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The sessions for Some Girls always had a following wind from the moment we started rehearsing in the strangely shaped Pathé Marconi studios in Paris. It was a rejuvenation, surprisingly for such a dark moment, when it was possible that I would go to jail and the Stones would dissolve. But maybe that was part of it. Let’s get something down before it happens. It had an echo of Beggars Banquet about it—a long period of silence and then coming back with a bang, and a new sound. You can’t argue with seven million copies and two top ten singles out of it, “Miss You” and “Beast of Burden.” Nothing was prepared before we got there. Everything was written in the studio day by day. So it was like the earlier times, at RCA in Los Angeles in the mid-’60s—songs pouring out. Another big difference from recent albums was that we had no other musicians in with us—no horns, no Billy Preston. Extra stuff was dubbed later. If anything the buildup of sidemen had taken us down a different path in the ’70s, away from our best instincts on some occasions. So the record was down to us, and it being Ronnie Wood’s first album with us, down to our guitar weaving on tracks like “Beast of Burden.” We were more focused and we had to work harder. The sound we got had a lot to do with Chris Kimsey, the engineer and producer who we were working with for the first time. We knew him from his apprenticeship at Olympic Studios, and so he knew our stuff backwards. And he would, on the basis of this experiment, engineer or coproduce eight albums for us. We had to pull something out—not make another Stones-in-the-doldrums album. He wanted to get a live sound back and move away from the clean and clinical-sounding recordings we’d slipped into. We were in the Pathé Marconi studios because they were owned by EMI, with whom we’d just made a big deal.
Keith Richards (Life)
Sean Platt is the bestselling co-author of over 60 books, including breakout post-apocalyptic horror serial Yesterday’s Gone, literary mind-bender Axis of Aaron, and the blockbuster sci-fi series, Invasion. Never one for staying inside a single box for long, he also writes smart stories for children under the pen name Guy Incognito, and laugh out loud comedies which are absolutely not for children. He is also the founder of the Sterling & Stone Story Studio and along with partners Johnny B. Truant and David W. Wright hosts the weekly Self-Publishing Podcast, openly sharing his journey as an author-entrepreneur and publisher. Sean is often spotted taking long walks,
Sean Platt (Extinction (Alien Invasion #6))
Lucas recalled. “I went for the merchandising because it was one of the few things left that we hadn’t discussed.”60 But Lucas also shrewdly recognized that Fox and other studios had underestimated—and, in many cases, wasted—merchandising opportunities to market their films. “We
Brian Jay Jones (George Lucas: A Life)
Satyarthi, l’ex ingegnere che libera i bambini schiavi L’indiano da 30 anni in prima linea contro il lavoro minorile: lavorerò con Malala Kailash Satyarthi, 60 anni, è il primo indiano a vincere il premio Nobel per la Pace Maria Grazia Coggiola | 693 parole Fino a ieri mattina, Kailash Satyarthi, era un volto pressoché sconosciuto in India, uno dei tantissimi volontari seguaci del Mahatma Gandhi che in silenzio e con ostinazione si prendono a cuore le cause che in un Paese di un miliardo e 200 milioni di persone sembrano perse in partenza. Poi la notizia del Premio Nobel per la Pace, condiviso con la pachistana Malala, ha improvvisamente catapultato questo schivo ex ingegnere di 60 anni alla ribalta mondiale e con lui anche la sua organizzazione, Bachpan Bachao Andolan (Movimento per salvare i bambini), che da tre decenni si batte contro lo sfruttamento del lavoro minorile. «D’ora in poi le voci di milioni di bambini non potranno più essere ignorate» ha detto ai primi giornalisti che si sono precipitati nel suo ufficio a Kalkaji, un caotico quartiere di New Delhi vicino a uno dei più vecchi templi induisti della metropoli. Nato nello stato del Madhya Pradesh, nel centro dell’India, ha lasciato a 26 anni una promettente carriera dopo una laurea in ingegneria per dedicarsi a tempo pieno ai diritti dell’infanzia: «È sempre stata la mia passione e a questo ho dedicato la mia vita». L’impegno di Satyarthi iniziò con incursioni in fabbriche e laboratori dove intere famiglie erano costrette a lavorare per rimborsare un prestito che avevano contratto. Incapaci di rimborsare la somma ricevuta, spesso venivano vendute e rivendute, bambini compresi. La sua associazione è nata nel 1980, conta oltre 700 organizzazioni non governative affiliate e finora ha «liberato» oltre 80 mila baby schiavi in centinaia di laboratori e fabbriche. Sembrano tanti, ma è in realtà una goccia in India dove sono svariati milioni i bambini sotto i 14 anni impiegati in diverse attività, come la produzione di «bidi», le piccole sigarette fatte a mano, lavori edili, ricami e soprattutto come domestici low-cost per la ricca borghesia delle metropoli. Appesi muri del suo ufficio ci sono i manifesti delle sue crociate. La più famosa è stata quella della «Global March» nel 1998 quando portò a Ginevra mille bambini lavoratori di tutto il mondo. È stato un punto di svolta, oltre che un successo internazionale, perché l’anno successivo le Nazioni Unite hanno approvato una convenzione contro le forme estreme di impiego minorile e da allora l’esercito dei baby schiavi si è costantemente ridotto. Un’altra battaglia è stata quella ottenere dalle multinazionali l’impegno a garantire che i loro prodotti, come i tappeti, non siano fabbricati con manodopera minorile dei Paesi poveri. Durante i Mondiali di calcio del 2006 in Germania, Satyarthi organizzò una campagna per denunciare l’uso dei bimbi di 6 anni nella cucitura di palloni e nel 2011 pubblicò uno studio in cui si rivelava che in India scompaiono 11 bambini ogni ora, vittime del traffico di esseri umani. Vestito con il tradizionale completo di casacca e pantaloni «khadi» (filati e tessuti a mano come faceva il Mahatma) e fradicio di sudore per il condizionatore rotto, Satyarthi ha ricordato anche i legami con l’Italia. «Ho lavorato tanto con Mani Tese - ha detto - e conosco molti italiani». Tra un’intervista e l’altra, in serata, ha poi sentito per telefono Malala da Birmingham. «La conosco - ha spiegato - perché ci eravamo visti l’ultima volta in Olanda durante una cerimonia. La inviterò a lavorare con me». Curiosamente, il prestigioso riconoscimento non fui mai assegnato all’apostolo della non violenza. «Sono nato dopo la morte del Mahatma Gandhi - ha ricordato l’attivista - e se il premio fosse stato assegnato a lui sarei stato più contento. Ma anche ora lo sono perché appartiene a tutti i bambini di questo Paese». Malala, festa tra i banchi d
Anonymous
MGM produced an occasional nonstar feature, although these were rare and usually had some obvious hook to draw audiences. A good example of this type of feature was The Fire Brigade, a 1926 project scheduled for a twenty-eight-day shoot and budgeted at $249,556. The picture starred May McAvoy, a “featured player” at MGM, and was directed by William Nigh. The second-class status of the project was obvious from the budget, with only $60,000 going for director, cast, story, and continuity. But the attractions in The Fire Brigade were spectacle, special effects, and fiery destruction rather than star and director. The budget allowed $25,000 for photographic effects and another $66,000 for sets, a relatively high figure since many of the sets for the picture had to be not only built and “dressed” but destroyed as well.
Thomas Schatz (The Genius of the System: Hollywood Filmmaking in the Studio Era)
handle.” 60 At this particular intersection of Detroit music, many different styles and genres of music were being mixed, but the introduction of Atkins’ “secret weapon,” live beat-making on the TR-808, extended the modality of turntablism even further—perhaps too far. “All those so-called snob parties, playing for all those kids and organizations—for us was dress rehearsal,” May said of the future-shocked youth scene. With an outsider's vantage point, and having learned to mix records from Atkins, May framed the bedroom studio productions that Atkins had been working on since he was
DeForrest Brown Jr (Assembling a Black Counter Culture)
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