January 30, 2013 |
The ready-made edginess of hit men, hookers and gangsters is a foundation that a story can either build on or coast on. Writer-director Brian Peterson's "The Misadventures of Rick the Strangler" at the Electric Lodge takes the lazy route with formulaic characters aimed at those who like their comedy crude and incoherent. Mob executioner Rick's misadventures ensue from his predilection for feeding his victims' severed digits to his dog. This unique take on finger food lands Rick (Jonathan Brooks)
June 25, 2012
John Amos has demonstrated his versatility over the last four decades. Here are just three of his memorable roles: Gordon Howard Amos played Gordy the Weatherman at WJM on the classic CBS comedy series "The Mary Tyler Moore Show" for three seasons. Kunta Kinte Amos portrayed the adult slave in ABC's seminal 1977 miniseries "Roots," earning an Emmy nomination. Pastor Nelson Amos lends a dramatic element to the new comedy "Tyler Perry's Madea's Witness Protection" as a minister who is about to retire.
June 25, 2012 |
If it hadn't been for famed Kansas City Chiefs football coach Hank Stram, John Amos may never had a four-decade long career in Hollywood, including memorable acting roles in "The Mary Tyler Moore Show," "Good Times" and "Roots. " A running back at Colorado State, Amos had tried out unsuccessfully for the Denver Broncos and was cut twice from the Chiefs. Stram, recalled the 72-year-old Amos, told him, "Young man, you are not a football player. You are a young man who happens to be playing football.
April 27, 2012 |
The Marine Corps, whose recruiting slogan long rested on the phrase “a few good men,” is moving to open more front-line billets, or jobs, for women. Commandant Gen. James Amos this week ordered that certain jobs previously meant for men now be opened to women as well. In some cases, the change is meant as a test to help Amos make recommendations about a possible permanent shift. Along with outlining the billets and ranks involved, Amos included a warning in his message that he will not tolerate any foot-dragging in the ranks.
December 15, 2011
MUSIC Using a technique taken from classical music, Tori Amos has created a cycle of repeating musical themes with her latest solo work, "Night of Hunters," a beautiful kaleidoscope of remembering and letting go. Her fans will be delighted to find that "Hunters" marks the return of Amos' piano, which has taken a back seat to the electronically produced fanciness she's favored in the recent past. Here her voice is a crystal bell with only the ivory guiding her. The Orpheum, 842 S. Broadway, L.A. 8 p.m. Sat.-Sun.
December 11, 2011 |
Creating something genuinely new in the classical crossover genre is, for many reasons, an endeavor fraught with peril. Classical fans are notoriously unkind to pop artists who want to have a go while pop fans often attack their icons for putting on airs. Those who live full time in the genre — Andrea Bocelli, Il Divo, Blake — sell millions of records by sticking to a strict formula. Songs must have big tunes and, if at all possible, be sung in Italian; the voice must be at least vaguely operatic with lots of vibrato and the singer must be handsome in a floppy-haired, Euro kind of way. "Night of Hunters," Tori Amos' 12th studio album and first to be released on the classical music label Deutsche Grammophon, is everything that a crossover project has the potential to be but usually never is. She'll play material from the album at L.A.'s Orpheum Theater on Dec. 17 and 18. The album began with a phone call from Deutsche Grammophon executive producer Alexander Buhr.