TAKE A CHANCE ON ME…MAMMA MIA

30/03/2016 by radiosatellite.co

Mamma Mia! (promoted as Mamma Mia! The Movie) is a 2008 British-American-Swedish musical romantic comedy film adapted from the 1999 West End/2001 Broadway musical of the same name, based on the songs of successful popgroup ABBA, with additional music composed by ABBA member Benny Andersson.

The film was directed by Phyllida Lloyd and distributed by Universal Pictures in partnership with Tom Hanks and Rita Wilson’s Playtone and Littlestar and the title originates from ABBA’s 1975 chart-topper “Mamma Mia”.

Meryl Streep heads the cast, playing the role of single mother Donna Sheridan. Pierce Brosnan (Sam Carmichael), Colin Firth (Harry Bright), and Stellan Skarsgård (Bill Anderson) play the three possible fathers to Donna’s daughter, Sophie (Amanda Seyfried).

Mamma Mia! received mixed reviews from critics and earned $609.8 million on a $52 million budget.

On a Greek island called Kalokairi, bride-to-be Sophie Sheridan posts three wedding invitations (“I Have a Dream”) to different men.

Sophie’s bridesmaids, Ali and Lisa, arrive. Sophie reveals that she found her mother’s diary and has three possible fathers: Irish-American architect Sam Carmichael, Swedish adventurer and writer Bill Anderson, and British banker Harry Bright.

As Sophie wants her father to give her away at the altar, she invited them without telling her mother, believing that after she spends time with them she will know who her father is (“Honey, Honey”).

Villa owner Donna Sheridan, Sophie’s mom, is ecstatic to reunite with her former Dynamos bandmates, wisecracking author Rosie Mulligan and wealthy multiple divorcée Tanya Chesham-Leigh, and reveals her bafflement at her daughter’s desire to get married.

Donna shows off the villa to Rosie and Tanya (“Money, Money, Money”). The three men arrive;

Sophie smuggles them to their room and explains that she sent the invitations. She begs them to hide so Donna will have a surprise at the wedding: seeing the old friends of whom she “so often” favourably speaks. They overhear Donna working (humming “Fernando”) and swear not to reveal her secret.

Donna spies them and is dumbfounded to find herself facing former lovers (“Mamma Mia”), and is adamant that they leave.

She confides in Tanya and Rosie (“Chiquitita”) that she is uncertain which of the men is Sophie’s father. Tanya and Rosie rally her spirits by getting Donna to dance with the female staff and islanders (“Dancing Queen”).

Sophie finds the men aboard Bill’s yacht, and they sail around Kalokairi (“Our Last Summer”) and tell stories of Donna as a carefree girl. Sophie plans to tell her fiancé Sky about her ploy, but loses her nerve.

Sky and Sophie sing to each other (“Lay All Your Love on Me”), but Sky is snatched for his bachelor party.

At Sophie’s bachelorette party, Donna, Tanya and Rosie perform as Donna and The Dynamos (“Super Trouper”). The festivities are interrupted by the arrival of Sam, Bill and Harry. Sophie decides to talk with each of her prospective dads alone.

While her girlfriends dance with the men (“Gimme! Gimme! Gimme! (A Man After Midnight)”), Sophie learns from Bill that Donna received the money to invest in her villa from his great aunt Sofia.

Sophie guesses she must be Sofia’s namesake and Bill is her father. She asks him to give her away and keep their secret from Donna until the wedding.

Sophie’s happiness is short-lived as Sam and Harry each tell her they must be her dad and will give her away (“Voulez-Vous”). Sophie cannot tell them the truth and, overwhelmed by the consequences of her actions, faints.

In the morning, Rosie and Tanya assure Donna they will take care of the men.

Bill and Harry are about to confide in each other, but are interrupted by Rosie. Donna confronts Sophie, believing Sophie wants the wedding stopped. Sophie says that all she wants is to avoid her mother’s mistakes.

Donna is accosted by Sam, concerned about Sophie getting married so young. Donna confronts him and they realize they still have feelings for each other (“SOS”). Tanya and young Pepper continue their flirtations from the previous night (“Does Your Mother Know”). Sophie confesses to Sky and asks for his help.

He reacts angrily to Sophie’s deception and she turns to her mother for support. As Donna helps her daughter dress for the wedding, their rift is healed and Donna reminisces about Sophie’s childhood and how quickly she has grown (“Slipping Through My Fingers”). Donna admits that her own mother disowned her when she learned that she was pregnant. Sophie asks Donna to give her away.

As the bridal party walks to the chapel, Sam intercepts Donna. She reveals the pain she felt over losing him (“The Winner Takes It All”).

Sophie and Donna walk down the aisle as the band plays “Knowing Me, Knowing You”. Donna tells Sophie that her father could be any of the three men.

Sam reveals that while he left to get married, he did not go through with it, and returned to find Donna with another man.

Harry confesses that Donna was the first and last woman he loved and he has begun a relationship with a waiter from the taverna.

The men agree that they would be happy to be one-third of a father for Sophie. She tells Sky they should postpone their wedding and travel the world as they have wanted. Sam proposes to Donna (“I Do, I Do, I Do, I Do, I Do”).

She accepts and they are married. At the reception, Sam sings to Donna (“When All Is Said and Done”), which prompts Rosie to make a play for Bill (“Take a Chance on Me”). All the couples present proclaim their love (“Mamma Mia” reprise).

Sophie and Sky sail away (“I Have a Dream” reprise).

During the principal credits, Donna, Tanya and Rosie reprise “Dancing Queen”, followed by “Waterloo” with the rest of the cast. Amanda Seyfried sings “Thank You for the Music” over the end credits, followed by an instrumental of “Does Your Mother Know”.

Cast

Meryl Streep as Donna Sheridan, Sophie’s mother, owner of the hotel Villa Donna, wife and one true love of Sam at the end.

Amanda Seyfried as Sophie Sheridan, Donna’s daughter, Sky’s fiancée.

Pierce Brosnan as Sam Carmichael, Sophie’s possible father and an Irish-American architect, husband and one true love of Donna.

Colin Firth as Harry Bright, Sophie’s possible father and a British banker; based on “Our Last Summer”, which he sings at one point.

Stellan Skarsgård as Bill Anderson, Sophie’s possible father, a Swedish sailor and travel writer.

Dominic Cooper as Sky, Sophie’s fiancé, designing a website for the hotel.

Julie Walters as Rosie Mulligan, one of Donna’s former bandmates in Donna and the Dynamos; an unmarried fun-loving author.

Christine Baranski as Tanya Chesham-Leigh, Donna’s other former bandmate; a rich three-time divorcee.

Philip Michael as Pepper, Sky’s best man who likes Tanya. He is also a bartender.

Juan Pablo Di Pace as Petros.

Ashley Lilley as Ali, close friend of Sophie and her bridesmaid.

Rachel McDowall as Lisa, close friend of Sophie and her bridesmaid.

Enzo Squillino as Gregoris, one of Donna Sheridan’s employees.

Niall Buggy as Father Alex, priest who nearly married Sophie and Sky, but ends up marrying Sam and Donna.

Cameo appearances and Uncredited Roles

Benny Andersson ( FROM ABBA ) as “Dancing Queen” piano player

Björn Ulvaeus ( FROM ABBA ) as Greek god

Rita Wilson as Greek goddess

Dr House and Dr Ross ( G Clooney)

04/03/2016 by radiosatellite.co

TURKEY …TURQUIE

04/03/2016 by radiosatellite.co

ZACH KING VIDEOS TO WATCH … A VOIR…

02/03/2016 by radiosatellite.co

FATS WALLER …

28/02/2016 by radiosatellite.co

Thomas Wright “Fats” Waller (May 21, 1904 – December 15, 1943) was an American jazz pianist, organist, composer, singer, and comedic entertainer, whose innovations to the Harlem stride style laid the groundwork for modern jazz piano, and whose best-known compositions, “Ain’t Misbehavin'” and “Honeysuckle Rose”, were inducted into the Grammy Hall of Fame in 1984 and 1999.

Thomas Wright Waller was the youngest of 11 children (five survived childhood) born to Adeline Locket Waller and Reverend Edward Martin Waller in New York City.
He started playing the piano when he was six and graduated to the organ of his father’s church four years later.
His mother instructed him as a youth. At the age of 14 he was playing the organ at Harlem’s Lincoln Theater and within 12 months he had composed his first rag. Waller’s first piano solos (“Muscle Shoals Blues” and “Birmingham Blues”) were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson.
Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters.[citation needed] In 1918 he won a talent contest playing Johnson’s “Carolina Shout”, a song he learned from watching a player piano play it.
Waller ultimately became one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as “Honeysuckle Rose”, “Ain’t Misbehavin'” and “Squeeze Me”.
Fellow pianist and composer Oscar Levant dubbed Waller “the black Horowitz”. Waller is believed to have composed many novelty tunes in the 1920s and 1930s and sold them for relatively small sums, the attributions of which, on becoming widely known, went only to a later composer and lyricist.
Standards alternatively and sometimes controversially attributed to Waller include “I Can’t Give You Anything but Love, Baby”.
Biographer Barry Singer conjectured that this jazz classic was written by Waller and lyricist Andy Razaf, and provides a description of the sale given by Waller to the NY Post in 1929—for $500, to a white songwriter, ultimately for use in a financially successful show (consistent with Jimmy McHugh’s contributions first to Harry Delmar’s Revels, 1927, and then to Blackbirds, 1928).
He further supports the conjecture, noting that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of “Spreadin’ Rhythm Around” (Jimmy McHugh ©1935) are in Waller’s hand.
Jazz historian P.S. Machlin comments that the Singer conjecture has “considerable [historical] justification”.

Waller’s son Maurice wrote in his 1977 biography of his father that Waller had once complained on hearing the song, and came from upstairs to admonish him never to play it in his hearing because he had had to sell it when he needed money.
Maurice Waller’s biography similarly notes his father’s objections to hearing “On the Sunny Side of the Street” playing on the radio.
Waller recorded “I Can’t Give You…” in 1938, playing the tune but making fun of the lyrics; the recording was with Adelaide Hall who had introduced the song to the world at Les Ambassadeurs Club in New York in 1928.
The anonymous sleeve notes on the 1960 RCA Victor album Handful of Keys state that Waller copyrighted over 400 songs, many of which co-written with his closest collaborator Andy Razaf.
Razaf described his partner as “the soul of melody… a man who made the piano sing… both big in body and in mind… known for his generosity… a bubbling bundle of joy”.
Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller’s recording technique with considerable admiration: “Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed.
After a balance had been taken, we’d just need one take to make a side, unless it was a kind of difficult number.”

Waller played with many performers, from Nathaniel Shilkret and Gene Austin, to Erskine Tate, Fletcher Henderson, McKinney’s Cotton Pickers and Adelaide Hall, but his greatest success came with his own five- or six-piece combo, “Fats Waller and his Rhythm”.
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone.
Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the “surprise guest” at Capone’s birthday party, and took comfort that the gangsters did not intend to kill him.
It is rumored that Waller stayed at the Hawthorne Inn for three days and left very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
In 1926, Waller began his recording association with the Victor Talking Machine Company/RCA Victor, his principal record company for the rest of his life, with the organ solos “St. Louis Blues” and his own composition, “Lenox Avenue Blues”.
Although he recorded with various groups, including Morris’s Hot Babes (1927), Fats Waller’s Buddies (1929) (one of the earliest multiracial groups to record), and McKinney’s Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: “Handful of Keys”, “Smashing Thirds”, “Numb Fumblin'”, and “Valentine Stomp” (1929).
After sessions with Ted Lewis (1931), Jack Teagarden (1931) and Billy Banks’ Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm.
This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John “Bugs” Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
Waller wrote “Squeeze Me” (1919), “Keepin’ Out of Mischief Now”, “Ain’t Misbehavin'” (1929), “Blue Turning Grey Over You”, “I’ve Got a Feeling I’m Falling” (1929), “Honeysuckle Rose” (1929) and “Jitterbug Waltz” (1942). He composed stride piano display pieces such as “Handful of Keys”, “Valentine Stomp” and “Viper’s Drag”.
He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC television broadcasts.

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While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John’s Wood. He appeared in several feature films and short subject films, most notably Stormy Weather in 1943, which was released July 21, just months before his death.
For the hit Broadway show Hot Chocolates, he and Razaf wrote “(What Did I Do to Be So) Black and Blue” (1929), which became a hit for Ethel Waters and Louis Armstrong.
Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bebop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs. In addition to his playing, Waller was known for his many quips during his performances.
Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full-sized church organ.
Waller contracted pneumonia and died on a cross-country train trip near Kansas City, Missouri, on December 15, 1943. His final recording session was with an interracial group in Detroit, Michigan, that included white trumpeter Don Hirleman.

Waller was returning to New York City from Los Angeles, after the smash success of Stormy Weather, and after a successful engagement at the Zanzibar Room, during which he had fallen ill.
More than 4,000 people attended his funeral in Harlem, which prompted Dr. Adam Clayton Powell, Jr., who delivered the eulogy, to say that Fats Waller “always played to a packed house.”
Afterwards he was cremated and his ashes were scattered, from an airplane piloted by an unidentified World War black aviator, over Harlem.
One of his surviving relatives is former Georgia Tech Yellow Jacket and current Baltimore Ravens wideout Darren Waller, who is Fats’ paternal great-grandson.

Sources WIKIPEDIA

Having fun in Argentina

26/01/2016 by radiosatellite.co

Person of interest

25/01/2016 by radiosatellite.co

Person of Interest ou Personne d’intérêt au Québec est une série télévisée américaine créée par Jonathan Nolan et produite par J. J. Abrams.

PERSON OF INTEREST est diffusée en simultané depuis le 22 septembre 2011 sur CBS aux États-Unis et sur Citytv pour les deux premières saisons, puis sur le réseau CTV au Canada.

En Belgique, la série est diffusée depuis le 28 août 2012 sur La Une, chaîne du groupe de la RTBF, au Québec, depuis le 5 septembre 2012 sur le réseau V, en France, depuis le 6 mars 2013 sur TF1 et en Suisse, depuis le 30 juin 2013 sur RTS Un.

La série est aussi rediffusée dans le cadre d’une syndication sur la chaîne du câble américaine WGN America et également sur Netflix États-Unis, depuis l’automne 2015.

Person of Interest est souvent citée comme étant une des meilleures séries diffusées sur une grande chaîne américaine.

Les critiques soulignent entre autres la capacité que la série a à s’améliorer saison après saison, ses personnages très travaillés ou encore son ambiance réaliste d’une Amérique post-11 septembre.

Si la série est parfois désignée comme étant « la meilleure série de science-fiction actuellement diffusée », Person of Interest s’inscrit dans une thématique bien réelle, notamment depuis les révélations d’Edward Snowden sur la surveillance globale mise en place par les États-Unis, et soulève de nombreuses questions quant au respect de la vie privée. Elle a été nommée pour un Primetime Emmy Awards en 201211, 2012, 2013,2014.

John Reese, un ex-agent paramilitaire de la CIA présumé mort, est engagé par le mystérieux milliardaire Harold Finch. Dans le passé, ce dernier a conçu un système de surveillance de masse pour le gouvernement voulant éviter un nouveau 11 septembre. Le système est capable de prédire les actes terroristes dans le monde, en s’appuyant sur de nombreuses données comme les enregistrements des caméras de surveillance et des appels téléphoniques, ou les antécédents judiciaires.

Cependant, la Machine repère aussi les crimes entre citoyens ordinaires considérés comme mineurs par le gouvernement. Les autorités ayant décidé de ne pas tenir compte de ces données, Finch s’est laissé une porte de sortie et reçoit chaque jour les numéros de sécurité sociale des personnes impliquées à New York ou dans ses environs. C’est avec l’aide de Reese qu’il va tenter de retrouver ces « Persons of Interest » (trad. litt. : « Personnes d’intérêt ») et de découvrir si elles ont le rôle de victime ou de coupable dans l’affaire concernée.

Traqués par le lieutenant de police Jocelyn « Joss » Carter, ils sont aidés par un autre lieutenant, anciennement véreux, Lionel Fusco, qui leur fournit des informations et garde un œil sur sa collègue policière. Mais l’arrivée dans New York de deux justiciers va également contrarier plusieurs organisations criminelles.

Acteurs principaux

Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: le lieutenant Lionel Fusco

Amy Acker: Samantha « Sam » Groves alias « Root » (invitée saison 1, récurrente saison 2, principale à partir de la saison 3)

Sarah Shahi : Sameen Shaw (récurrente saison 2 , principale à partir de la saison 3)

Person of Interest is an American science fiction crime drama television series created by Jonathan Nolan that premiered on September 22, 2011, on CBS.

It is produced by Nolan, alongside J.J. Abrams, Bryan Burk, and Greg Plageman. It stars Jim Caviezel as John Reese, a former CIA agent who is presumed dead.

He is approached by a mysterious billionaire named Harold Finch (Michael Emerson) who is trying to prevent violent crimes before they happen by using an advanced surveillance system dubbed “The Machine”, which turns out to have evolved into a sentient AI.

Their unique brand of vigilante justice attracts the attention of two NYPD officers, Jocelyn “Joss” Carter (Taraji P. Henson) and Lionel Fusco (Kevin Chapman), whom Reese uses to his advantage as he investigates persons of interest.

Reese and Finch are later aided by Samantha “Root” Groves (Amy Acker), a highly intelligent computer hacker and contract killer whom the Machine later identifies as its “analog interface”, and Sameen Shaw (Sarah Shahi), a former ISA assassin who unknowingly dealt with the “relevant” numbers found by the Machine.

From season 3, the series sees the advent of a new rival AI called “Samaritan”, which is brought into existence by Decima Technologies. Much of season 4 is centered on the struggle between the two competing AIs and their human agents.

The series was renewed for a fifth season to debut mid-season during the 2015–16 television season.

The fifth season, which consists of 13 episodes, is expected to premiere in spring 2016.

CBS has yet to announce whether it is the final season or not, although the writers have written it as a final season.

The series has received generally positive reception from critics, including an increase in acclaim when the series introduced more serialized storylines and its exploration of artificial intelligence.

John Reese, a former Green Beret/Delta Force operator and CIA operative, is burnt out and living as a vagrant in New York City after the death of the woman he loved; he is presumed dead.

He is approached by Harold Finch, a reclusive billionaire software genius who is living under an assumed identity.

Finch explains that, after September 11, 2001, he built a computer system for the government that uses information gleaned from omnipresent surveillance to predict future terrorist attacks.

However, Finch discovered that the computer was predicting ordinary crimes as well.

The government is not interested in these results, but Finch is determined to stop the predicted crimes.

He hires Reese to conduct surveillance and intervene as needed, using the repertoire of skills he gained in the military and the CIA.

Through a back door built into the system, Finch receives the Social Security number of someone who will be involved in an imminent crime, at which point he contacts Reese. Without knowing what the crime will be, when it will occur, or even if the person they were alerted to is a victim or perpetrator, Reese and Finch must try to stop the crime from occurring.

They are helped by NYPD Detectives Lionel Fusco, a corrupt officer whom Reese coerces into helping them, and Joss Carter, who in early episodes investigates Reese for his vigilante activities.

Michael Emerson aka Harold FINCH

Although Reese arranges for Carter and Fusco to be partners in the NYPD early in the series, for the entirety of season one neither is aware that the other is also working with Finch and Reese. Periodically, the team enlists the aid of Zoe Morgan, a professional “fixer” who applies her skills to particularly difficult tasks.

The series features several subplots. One significant story arc involves “HR”, an organization of corrupt NYPD officers who are initially in league with budding mob boss Carl Elias and later with the Russian mafia; in earlier parts of this arc, Fusco is forced to go undercover. Another important story line revolves around Root, a psychopathic hacker who is determined to gain access to The Machine. During season two, another organization of powerful business figures, Decima Technologies, is revealed to be attempting to gain access to the Machine.

AMY ACKER

Carter vows vengeance against HR after they have her boyfriend, Detective Cal Beecher, murdered. Reese and Finch encounter Sameen Shaw, an ISA assassin, on the run after being betrayed by her employers. Shaw learns about The Machine in the season two finale and subsequently becomes a member of Reese and Finch’s team. In Season three, Carter delves deeper into her investigation of HR, eventually uncovering its leader; but she is killed. In his grief, Reese briefly leaves the team. The team also battles Vigilance, a violent anti-government organization devoted to securing people’s privacy.

During the second half of season 3, Decima Technologies starts to acquire hardware to bring to life a new artificial intelligence called Samaritan, using the codes from Harold’s old college classmate, Arthur Claypool. In the season 3 finale, it is revealed that Vigilance was created by Decima to make them appear as domestic terrorists. This allowed Decima to obtain all the NSA feeds to make Samaritan operational.

KEVIN CHAPMAN

The Machine creates new identities for the Team so that they can fly beneath Samaritan’s radar.

The Machine

The Machine is an artificially intelligent mass surveillance system that is able to accurately predict premeditated violent crime by monitoring and analyzing all surveillance cameras and electronic communications worldwide.

It divides those crimes based on whether they are relevant to national security; those relevant cases are handled by the U.S. government, while the non-relevant cases in New York City are the focus of the show.

Built by Harold Finch following the events of 9/11, it was originally housed in two unoccupied floors of IFT, the company run by Harold and Nathan Ingram (his best friend from college).

When Finch discovered that the Machine was tracking all premeditated crimes (Episode 2, “Ghosts”), he programmed it to delete the personal, non-relevant cases every night at midnight, explaining to Ingram that the Machine is not built “to save somebody, we built it to save everybody.”

When delivered to the government, the finished Machine was installed in a fake nuclear reactor in Washington State.

SARAH SHAHI

During season two, it moved itself, piece by piece, to an unknown location or locations, and by the end of season four it is shown to have distributed itself to control boxes on utility poles.

An intense believer in privacy rights, Finch originally programmed the Machine so that it would be a complete black box, able to provide only the Social Security Number of people involved with the crime.

While this meant that the government was not able to use it without regard for privacy, it means that numbers Finch and his associates received could belong to a victim or a perpetrator.

Originally unknown to Finch, however, Nathan Ingram created a routine called “Contingency”, on the eve of the government handover, to access the non-relevant data (shown accessed in the Season 2 episode “Zero Day”). Finch is appalled that Ingram has the data sent directly to him and shuts down the routine, before reactivating it after Ingram’s death. To minimize detectability, The Machine feeds him numbers in coded messages through public telephones.

TARAJI HENSON AKA Lt Joss CARTER Season 1 to 3

Within the ISA, the program responsible for The Machine was known as Northern Lights before—after being leaked to the public, Northern Lights was shut down.

The private technology firm Decima Technologies steals some of the Machine’s original code and builds Samaritan, in season three, and replaces Northern Lights in supplying information to the government. Samaritan takes a much more active role in shaping society, and The Machine and its human associates go underground, spending season four under cover.

Much of the series is from the point of view of The Machine, with flashbacks framed as The Machine reviews past tapes in real time.

Over the course of the series, the internal workings of The Machine are shown, including the prediction models and probability trees it uses. In the Machine-generated perspective, individuals are marked by dashed boxes with different colors indicating, for example, what the person’s status is in relation to The Machine and whether they pose a threat. Season four features Samaritan’s point of view, using a different UI—though some episodes jump back and forth between the two UIs.

The Machine in its current iteration started running on January 1, 2002, following 42 failed attempts. During the season 4 episode “Prophets”, a previous generation of The Machine’s source code was shown on screen, which was that of the Stuxnet worm. It generated the first relevant number on February 8, 2005, following three years of training by Finch.

Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: Lt Lionel Fusco

Amy Acker: Samantha « Sam » Groves Aka « Root »

Sarah Shahi : Sameen Shaw

JIM KAVIEZEL AKA JOHN REESE

Sources Wikipedia

JAZZ WITH DENA TAYLOR

22/01/2016 by radiosatellite.co

Based in Austin, TX, Dena Taylor is a jazz vocalist who harkens back to the days of smoke filled clubs and smoky voiced chanteuses.

Her sound is solid; without a lot of vocal gymnastics in the Jazz Standards she covers. She inhabits the songs and makes them her own – feeling happiness, anger, joy, sorrow, love and hate. She draws listeners in and allows them to relate to these songs all over again. Dena was named “Best Female Jazz Artist of the Year” by Indie Music Channel in 2014. Her album “The Nearness of You” showcases her vocal talents and reminds us that even though she is a “seasoned” artist singing Standards, these songs don’t lose their ability to move and touch the audience just because they may have fallen out of vogue.

Dena is so full of passion for these songs that her jovial attitude can’t help but be contagious. An engaging personality, Dena wants to share her love of Jazz Standards and the American Songbook with her audience. She has honed her craft over the years – spending 12 years abroad serving her country in the US military and, whenever possible, performing with touring USO shows. Then, upon her return, Dena settled in Florida where she took to the stage as a member of the prestigious Cocoa Village Playhouse “Gold Star” company. She also began to reestablish her solo career and released her cd “Round Midnight” in 2008. With a voice that contains a bit of a knowing edge reminiscent of Gladys Knight in her prime, Dena became a “go to” vocalist for national Jazz and Blues groups touring in Florida.

After relocating to Austin, TX, Dena continued her collaboration with some of the best musicians in the jazz and blues genres including GRAMMY® Award Winners guitarist Redd Volkaert and keyboardist Floyd Domino and Gold Record drummer Ernie Durawa. Volkaert and Durawa both worked on her second album, “Certitude” in 2010. One of the tracks from this effort, “Song for My Father,” was rewarded with an IAIRA Certification of “International Top 100 Hit” shortly after its release.The team worked so well together that Dena chose to work with them for her next record in 2014, “The Nearness of You.” She was subsequently named one of the Top Five Vocalists in the SingersUniverse ” Best Vocalist Of The Month” Competition, in addition to the aforementioned IMC 2014 Best Female Jazz Artist of the Year Award.

CLICK , WATCH LISTEN and ENJOY :

The path to success hasn’t been an easy one for Dena. In 1999 she suffered a horrific car crash, resulting in a traumatic brain injury. The damage was so severe that it took Dena two years to learn to speak and walk again. She persevered through that and a battle with breast cancer to come out on the other side with an outlook on life that allows her to pursue her music with even more zeal. Learning not to be paralyzed by the fear of what “might happen” has kept Dena moving forward and gives her vocals a ripened maturity that just isn’t found in the pop stars of today.

And, in advance of some serious surgery on her throat, Dena joined forces with Austin powerhouse friends to take a musical walk from her beginnings in country and ending where she most happily lives and that is tucked inside the American Songbook. No last minute throw-together, “You’ve Changed” (scheduled release is January 2016) is a carefully thought out project and, whether it’s the last music she records or not .. it will certainly be one of her best.

In a pre-release review, Bree Noble (CEO of Women of Substance Radio) said, “With the opening notes of “You’ve Changed,” it’s clear that what has changed is that Dena Taylor has confidently taken the reins of her music career and is making bold, risky decisions that are paying off.”

While she was initially going to keep her most recent health challenge to herself, she decided to share the journey to her “new” normal through a blog in the hopes that it will encourage others!

Dena continues to share her musical gifts and donates her time to various charities that are close to her heart including her own charity, The Lullaby Project. This charity is supported by the beautiful album, Lullabies, recorded and released in 2015.

Website: DENA TAYLOR

Listen to Dena’s songs on RS2 : Every night between Midnight and 03h00 AM ( Paris Time) On http://radiosatellite.co & Also on our FREE APPS for smartphones/ tablets.

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MUSIQUE ACADIENNE…LAURIE LEBLANC

21/01/2016 by radiosatellite.co

Sur RS2, “Spécial Laurie Leblanc” : Nous diffuserons toute cette semaine, les tubes de Laurie Leblanc et des extraits de son nouvel album.

Certains titres du nouvel album seront diffusés dès la parution de cet article, sur RS2 , en attendant, sur notre site: Voici des titres connus, des hits du continent Nord Américain des albums de l’artiste LAURIE LEBLANC ( Musique acadienne ) ( Tout connaitre sur les acadiens )

NEW SINGLE MOI-ITOU MOJITO

THE EAGLES

19/01/2016 by radiosatellite.co

#Theeagles
#Tequilasunrise
#Newkid intown
#Glennfrey

JEAN ROCHEFORT et LE PETIT PRINCE VERSION “DJEUNS”

15/01/2016 by radiosatellite.co

Cliquez sur le lien ( VIEW ORIGINAL POST ) pour voir la vidéo

TABBOUCH & Cie

L’artiste, l’acteur M Jean Rochefort explique l’histoire du “petit prince” ( d’Antoine de Saint Exupéry) en quelques minutes en mode language dit de “jeunes”

Sympa..Marrant…Même si pour notre part, ce n’est pas notre style, pas notre langage 🙂

En tout cas, Bravo M Rochefort… Grand talent connu et reconnu.

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CUBA VIDEO

15/01/2016 by radiosatellite.co

Une vidéo que vous partageons avec vous. Vidéo sur CUBA. Vidéo prise de Youtube.

Sourced through Scoop.it from: webradiosblog.wordpress.com

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Will 2016 Be the End of american Indie Internet Radio?

14/01/2016 by radiosatellite.co

RADIO SURVIVOR

https://soundcloud.com/radio-survivor/29-the-royalty-rates-are-too-damn-high

RADIO SURVIVOR LINK . PLEASE CLICK HERE TO READ

AMAIZING VIDEO

13/01/2016 by radiosatellite.co

Just amazing. No way to comment. Watch and enjoy

Juste fantastique. No comment pour notre part. Nous vous laissons apprécier cette vidéo

CLICK AND WATCH THIS VIDEO / CLIQUEZ ET VISUALISEZ CETTE VIDEO

CARY GRANT : On PARAMOUNT CHANNEL

13/01/2016 by radiosatellite.co

PARAMOUNT CHANNEL : CARY GRANT Wikipedia sources: Cary Grant (born Archibald Alexander Leach; January 18, 1904 – November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of classic Hollywood’s definitive leading men. Notorious (1946), The…

Sourced through Scoop.it from: radiosatellite.co

https://radiosatellite.co/2013/10/27/cary-grant-on-paramount-channel/

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