“When we talk about Pet Sounds, all I picture is our Laurel Way house...You can't imagine what it was like waking up every single day with him because every day was a new experience. You didn't know what to expect. I used to wake up and say, 'I'm ready for today.’
“There was no such thing as a typical day. It wasn't ever like 'Okay, Mar, it's ten o'clock. We're going to bed!’ “Sometimes, at three in the morning, I would be sleeping and he would wake me up and go 'Mar, Mar, you gotta come hear this’ and I would get up, and he would play what he just wrote as I would be making him a sandwich. I just loved everything he wrote. I don't know how to explain it; it was always just wonderful.
“The first time I heard Pet Sounds was a special night. The album was done, finally finished. He brought it home on that big acetate, and he set the mood. We were on our king-sized iron brass bed and headboard; we had the lights down low. He played it, and it was one of the most moving experiences you could ever imagine. As I heard each song, one by one, it was 'Gasp.’ It was so beautiful, one of the most spiritual times of my whole life. We both cried. Right after we listened to it, he said he was scared that nobody was going to like it. That it was too intricate."
—Marilyn Wilson 💙
It is mind-blowing to think that while “Pet Sounds” is beloved and revered today by the whole world, it was once just a very special project of Brian’s that he was afraid no one would like or accept, and just shared in private with his sweet wife. The story of them listening to the album together for the first time is simply one of the most heart-warming things we’ve ever heard. 💙
This picture was taken at Brian’s house on Laurel Way, where he lived while working on “Pet Sounds” and would wake Marilyn up in the middle of the night to listen to new songs and make him sandwiches. There is a picture of Dennis with one of his pet otters hanging up in the background of this one 😍
17. 06. 2018 - Kayseri seferinden bir #müze
ziyareti ☺️ Kayseri #selçuklumüzesi
, bilebildiğim kadarıyla, Anadolu’da Selçuklular - Anadolu Selçukluları üzerine yoğunlaşmış yegane müzelerden birisi... Kayseri Cumhuriyet Meydanı’nın -ya da/aynı zamanda kalenin- hemencecik bitişiğinde ulaşımı oldukça kolay bir müze - 17. 06. 2018 - A trip to a museum, #selçuklumüzesi
, in #Kayseri
that is an Anatolian city ☺️, as far as I can tell, is one of the most beautiful ones concentrated on #Seljuks
in Anatolia ... It is in centrum so that can be easily reached. The road to it, is simple, when you reach to Cumhuriyet Meydanı / Kale (Cumhuriyet Avenue / Castle) -do not worry, roads lead to that avenue not matter what- look for a big hotel that is named as #Hilton
, the museum is next to it. Also there are lots of #signs
that lead to museum ☺️ Have fun... #travel #travelphotography #travelblogger #museum #museums #museumtraveler #museumtrip #turkey
🇹🇷 #turquie #selçuklumüzesi #seljuk #seljuks #museumofseljukcivilisation #anatolia #museumphile #gezgin #müzegezgini #anatolianseljuks #puppets #shadowtheatre #history #art #instaphoto
"Artists have always thought across time,
"and they look at their predecessors in a very intuitive, associative way."
Why should Old Masters be exhibited next to contemporary artists? What is the idea? Is it a fashion?
"Museums have been made by art historians who like to classify and define things by period, style, or the movement that the artwork or artist is part of,
"so they separate things from each other in their historical context.
"But museums are also devoted to artists, and artists traditionally have looked at other artists.
"It is not just a curatorial idea.
"The history of art is not clear and linear in a logical sequence.
"The real history of art is very messy and chaotic, and much more about relationships in many different directions."
Is this idea of matching Old Masters and contemporary paintings something new?
"It has a strong legacy. It started in the 1930s in the Hamburger Kunsthalle in Northern Germany which embraced
"the ideas of Aby Warburg, an art historian who looked at art across time and across cultures."
Ann Demeester, Director of the @franshalsmuseum
in Haarlem, speaks with Alain Elkann. Terrific interview! Thank you!!
See: "Ann Demeester," @alain_elkann_interviews
, 24 June 2018; photographs: Gert Jan van Rooij.
#art #artmarket #arthistory #history #oldmasters #contemporaryart #museums #collection #abywarburg #artists #time #haarlem #amsterdam #oslo #stockholm #vienna #berlin #london #newyork #losangeles #beirut #dubai #hongkong #seoul #tokyo #architecture #design #interiordesign #luxury #realestatedevelopment
#newlife #newbegining #bigchange #enjoyingthelittlethings #queboniceslemporda #soultime #mediterraneanmoments #teaparties #architecture #decoration #fashion #imaginary #art #cinema #audreyhepburn #vincentvangogh #literature #reading #writing #museums #music #dreams #heartsqueen #chaiselongue #leonardodavinci
APRENDIZ DE GIGOLÓ
Reparto: John Turturro, Woody Allen, Sharon Stone, Sofia Vergara, Vanessa Paradis y Liev Schreiber
Título en V.O.: Fading Gigolo
Nacionalidades: USA Año: 2014 Fecha de estreno: 30-04-2014
Duración: 98 min.
Color o en B/N: Color
Guion: John Turturro
Fotografía: Marco Pontecorvo
Música: Abraham Laboriel y Bill Maxwell
En 'Fading Gigolo', Allen interpreta a un librero que propone a Turturro ganar algo de dinero extra trabajando de gigoló. Entre sus clientas están la mismísima Sofía Vergara, Sharon Stone o Vanessa Paradis.
CRÍTICA DE FOTOGRAMAS
Para los que adoran a Woody Allen actor
Lo mejor: la banda sonora.
Lo peor: trasladada a la vida real, la historia sería francamente inverosímil.
Por Nuria Vidal
Es difícil imaginar una combinación más estrambótica que la del ítaloamericano Turturro y el judioamericano Allen. Lo único que les une, sin ninguna duda, es su indiscutible calidad de neoyorquinos. Eso y las ganas de pasárselo bien en una película que los coloca en papeles completamente a contracorriente. Porque, a ver, ¿se puede creer que Allen viva con esa familia de gente de color en un barrio judío? ¿Se puede aceptar que Turturro se convierta en un Don Juan bajo cuyo encanto sexual se derriten todas las féminas? Pero, bueno, de eso se trata. De eso y de hacer un film multirracial, que intenta reírse de todos los tópicos de judíos, negros y mujeres ricas y blancas. Una película intrascendente, divertida a ratos, con una banda sonora espectacular y unos personajes con los que acabas sintiendo una simpatía tonta.
Turturro, que hasta ahora había dirigido películas más cercanas al melodrama italiano que a la comedia neoyorquina, filma ese mundo de integrismos cuestionables con unos tonos tierras, cálidos, dulces. No es este un título reivindicativo de nada (ni siquiera de la libertad de esa joven viuda judía...