person:frank sinatra

  • Qui est Ronan Farrow, le « tombeur » d’Harvey Weinstein ?

    http://www.lemonde.fr/cinema/article/2017/10/13/ronan-farrow-le-tombeur-d-harvey-weinstein_5200274_3476.html

    Fils de Woody Allen et Mia Farrow, le journaliste et juriste a recueilli des témoignages de victimes du producteur hollywoodien.

    Ronan Farrow, qui a publié dans le New Yorker les ­révélations qui ont fait un paria du producteur Harvey Weinstein, l’un des hommes les plus puissants d’Hollywood, n’est pas tout à fait un journaliste ordinaire. A 29 ans, il a déjà eu plusieurs carrières : diplomate, militant, avocat. Il est aussi fils de stars. Son père est Woody Allen. Sa mère Mia Farrow. Un couple orageux, dont la rupture, en 1992, lorsque le cinéaste est tombé amoureux de Soon-Yi, la fille adoptive de l’actrice, a fait les délices de la presse new-yorkaise à scandales.

    Ronan Farrow n’a jamais pardonné à son père ce qu’il a qualifié de « transgression morale », au point d’abandonner le prénom que le réalisateur lui avait choisi à la naissance – Satchel, comme son joueur de base-ball favori Satchel Paige. Depuis des années, le jeune homme n’a cessé de défendre ­Dylan, une autre de ses sœurs adoptives, qui a accusé Woody ­Allen de l’avoir agressée sexuel­lement alors qu’elle avait 7 ans. Avec leur mère Mia Farrow, la tribu fait corps à chaque fois que le réalisateur d’Annie Hall est invité pour un hommage. En 2015, lorsque son père a présenté son film L’Homme irrationnel à Cannes, Ronan Farrow a signé un texte dans le Hollywood Reporter qui expose son analyse de la couverture – ou la non-couverture – par la presse des accusations d’agressions sexuelles contre les puissants.

    Surdoué

    Quand Ronan-Satchel est né, en décembre 1987, à New York, la famille baignait dans un mélange de bohème multiethnique et de snobisme de l’Upper East Side. A la maternelle, l’enfant avait déjà un psychiatre. Très jeune, il était familier des gros titres et des paparazzis. Ses grands-parents étaient l’actrice irlandaise Maureen O’Sullivan, la Jane du Tarzan Johnny Weissmuller, et le réalisateur australien John Farrow, autre couple en dysfonctionnement chronique. Le fils de stars a toujours été surdoué. A 15 ans, il sortait de l’université Barnard, à New York, le plus jeune diplômé (en biologie et philosophie) de l’histoire de l’institution. A 16 ans, il était admis à la faculté de droit de Yale. A 21 ans, il passait le barreau de New York, tout en travaillant comme chargé du droit humanitaire à la commission des affaires étrangères de la Chambre des représentants. « Je brûlais de faire mes preuves », a-t-il dit au magazine Esquire. Loin de « l’ombre imposante de parents célèbres ». A 23 ans, il rédigeait les discours de Richard Holbrooke, l’envoyé spécial de Barack Obama pour l’Afghanistan. Après la mort du diplomate, il est devenu le conseiller à la jeunesse de la secrétaire d’Etat Hillary Clinton.

    Ronan Farrow n’avait que 5 ans quand il a été pris dans le tumulte du divorce de ses parents. Mia Farrow, l’héroïne du Rosemary’s Baby de Polanski, a toujours mené une vie hors du commun. A 21 ans, elle a épousé Frank Sinatra, qui en avait trente de plus. En deuxième mariage, le compositeur et chef d’orchestre André Previn. Woody Allen l’a fait tourner dans treize de ses films, de Zelig à La Rose pourpre du Caire. Ils sont restés douze ans ensemble, mais ils ne se sont jamais mariés. Militante passionnée, courant d’expéditions humanitaires en séjours au Darfour, Mia Farrow a adopté 11 enfants, parmi les plus déshérités de la terre. En 1992, la tribu – et l’industrie cinématographique – a été secouée par un tremblement de terre lorsque Mia Farrow a découvert chez Woody Allen des photos d’une de ses filles adoptives, nue. Soon-Yi Previn, 21 ans, avait été adoptée en ­Corée à l’âge de 8 ans par Mia et André Previn. Elle a trente-cinq ans de moins que le cinéaste. La liaison a fait scandale.

    Une enquête de dix mois

    Dylan, 7 ans, n’a plus voulu voir son père adoptif. Le traumatisme n’a jamais disparu. Pour la Fête des pères, en 2012, Ronan a publié un Tweet sardonique. « Bonne Fête des pères. Ou, comme on dit dans ma famille, bonne fête des beaux-frères. »

    En 2013, après le département d’Etat, Ronan Farrow a été recruté par MSNBC, la chaîne câblée, pour une émission de l’après-midi censée s’adresser aux « millenials ». Il était trop sérieux. L’émission n’a duré qu’un an. Depuis 2015, il reste sous contrat avec NBC pour des grands sujets d’investigation. L’enquête sur les agressions sexuelles dont est accusé Harvey Weinstein lui a pris dix mois. Il y dénonce un système de couverture des agressions sexuelles à Hollywood, par la presse, les agents, les intermédiaires chargés des relations publiques, aboutissant à une « culture d’acquiescement ». Pourquoi a-t-il choisi de publier son scoop dans le New Yorker plutôt que sur la chaîne qui l’emploie ? Mercredi 11 octobre, les responsables de NBC ont nié avoir refusé son enquête par crainte de nuire à un homme aussi influent qu’Harvey Weinstein. L’enquête n’était « pas publiable en l’état », ont-ils affirmé. Interrogé – sur la même chaîne MSNBC –, Ronan Farrow a réfuté cette explication, soulignant que le New Yorker avait immédiatement accepté le dossier. Il s’est néanmoins gardé d’accuser directement la chaîne d’avoir cédé à des pressions.

    Dans son texte de 2015 au Hollywood Reporter, Ronan Farrow estime que la presse ne saurait s’exonérer de l’écoute des victimes au motif qu’il n’y a pas de plainte. « Notre rôle est encore plus important quand le système légal ne remplit pas sa mission auprès des vulnérables confrontés aux puissants, écrit-il. Souvent les femmes ne peuvent pas ou ne veulent pas porter plainte. Le rôle d’un reporter est celui de porteur d’eau pour elles. » Selon lui, une nouvelle génération de médias, « libérés des années de journalisme d’accès », commence à enquêter sur les agressions sexuelles commises par les « moguls » d’Hollywood ou d’ailleurs. « Les choses changent », assure-t-il.

  • Meyer Lansky - Cuba
    https://en.wikipedia.org/wiki/Meyer_Lansky

    After World War II, Luciano was paroled from prison on the condition that he permanently return to Sicily. However, Luciano secretly moved to Cuba, where he worked to resume control over American Mafia operations. Luciano also ran a number of casinos in Cuba with the sanction of Cuban president General Fulgencio Batista, though the US government succeeded in pressuring the Batista regime to deport Luciano.

    Batista’s closest friend in the Mafia was Lansky. They formed a renowned friendship and business relationship that lasted for a decade. During a stay at the Waldorf-Astoria in New York in the late 1940s, it was mutually agreed upon that, in exchange for kickbacks, Batista would offer Lansky and the Mafia control of Havana’s racetracks and casinos. Batista would open Havana to large scale gambling, and his government would match, dollar for dollar, any hotel investment over $1 million, which would include a casino license. Lansky would place himself at the center of Cuba’s gambling operations. He immediately called on his associates to hold a summit in Havana.

    The Havana Conference was held on December 22, 1946, at the Hotel Nacional. This was the first full-scale meeting of American underworld leaders since the Chicago meeting in 1932. Present were such figures as Joe Adonis and Albert “The Mad Hatter” Anastasia, Frank Costello, Joseph “Joe Bananas” Bonanno, Vito Genovese, Moe Dalitz, Thomas Luchese, from New York, Santo Trafficante Jr. from Tampa, Carlos Marcello from New Orleans, and Stefano Magaddino, Joe Bonanno’s cousin from Buffalo. From Chicago there were Anthony Accardo and the Fischetti brothers, “Trigger-Happy” Charlie and Rocco, and, representing the Jewish interest, Lansky, Dalitz and “Dandy” Phil Kastel from Florida. The first to arrive was Lucky Luciano, who had been deported to Italy, and had to travel to Havana with a false passport. Lansky shared with them his vision of a new Havana, profitable for those willing to invest the right sum of money. According to Luciano’s evidence, and he is the only one who ever recounted the events in any detail, he confirmed that he was appointed as kingpin for the mob, to rule from Cuba until such time as he could find a legitimate way back into the U.S. Entertainment at the conference was provided by, among others, Frank Sinatra who flew down to Cuba with his friends, the Fischetti brothers.

    In 1952, Lansky even offered then President Carlos Prío Socarrás a bribe of U.S. $250,000 to step down so Batista could return to power. Once Batista retook control of the government in a military coup in March, 1952 he quickly put gambling back on track. The dictator contacted Lansky and offered him an annual salary of U.S. $25,000 to serve as an unofficial gambling minister. By 1955, Batista had changed the gambling laws once again, granting a gaming license to anyone who invested $1 million in a hotel or U.S. $200,000 in a new nightclub. Unlike the procedure for acquiring gaming licenses in Vegas, this provision exempted venture capitalists from background checks. As long as they made the required investment, they were provided with public matching funds for construction, a 10-year tax exemption and duty-free importation of equipment and furnishings. The government would get U.S. $250,000 for the license plus a percentage of the profits from each casino. Cuba’s 10,000 slot machines, even the ones that dispensed small prizes for children at country fairs, were to be the province of Batista’s brother-in-law, Roberto Fernandez y Miranda. An Army general and government sports director, Fernandez was also given the parking meters in Havana as a little something extra. Import duties were waived on materials for hotel construction and Cuban contractors with the right “in” made windfalls by importing much more than was needed and selling the surplus to others for hefty profits. It was rumored that besides the U.S. $250,000 to get a license, sometimes more was required under the table. Periodic payoffs were requested and received by corrupt politicians.

    Lansky set about reforming the Montmartre Club, which soon became the “in” place in Havana. He also long expressed an interest in putting a casino in the elegant Hotel Nacional, which overlooked El Morro, the ancient fortress guarding Havana harbor. Lansky planned to take a wing of the 10-story hotel and create luxury suites for high-stakes players. Batista endorsed Lansky’s idea over the objections of American expatriates such as Ernest Hemingway and the elegant hotel opened for business in 1955 with a show by Eartha Kitt. The casino was an immediate success.[18]

    Once all the new hotels, nightclubs and casinos had been built Batista wasted no time collecting his share of the profits. Nightly, the “bagman” for his wife collected 10 percent of the profits at Trafficante’s interests; the Sans Souci cabaret, and the casinos in the hotels Sevilla-Biltmore, Commodoro, Deauville and Capri (part-owned by the actor George Raft). His take from the Lansky casinos, his prized Habana Riviera, the Nacional, the Montmartre Club and others, was said to be 30 percent. What exactly Batista and his cronies actually received in total in the way of bribes, payoffs and profiteering has never been certified. The slot machines alone contributed approximately U.S. $1 million to the regime’s bank account.

    Revolution

    The 1959 Cuban revolution and the rise of Fidel Castro changed the climate for mob investment in Cuba. On that New Year’s Eve of 1958, while Batista was preparing to flee to the Dominican Republic and then on to Spain (where he died in exile in 1973), Lansky was celebrating the $3 million he made in the first year of operations at his 440-room, $18 million palace, the Habana Riviera. Many of the casinos, including several of Lansky’s, were looted and destroyed that night.

    On January 8, 1959, Castro marched into Havana and took over, setting up shop in the Hilton. Lansky had fled the day before for the Bahamas and other Caribbean destinations. The new Cuban president, Manuel Urrutia Lleó, took steps to close the casinos.

    In October 1960, Castro nationalized the island’s hotel-casinos and outlawed gambling. This action essentially wiped out Lansky’s asset base and revenue streams. He lost an estimated $7 million. With the additional crackdown on casinos in Miami, Lansky was forced to depend on his Las Vegas revenues.

    ...

    When asked in his later years what went wrong in Cuba, the gangster offered no excuses. “I crapped out,” he said. Lansky even went as far as to tell people he had lost almost every penny in Cuba and that he was barely scraping by.

    ...

    Since the warming of relations between the United States and Cuba in 2015, Lansky’s grandson, Gary Rapoport, has been asking the Cuban government to compensate him for the confiscation of the Riviera hotel that his grandfather built in Havana.

    #Cuba #USA #mafia #histoire


  • This radio station plays only music by dead people.
    They may be gone but their music lives on-24/7.

    http://tunein.com/station/?StationId=265523

    “Radio Dead is the work of Steve Penk, who says the perception of the radio station might be different from the reality. “The reality is a joyous radio station celebrating the music of so many brilliant artists who are sadly no longer with us,” Penk tells RadioToday.

    Radio Dead will honour the unsung heroes of so many bands (guitar players, drummers, keyboard players, backing singers) who are no longer with us, as well as featuring artists from David Bowie to Frank Sinatra.

    Steve writes: “The idea came to me at the start of this year when in January we lost so many wonderful recording artists. As is the case when a major music star dies, music radio stations will have a quick burst of activity for a few days, playing a few of their songs, quickly followed by nothing, as they return to playing Justin Bieber every 10 minutes.

    “I saw a gap in the radio market for a radio station of this type, a radio station that plays, honours and celebrates music stars who have left behind a wealth of great music, but in certain cases get very little or worse, zero radio AirPlay. When I sat down to put the radio station together I was amazed at the list I was slowly building of dead music stars, and so many of them never get played on the radio anymore, how sad, what a tragedy.

    “I toyed with the idea of calling the radio station by a different name, but then thought, why? I could have called it something sugary and predictable, but then thought Radio Dead is a great name, it cuts through, it is what it is.

    “Some people find the very mention of the word dead or the subject of death a no go zone, especially on radio where most of the time it’s like listening to Disneyland employees, everything is smiley wonderful and the thought of ever saying or doing anything slightly controversial is a definite no go zone.

    “Death is an eventuality, it will happen to us all”.”

  • Angle mort---Angle(s) Mort(s) – émission du 13 septembre 2015
    http://blogs.radiocanut.org/anglemort/2015/09/14/angles-morts-emission-du-13-septembre-2015

    Au menu – « Ce que j’ai compris de la vie en grandissant en zone périurbaine », lecture d’un texte de Bastien Landru Plusieurs titres musicaux plus ou moins sur le thème : Human Alert (Bondage tonight), Frank Sinatra (This town), Goblin (Supermarket), … Continuer la lecture (...)

  • Los Angeles : des programmes immobiliers autorisés sur des failles sismiques
    http://lemonde.fr/planete/article/2014/01/09/los-angeles-des-programmes-immobiliers-autorises-sur-des-failles-sismiques_4
    #logement #urbanisme #projet_casse_gueule #cartographie #risque_sismique

    La ville de Los Angeles peut-elle vraiment permettre la construction du Hollywood Millennium, un complexe immobilier avec gratte-ciel de 35 à 39 étages, situés de part et d’autre du fameux building de Capitol Records sur Vine Street, dans le quartier d’Hollywood ? Une nouvelle carte sismique publiée le 8 janvier indique que la Hollywood Fault, une faille sismique active, passe juste en dessous du site et de la légendaire maison de disques de Frank Sinatra, construite en 1956, et bâtiment emblématique de la ville.

  • “Voice Hero: The Inventor of Karaoke Speaks”

    http://theappendix.net/issues/2013/10/voice-hero-the-inventor-of-karaoke-speaks

    It’s one a.m. The bar is closing but the night isn’t over yet. While milling about on the sidewalk, a friend suggests, ‘Karaoke?’ And suddenly the night gets a lot brighter—and a little more embarrassing.

    It’s safe to say that at no point in human history have there been as many people singing the songs of themselves, uncaring that their song was first sung by Gloria Gaynor, Frank Sinatra, or Bruce Springsteen. Karaoke has become inescapable, taking over bars from Manila to Manchester. Passions run high. In the Philippines, anger over off-key renditions of ‘My Way’ have left at least six dead. That statistic hides, however, the countless renditions of the Sinatra anthem that leave people smiling—or at least just wincing. The sing-along music machine terrifies the truly introverted, but it is a hero to countless closet extroverts, letting them reveal their private musical joy. Literally, karaoke is the combination of two Japanese words, ‘empty,’ and ‘orchestra’—but we might also lovingly translate it as ‘awkward delight.’

    Yet for all karaoke’s fame, the name of its Dr. Frankenstein is less known, perhaps because he never took a patent out on the device and only copyrighted its name in the U.S. in 2009. His name is Daisuke Inoue, a Japanese businessman and inventor born in Osaka in 1940. In 2004 he was honored with an Ig Nobel Prize, given for unusual inventions or research.

    In 2005, he shared the story of his life leading up to the Ig Nobel in an interview with Robert Scott Field for Topic Magazine. No longer in print, Topic was one of The Appendix’s inspirations (along with StoryCorps) for its celebration of the everyday and undersung heroes of our world. As a history of another sort of invention, Mr. Inoue’s interview was particularly memorable and deserves to be more widely available. With the permission of both Topic and Mr. Inoue, we are pleased to re-present his delightfully inspiring account of his life and work.

    We hope you sing along.