God Bless John McCain American Hero

GOD BLESS YOU JOHN

An AMERICAN HERO

RIP

Summer Time

SUMMER

AT The JERSEY SHORE

And Jersey Shore CRAB SAUCE

Recipe

Charlie "L" is a Real Life Pope of Greenwich Village Italian

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CHARLIE "L" of CORNELIA STREET

GREENWICH VILLAGE

 

CHARLIE Talks MOB BARS WISE GUYS

PACINO DeNIRO & SAM SHEPARD

Part 1

Al Pacino

CHARLIE Talks CORNELIA STREET

PART 2

Robert DeNiro

"The INDIAN"

POPE of GREENWICH VILLAGE

"CHARLIE !!!! They took My THUMB" !!!!

SUNDAY SAUCE

LEARN HOW

 to COOK Like GREENWICH VILLAGE ITALIANS

RECIPES in SUNDAY SAUCE

by ITALIAN-AMERICAN GREENWICH VILLAGE Native

DANIEL BELLINO "Z"

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MICKEY ROURKE

The POPE of GREENWICH VILLAGE

The Pope of Greenwich Village

Movie Poster

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The Talented Mr Ripley MattDamon

Gwyneth Paltrow and Jude Law

on BAGNO ANTONIO BEACH , ISCHIA

"The TALENTED Mr. RIPLEY"

 

A real masterpiece. But above all the film that marks the return of Ischia in the cinema that counts, after years spent between hilarious b-movies and real obsessions ( here a focus on those years ). We talk about 'The Talent of Mister Ripley'  , a work of 1999 directed by Anthony Minghella and taken from the homonymous novel by Patricia Highsmith. Forty years later, the "noir" events of Tom Ripley, interpreted in 1960 by Delon and now by Matt Damon, return to the green island . With him a stellar cast, composed by Gwyneth Paltrow , Jude Law , Cate Blanchett and the late Philip Seymour Hoffman. Location: Ischia Porto, Ischia Ponte, the Aragonese Castle, the private beach "Bagno Antonio", Palazzo Malcovati and the area in front. In the filmic fiction Ischia becomes the Mongibello described by  Patricia Highsmith  in the novel of the same name. Here too many islanders, at least a hundred.

CURIOSITY: in the days of filming on the green island, a very young Jude Law strolled quietly through the streets of the center of the town of Ischia, mingling with the crowd. A scene now unthinkable for the actor recently starring in the series "The Young Pope" and that at the time of "The Talent of Mister Ripley" lived the beginnings of a career then full of satisfactions.

 

Jude Law with Gwyneth Paltrow

Bagno Antonio

ISCHIA

 

THE PLOT. Tom Ripley (Matt Damon) is a young American with remarkable singing skills and good at playing the piano. Educated but at the same time a liar, the young man is contacted by a wealthy ship owner who asks him to convince his son Dickie Greenleaf (Jude Law) to go back home to is family in New York. Dickie's father Mr. Greenleaf pays Yom Ripley (Matt Damon) $1,000 and provide him a round trip ticket aboard a Cunard Lines Steam Ship to Napoli. So Tom reaches the fictisious town of Mangi Bello (ISCHIA) and is fascinated by the World tha Dickie live in. Things get bad after a trip to San Remo, where the Tom enters a vortex of lies and murders.

Tu VUO Fa AMERICANO

"I WANT to BE AMERICAN"

JUDE LAW & MATT DAMON

In a JAZZ CLUB in NAPOLI

The TALENTED Mr. RIPLEY

SOPHIA LOREN Sang This Song 

In "IT STARTED in NAPLES:

Starring CLARK GABLE & SOPHIA LOREN

.

SOPHIA LOREN and CLARK GABLE

at MARNA GRANDE

CAPRI

.

MATT DAMON

On ISCHIA

The TALENTED Mr. RIPLEY

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JUDE LAW , GWYNETH PALTROW

and MATT DAMON in ISCHIA

Filming of The TALENTED Mr. RIPLEY

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SUNDAY SAUCE

ITALIAN RECIPES

ISCHIA NAPOLI

The AMALFI COAST

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The Talented Mr Ripley

Gwyneth Palthrow and Jude Law

on BAGNO ANTONIO BEACH , ISCHIA

"The TALENTED Mr. RIPLEY"

 

A real masterpiece. But above all the film that marks the return of Ischia in the cinema that counts, after years spent between hilarious b-movies and real obsessions ( here a focus on those years ). We talk about 'The Talent of Mister Ripley'  , a work of 1999 directed by Anthony Minghella and taken from the homonymous novel by Patricia Highsmith. Forty years later, the "noir" events of Tom Ripley, interpreted in 1960 by Delon and now by Matt Damon, return to the green island . With him a stellar cast, composed by Gwyneth Paltrow , Jude Law , Cate Blanchett and the late Philip Seymour Hoffman. Location: Ischia Porto, Ischia Ponte, the Aragonese Castle, the private beach "Bagno Antonio", Palazzo Malcovati and the area in front. In the filmic fiction Ischia becomes the Mongibello described by  Patricia Highsmith  in the novel of the same name. Here too many islanders, at least a hundred.

CURIOSITY: in the days of filming on the green island, a very young Jude Law strolled quietly through the streets of the center of the town of Ischia, mingling with the crowd. A scene now unthinkable for the actor recently starring in the series "The Young Pope" and that at the time of "The Talent of Mister Ripley" lived the beginnings of a career then full of satisfactions.

 

Jude Law with Gwyneth Palthrow

Bagno Antonio

ISCHIA

 

THE PLOT. Tom Ripley (Matt Damon) is a young American with remarkable singing skills and good at playing the piano. Educated but at the same time a liar, the young man is contacted by a wealthy ship owner who asks him to convince his son Dickie Greenleaf (Jude Law) to go back home to is family in New York. Dickie's father Mr. Greenleaf pays Yom Ripley (Matt Damon) $1,000 and provide him a round trip ticket aboard a Cunard Lines Steam Ship to Napoli. So Tom reaches the fictisious town of Mangi Bello (ISCHIA) and is fascinated by the World tha Dickie live in. Things get bad after a trip to San Remo, where the Tom enters a vortex of lies and murders.

How Throw a Dinner Party and The BLACK and WHITE BALL

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The DINNER PARTY

  A call to arms against BRUNCH... and a how-to guide for fighting back, from the hosts of the hit podcast and public radio show The Dinner Party Download.  

A specter is haunting America: the specter of brunch.

Brunch, the dissolute Minotaur: half breakfast, half lunch.

Brunch, singing siren songs of bacon, alcohol, and attractive-yet-aloof waitstaff.

“BRUNCH!!!” scream chalkboards propped up outside every restaurant and café, in every city in the Western world, every weekend morning.

What? You don’t plan to brunch this Sunday morn-fternoon? Not to worry: your social media feeds will be rich with evidence of the rest of the world brunch-brunch-brunching away in your absence.

Behold! Photo after photo on social media of your smiling friends, lounging on sun dappled restaurant patios, holding aloft plates heaped with smoked salmon tartines, savory waffles, and scrambles — always the scrambles.

How charming brunch seems! What hell it actually is!

But you already know that. You are at this very moment holding a book called Brunch Is Hell. You’ve spent a full minute of your all-too-brief life reading these words. On some deep, instinctive level, you sense the malignancy of brunch. Perhaps you just came from brunch. Or perhaps you’re in a bookstore, scanning these words through a post-brunch mimosa fog, your wallet lightened by eighteen bucks wasted on two eggs and a piece of toast.

Your belly is full, yet you feel empty. Spiritually empty. Like, Dad’s-promise-to-play-catch-with-you empty.

You know something is deeply wrong with brunch. Something you can’t quite put your syrup-encrusted finger on.

Take heart. You’re not crazy. We’re about to explain the sick truth at the heart of this hybrid-meal menace. And we’re going to prescribe the perfect antidote. It’s called a Dinner Party

Ten years ago, we launched a podcast called The Dinner Party Download, which only tangentially had anything to do with dinner parties. At first, all we wanted to create was an excuse to talk to the coolest artists in the world about anything we wanted, and to get booze and food for free. The Brendan and Rico Talk to Awesome People and Drink and Eat for Free Show seemed like a cumbersome title, though.

Then we realized that everything we wanted to cover in our little arts-and-leisure podcast was the sort of thing one might discuss at a dinner party: the latest and most interesting movies, TV, books, comedy, news, cocktails, and food. Plus, the concept of a dinner party provided us with a handy structure: each segment in the show would correspond to a phase of a dinner party! Great idea! The Dinner Party Download was born.

We didn’t expect this organizing concept to define our careers. But over time, listeners (and publications from the Wall Street Journal and the Chicago Tribune to Marie Claire) came to us for the secrets to throwing great dinner parties. How to coax, from their own guests, the kind of thoughtful and/or witty conversations they heard on the show. What food to serve. How to mix drinks. How to tell a lame joke and not have people punch you in the mouth.

We started taking notes at parties: what made them interesting, or fun, or, at times, unmitigated dumpster fires. We developed strong opinions about dinner parties. Very strong opinions. Very very strong opinions. And we began to respect dinner parties. Far from their frivolous reputation, we realized, dinner parties, Properly Thrown , can serve as the very CORNERSTONE OF A HEALTHY MODERN SOCIETY, because they create happy and empathetic humans. And leftovers. Which, yum.

Alas, there’s something rotten in the state of dinner parties. And it’s not lutefisk.

It’s that people aren’t having enough of them anymore.

   

SUNDAY SAUCE

and The ITALIAN DINNER PARTY

 

We hear this all the time from older listeners who say they’re too busy or tired to throw dinner parties. Or from millennial listeners who confess that the closest they’ve ever come to throwing a dinner party is sharing Altoids with their roommates whilst making student loan payments over pirated Wi-Fi. A few years back, no less a journal than the New York Times documented the death of the dinner party, noting, “Informal gatherings occurring outside the home have largely replaced the dinner parties popular not long ago.”

You know what “informal gatherings occurring outside the home” is a euphemism for, don’t you? Fucking brunch, that’s what.

“Okay,” you are wondering impatiently, having now spent five minutes of your day on this weird book, “so what exactly makes brunch anathema to a happy life and society? And why specifically should I care that it has displaced the dinner party from its once-exalted spot at the center of our civilization?”

You wonder this because you have not yet meditated upon our DINNER PARTY MANIFESTO. In it, we lay out the foundational principles that, when recognized and acted upon by all humankind, will create a joyful social existence, a fully functioning society... and just, like, nicer times, man.

 

PARTY TIME

ANDY WARHOL , BIANCA JAGGER , HALSTON

NEW YORK

 

A perfect dinner party is the purest expression and embodiment of these principles. Brunch is their fiendishly sinister antithesis, plus a small cup of fruit salad*.

Know these principles. Internalize them. Then we’ll show you how to build upon them and take action, by planning your own dinner party. What’s that you say? You feel weightless? That’s because you just launched yourself over the barricades . . . into a revolution.

   

  A call to arms against BRUNCH... and a how-to guide for fighting back, from the hosts of the hit podcast and public radio show The Dinner Party Download.

Society is under threat. The culprit? BRUNCH. Not merely a forum for overpriced eggs, brunch is a leisure-time-squandering hellscape, embodying all that is soul-killing and alienating about modern life.

How to fight back? By throwing dinner parties--the cornerstone of civilized society!

Dinner parties--where friends new and old share food, debate ideas, and boldly build hangovers together. If we revive the fading art of throwing dinner parties the world will be better off, and our country might heal its wounds of endless division... all without having to wait in a 9-hour line to eat toast.

To that end, BRUNCH IS HELL takes hesitant hosts through every phase of throwing a great dinner party, from guest list to subpoena. Loaded with wit, celebrity advice, and tongue-in-cheek humor--plus sincere insights about how humans can be more generous to each other--BRUNCH IS HELL is a spirited guide to restoring civility, in the bestselling tradition of Adulting, Amy Sedaris' I Like You: Hospitality Under the Influence, and the Bible.

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FRANK SINATRA and MIA FARROW

TRUMAN CAPOTE'S

BLACK and WHITE BALL

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The BADASS COOKBOOK

SECRET RECIPES

KFC

SHAKE SHACK BURGER

PRIZE WINNING CHILI

BLUE RIBBON BBQ SAUCE




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Happy Valentines Day

.

To MY VALENTINE

Antique Valentine's Day Card

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 Video of World's Biggest VALENTINE Card Collection 

 

 

To MY VALENTINE

HAPPY VALENTINE'S DAY

The BEATLES Dont Let Me Down

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The BEATLES

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The BEATLES

 

LAST LIVE PERFORMANCE TOGETHER EVER

 

On The ROOFTOP of ABBEY ROAD STUDIOS

 

"DON'T LET ME DOWN"

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This historical performance on the Rooftop of Abbey Road Studios at 3 Sayville Road in London was the Beatles last ever last performance together as a group, The Fab Four as they were known by a nickname. This impromptu concert was held on January 30, 1969 and included the Beatles ; John Lennon, Paul McCartney, Ringo Starr, and George Harrison, along with Billy Preston (known as The 5th Beatle) on keyboards. The concert lasted 42 minutes.

Although the concert was unannounced, the Beatles had planned on performing live during their Get Back recording sessions. The Beatles were wondering where they could perform live, thinking of performing at The Palladium or Sahara but would have had to lug all their equipment over there, "so we decided, why not go up on the roof?" said George Harrison.

This historical concert was recorded on Two 8-Track Recorders by producer Alan Parsons and was filmed by Michael Hogg with mutilple angles including audience ractions. 

This concert marked the end of an era for many Beatles fans. The group recorded one more album Abbey Road, but by September 1969 the Beatles had unofficially disbanded.

 

 

SONGS PLAYED

GET BACK

 

DON'T LET ME DOWN

 

I'VE GOT A FEELING

 

DANNY BOY

 

DIG A PONY

 

GOD SAVE THE QUEEN

 

 

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The BEATLES LAST CONCERT

 

ROOFTOP of ABBEY ROAD STUDIOS 

 

3 SAYVILLE ROAD 

 

LONDON, ENGLAND

 

January 30, 1969

 

CHECK OUT THE BOYS OUTFITS !!! 

.

John Paul George and Ringo

 

THE BEATLES

 

 

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Written by Lennon as an anguished love song to Yoko Ono, it was interpreted by Paul McCartney as a "genuine plea", with Lennon saying to Ono, "I'm really stepping out of line on this one. I'm really just letting my vulnerability be seen, so you must not let me down."The song is in the key of E major and is in 4/4 time during the verse, chorus and bridge, but changes to 5/4 in the pick-up to the verse. It grew (like "Sun King") from the F♯m7- E changes from Fleetwood Mac's "Albatross" ("like she does" [F♯m7] "yes she does" [A, Am] "yes she does" [E]) with McCartney arranging instrumental and vocal parts and Harrison adding a descending two-part lead guitar accompaniment to the verse and a countermelody in the bridge. Alan W. Pollack states that "the counterpoint melody played in octaves during the Alternate Verse by the bass and lead guitars is one of the more novel, unusual instrumental touches you'll find anywhere in the Beatles catalogue.

 

 

GET BACK

 

DON'T LET ME DOWN (Side B)

 

BRITISH SINGLE

 

Released April 11 , 1969

Lennon - McCartney

 

The BEATLES with BILLY PRESTON

 

  RECORDING and RELEASE of "DON'T LET ME DOWN"

 

Multiple versions of "Don't Let Me Down" were recorded by the Beatles during the tumultuous Get Back (Let It Be) recording sessions. The version recorded on 28 January 1969 was released as a B-side to the single "Get Back", recorded the same day. "Get Back" reached number one and "Don't Let Me Down" reached number 35 on the US Billboard Hot 100.They performed "Don't Let Me Down" twice during their Rooftop Concert of 30 January 1969, one of which was included in the Let It Be (1970) film, directed by Michael Lindsay-Hogg. When the "Get Back" project was revisited, Phil Spector dropped "Don't Let Me Down" from the LET IT BE (1970) album. The B-side version of the song was included on the Beatles' compilations Hey Jude, 1967-1970 and Past Masters Volume 2 and Mono Masters. The same recording also appears on the soundtrack to the 1988 documentary, Imagine: John Lennon. In November 2003, an edit of the two rooftop versions was included on Let It Be... Naked.

  RECEPTION Richie Unterberger of AllMusic called it "one of the BEATLES ' most powerful love songs",  Stephen Thomas Erlewine of AllMusic described the song as "heart-wrenching soul" and Roy Carr and Tony Tyler called it "a superb sobber from misery-expert J. W. O. Lennon, MBE. And still one of the most highly underrated Beatle underbellies." Author Ian MacDonald praised "Don't Let Me Down" and declared that "this track vies with Come Together for consideration as the best of Lennon's late-style Beatles records".

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GOT ANY KAHLUA ?

aka

The BIG LEBOWSKI COOKBOOK

ABIDE in IT !!! .

 

The BEATLES Last Live Performance Together

 

 

Rooftop of APPLE STUDIOS

 

LONDON

 

 

The BEATLES rooftop concert was the climax of a project originally titled Get Back. It was conceived as exactly that, a return to their rock roots in a desperate effort to restore unity when business and personal chaos threatened to destroy the band. A documentary crew filmed the Beatles rehearsing and recording new material for an "honest" album, free from the studio wizardry that had dominated their recent work. The experience pushed the group to the point of disintegration, but they needed an end to the film.

So 47 years ago — on January 30th, 1969 — the band climbed five stories to the top of their Apple Corps headquarters and played their last concert together. The album and film were ultimately released in May 1970 as Let It Be, their swan song. Here are 15 little-known facts about the Beatles' final bow on the world stage.

The Beatles had many ideas about where to perform the climactic concert for their new film — too many ideas. London venues like the Palladium and the Roundhouse were some of the more levelheaded propositions, but most were pretty far-out. The Sahara desert was floated as a potential location, as were the Giza pyramids, and even the QE2 ocean liner. A 2,000-year-old Roman amphitheater in Tunisia was seriously considered, and location scouts were sent to investigate. "The Beatles were to start playing as the sun came up," explained director Michael Lindsay-Hogg, "and you'd see crowds flocking towards them through the day."

But nothing was ever agreed upon. As enthusiasm for the project waned, the band opted to do something a little simpler and closer to home. Guest keyboard player Billy Preston recalls that it was John Lennon who had the idea to stage the concert on the roof of Apple headquarters. Lindsay-Hogg says it was his idea. Others attribute it to Ringo Starr. The concept sounds inspired, but in retrospect it speaks less to creativity and more to laziness.

Preparations were made, with scaffolding planks laid to support the weight of the gear. A few minutes before the concert was due to start, the band huddled in a small vestibule at the top of the stairs. They had cold feet. "George didn't want to do it, and Ringo started saying he didn't really see the point," says Lindsay-Hogg. "Then John said, 'Oh, fuck it — let's do it."

 

Lennon and Starr wore their ladies' coats.

It was 45 degrees in London that raw January afternoon, and that doesn't account for the icy wind whipping over the West End buildings. Impending fog had ruled out an expensive helicopter aerial shot, and the threat of rain was very real. These conditions were not ideal to making rock and roll. " My hands are too cold to play the chords," Lennon muttered between songs, and Apple Corps exec Ken Mansfield held a constant stream of lit cigarettes so George Harrison could warm his fingertips. To ward off the winter chill, Lennon borrowed Yoko Ono's fur coat (as he did on occasion). Ringo Starr also donned his wife Maureen's red raincoat.

The microphones were wrapped in women's pantyhose.

The cold gusts also proved to be a problem for the delicate studio microphones recording the drums and guitar amplifiers. In need of a quick shield to minimize wind noise, tape engineer (and future Pink Floyd cohort) Alan Parsons was dispatched that morning to buy women's pantyhose. "I walked into this department store and said, 'I need three pairs of pantyhose. It doesn't matter what size.'" he recalled in Guitar Player.  "They thought I was either a bank robber or a cross-dresser."

 

It was their first live performance in over two years.

Famously cited as the Beatles' last concert, the rooftop gig was also their first live performance in more than two years. While they had played "All You Need Is Love" and "Hey Jude" before a studio audience on television during that time, those numbers were heavily bolstered by a backing track. The roof was their first truly live show since their final tour ended on August 29th, 1966, at San Francisco's Candlestick Park. They also made a small break from tradition by varying their classic stage placements. Lennon took the middle spot with Harrison to his left.

George Harrison's guitar was the first of its kind.

The Telecaster that Harrison played throughout the rooftop concert was custom made for him by master builders Roger Rossmeisl and Philip Kubicki as a gift from Fender. The company was launching a new line of all-rosewood guitars, and presenting the prototype to a Beatle was good publicity. After many hours of labor, the guitar was flown to England in its own seat and hand-delivered to Apple headquarters. The builders weren't sure what became of the guitar for over a year, until they bought tickets to see the Let It Be film and saw their handiwork on the big screen. "I was so thrilled I almost jumped out of my seat," remembers Kubicki.

 

 

 

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The BADASS COOKBOOK

 

SECRET RECIPES

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