, Paris, London, and Washington, 1989 describes how Germany unified, NATO expansion began, and Russia got left on the periphery of the new Europe. Mary Sarotte explains that while it was clear past a certain point that the Soviet Bloc would crumble, there was nothing inevitable about what would follow. A wide array of political players--from leaders like Mikhail Gorbachev, Helmut Kohl, George H. W. Bush, and James Baker, to organizations like NATO and the European Community, to courageous individual dissidents--all proposed courses of action and models for the future. In front of global television cameras, a competition ensued, ultimately won by those who wanted to ensure that the "new" order looked very much like the old. Sarotte explores how the aftermath of this fateful victory, and Russian resentment of it, continue to shape world politics today.
Presenting diverse perspectives from the political elite as well as ordinary citizens, 1989 is compelling reading for anyone who cares about international relations past, present, or future.
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