Latest news with #TunnelofLove
Yahoo
23-05-2025
- Entertainment
- Yahoo
The 5 classic Dire Straits songs that aren't on their No. 1 album 'Brothers in Arms'
Along with U2 and The Police, Dire Straits were among the most successful bands from the British Isles in the 1980s. Their fifth studio album, 1985's Brothers in Arms sold in staggering numbers, earning Platinum or Diamond status in 10 countries, storming to the No. 1 spot on album charts each and every time. Yet, in many ways, it was a last gasp for the beloved band; they'd take six years to record and release a followup, and by that time, popular tastes had changed, with grunge all the rage. (1991's On Every Street still made it to No. 1 in eight countries, no mean feat.) The overwhelming success of Brothers in Arms tends to overshadow the catalog of fine work Dire Straits had already created. So on the 40th anniversary of the release of Brothers in Arms, here are five great Dire Straits tunes from the records that came before it. 'Once Upon a Time in the West' from (1979) After the slow-burn success of Dire Straits' self-titled debut LP, Communiqué was met with a more modest reception. But the album arguably built on the first record's strengths. The understated 'Once Upon a Time in the West' added some reggae textures to the band's rootsy approach. The song would remain a staple of Dire Straits' live set; it featured prominently in an epic version, opening their 1984 live album (see below). 'Tunnel of Love' from (1980) Opening with the strains of Rodgers and Hammerstein's 'Carousel Waltz,' Dire Straits' 'Tunnel of Love' signaled Mark Knopfler's move toward grand, sweeping musical works. The evocative song showcases emotional depth, exceptional instrumental work and some of Knopfler's finest lyrics, rivaling Bruce Springsteen (who would write a 'Tunnel of Love' of his own a few years later). 'Telegraph Road' from (1982) Mark Knopfler's gift for creating wide-screen, epic songs continued on Dire Straits' fourth studio LP. The album's single, 'Industrial Disease' would be the only tune on the five-song album to come in under six minutes. Yet at fourteen minutes plus, 'Telegraph Road' never wastes a second. Knopfler's lyrics were inspired in part by the Nobel Prize winning novel Growth of the Soil by Norwegian author Knut Hamsun. 'Twisting by the Pool' from (1983) Brothers in Arms displayed some playful humor in songs like 'Money for Nothing,' but the MTV hit wasn't Dire Straits' first tune with a bit of whimsy. A three-day recording session in Fall 1982 yielded four new songs for the group, including this fun and uptempo track. The uncharacteristic 'Twisting by the Pool' made it onto the singles charts in the U.S., UK and New Zealand; it reached the No. 1 spot in the latter. 'Going Home: Theme of the Local Hero' from (1984) While guitarist and songwriter Mark Knopfler formally launched his solo career after Dire Straits broke up in 1995, he had already been active outside the band for more than a decade. His first recorded work outside the group was composing, recording and producing the soundtrack for the well-received 1983 film Local Hero. On tour, Dire Straits featured the movie's stirring instrumental theme song in a full-band version; it's a highlight of the Alchemy album. Visit the Goldmine store for vinyl, CDs, box sets, collectibles, music history books and limited-edition, Goldmine-only exclusives. An online store specifically for music collectors. Click HERE!
New York Post
29-04-2025
- New York Post
Mob associate busted in LI prostitution ring involving cop, teacher — now prosecutors want his $1.2M Fire Island beach house
Long Island prosecutors are looking to seize a $1.2 million home on Fire Island from the accused boss of a long-running prostitution ring that allegedly operated two brothels across Suffolk County with help from a cop and a gym teacher, court records show. The ritzy beachfront home is part of a $1.96 million civil forfeiture case filed against Frank Saggio, a 60-year-old convicted felon and admitted associate of the mafia, who claimed to have worked for all five major New York families. The Ocean Beach property was paid for with money raked in through the illegal scheme, and purchased by a corporation controlled by Saggio using proceeds from a brothel in Holbrook, according to prosecutors. 5 Long Island prosecutors are looking to seize a $1.2 million home on Fire Island from the accused boss of a long-running prostitution ring that allegedly operated two brothels across Suffolk County. Suffolk County District Attorney's Office Saggio, of West Islip, and his mistress, 32-year-old Dana Ciardullo, of East Meadow, were busted in October alongside Islip gym teacher Steven Arey, 54, and veteran six-time Suffolk 'Cop of the Month' George Trimigliozzi, 56, in a sweeping 58-count indictment accusing them of enterprise corruption and promoting prostitution, court records show. 'It is a sad day in law enforcement when a public servant is arrested,' Suffolk DA Ray Tierney said at the time of the arrests. Saggio allegedly ran the brothels from October 2019 through June 2024. Trimigliozzi and Arey acted as managers at the American Girls Spa location in Holbrook along Sunrise Highway, while Ciardullo ran the West Babylon spot inside an adult store known as Tunnel of Love, prosecutors said. 5 Islip gym teacher Steven Arey, 54, was busted in October, being accused of enterprise corruption and promoting prostitution, according to court documents. James Carbone/Newsday 5 Six-time Suffolk 'Cop of the Month' George Trimigliozzi, 56, was also arrested, according to reports. James Carbone/Newsday The crew allegedly forced the prostitutes to sign 'leases' for the rooms they worked out of — charging them $6,000 a month to work in Holbrook and $12,000 in West Babylon, but they weren't paid for their services and only earned tips, according to prosecutors. The alleged ringleader used a shell company named after the Holbrook brothel's address, 6801 Sunrise Highway, to collect illegal payments disguised as 'rent,' court papers show. Meanwhile, his wife, Lisa Piazza Saggio, was listed as the company's sole officer, but prosecutors claim it was just a front for Saggio himself. 5 The alleged ringleader used a shell company named after the Holbrook brothel's address, 6801 Sunrise Highway, to collect illegal payments disguised as 'rent,' court papers show. Suffolk County District Attorney's Office 5 Trimigliozzi and Arey acted as managers at the American Girls Spa location in Holbrook along Sunrise Highway, while Ciardullo ran the West Babylon spot inside an adult store known as Tunnel of Love, prosecutors said. Suffolk County District Attorney's Office In July 2022, Saggio unloaded the Holbrook property for $1.2 million — and within two months, dropped $1.25 million on a beach house at 24 Bungalow Walk, which prosecutors allege was part of a scheme to launder dirty cash from the brothel. While prosecutors try to claw the house back, Saggio, Ciardullo, Trimigliozzi and Arey all still face criminal charges tied to the alleged racket. All four have pleaded not guilty, according to court docs.
The Independent
13-02-2025
- Entertainment
- The Independent
'Saturday Night Live' costume designer Tom Broecker wants every host to feel at home
Costume designer Tom Broecker has been working at 'Saturday Night Live' for more than 30 years so, like the show, he's become an institution. He's won one Costume Designers Guild Awards and six Emmy awards for his work on the legendary sketch show, which is celebrating its 50th year this week. Calling the cast and crew at NBC 's famous Studio 8H 'a family,' Broecker says he thrives on the 'exhilarating' pace necessary to create dozens of costumes each week, in often less than three days and with constant last-minute changes. The designer and producer spoke to The Associated Press recently about the 'backstage magic' of speed-dressing hosts between sketches and the importance of making them feel welcome. Answers have been edited for clarity and brevity. AP: What does the 50-year legacy mean to you? BROECKER: The easiest, best way to kind of describe what it is working here is that it's a family. And it's a unique place where there are people here who are 88, 89, 92, and then there are people who are in college. And so you have that age range of people next to each other and each sort of group sort of intermingling and learning from the other and talking about the old days or the new days or whatever. There's a cross-pollination between ages and experience and that is super interesting and really valuable, I think. AP: How can costumes help further comedy on the show? BROECKER: Usually you notice the costume before the person opens their mouth and you already were starting to laugh before they even said anything. There are times when you do have to do that, when you need the comedy — you open the door and you register 'Comedy!' And there are other times when you open the door and you're like, 'OK, my words are going to say the comedy and the visual has to reflect the words.' On 'SNL,' we sort of play both sometimes. AP: Who have been your favorite people to dress? BROECKER: I love everyone. Dave Chappelle said to me once, 'You're going to get really sick of me.' And I said, 'I only have to love you for a week and then I have someone else to love the following week.' With cast members, it's different, clearly. In terms of hosts, part of my job is to make the hosts feel at ease and to welcome them here. They are guests in our house. AP: How is the challenge of planning many costumes in just a few days and dressing people so quickly? BROECKER: It's exhilarating and terrifying and amazing. You have to have the ability to be flexible and to change and pivot and zig when they're asking you to zig. And then five minutes later, you're zagging! Then you're on the Ferris wheel and then you're off the Ferris wheel and then you're in the Tunnel of Love and it truly is a video game ride that we are on every week. We don't really get scripts until late Wednesday night and we talk with the actors and the writers and everyone Wednesday night. And so we're really starting Thursday morning at 9 a.m., full throttle doing it. AP: How do hosts handle that pace? BROECKER: I warn them and say, OK, so someone at the end of the sketch is going to come, they're going to grab your hand, pull your shoulder socket out of your arm and they're going to take you to a dark space. Someone's going to be stripping your bottom and someone's going to be stripping your top while someone's putting on a wig, while someone's grabbing you from behind. Someone's telling you to lift your leg. It's hilarious. After the first time, people are always like, 'Yeah, you warned me but I never really imagined what that sort of violation was going to actually be.' It's pretty intense! AP: Where do the costumes live? BROECKER: We have a giant warehouse space here in the building that is sort of general: suits, shirts. Then we have a sort of mixed bag of period clothes and '80s and '90s uniforms, biblical, and crazy things like that. It's a combination each week of pulling in from there. If it's a period show, maybe going to the couple period places, and then ordering from a whole series of shops like Bloomingdale's, Saks and Bergdorf's. AP: What makes a good host? BROECKER: Sports people are always the most relaxed, the most interesting hosts because they're used to playing in arenas of 100,000 people with sound and music and weather. And also, no one's really expecting them to actually be good on 'SNL'! So they come with this relaxed swagger that it's great to be around, because they're like, 'This isn't what I do, so I'm here to have a good time.' ___
Associated Press
13-02-2025
- Entertainment
- Associated Press
‘Saturday Night Live' costume designer Tom Broecker wants every host to feel at home
NEW YORK (AP) — Costume designer Tom Broecker has been working at 'Saturday Night Live' for more than 30 years so, like the show, he's become an institution. He's won one Costume Designers Guild Awards and six Emmy awards for his work on the legendary sketch show, which is celebrating its 50th year this week. Calling the cast and crew at NBC's famous Studio 8H 'a family,' Broecker says he thrives on the 'exhilarating' pace necessary to create dozens of costumes each week, in often less than three days and with constant last-minute changes. The designer and producer spoke to The Associated Press recently about the 'backstage magic' of speed-dressing hosts between sketches and the importance of making them feel welcome. Answers have been edited for clarity and brevity. AP: What does the 50-year legacy mean to you? BROECKER: The easiest, best way to kind of describe what it is working here is that it's a family. And it's a unique place where there are people here who are 88, 89, 92, and then there are people who are in college. And so you have that age range of people next to each other and each sort of group sort of intermingling and learning from the other and talking about the old days or the new days or whatever. There's a cross-pollination between ages and experience and that is super interesting and really valuable, I think. AP: How can costumes help further comedy on the show? BROECKER: Usually you notice the costume before the person opens their mouth and you already were starting to laugh before they even said anything. There are times when you do have to do that, when you need the comedy — you open the door and you register 'Comedy!' And there are other times when you open the door and you're like, 'OK, my words are going to say the comedy and the visual has to reflect the words.' On 'SNL,' we sort of play both sometimes. AP: Who have been your favorite people to dress? BROECKER: I love everyone. Dave Chappelle said to me once, 'You're going to get really sick of me.' And I said, 'I only have to love you for a week and then I have someone else to love the following week.' With cast members, it's different, clearly. In terms of hosts, part of my job is to make the hosts feel at ease and to welcome them here. They are guests in our house. AP: How is the challenge of planning many costumes in just a few days and dressing people so quickly? BROECKER: It's exhilarating and terrifying and amazing. You have to have the ability to be flexible and to change and pivot and zig when they're asking you to zig. And then five minutes later, you're zagging! Then you're on the Ferris wheel and then you're off the Ferris wheel and then you're in the Tunnel of Love and it truly is a video game ride that we are on every week. We don't really get scripts until late Wednesday night and we talk with the actors and the writers and everyone Wednesday night. And so we're really starting Thursday morning at 9 a.m., full throttle doing it. AP: How do hosts handle that pace? BROECKER: I warn them and say, OK, so someone at the end of the sketch is going to come, they're going to grab your hand, pull your shoulder socket out of your arm and they're going to take you to a dark space. Someone's going to be stripping your bottom and someone's going to be stripping your top while someone's putting on a wig, while someone's grabbing you from behind. Someone's telling you to lift your leg. It's hilarious. After the first time, people are always like, 'Yeah, you warned me but I never really imagined what that sort of violation was going to actually be.' It's pretty intense! AP: Where do the costumes live? BROECKER: We have a giant warehouse space here in the building that is sort of general: suits, shirts. Then we have a sort of mixed bag of period clothes and '80s and '90s uniforms, biblical, and crazy things like that. It's a combination each week of pulling in from there. If it's a period show, maybe going to the couple period places, and then ordering from a whole series of shops like Bloomingdale's, Saks and Bergdorf's. AP: What makes a good host? BROECKER: Sports people are always the most relaxed, the most interesting hosts because they're used to playing in arenas of 100,000 people with sound and music and weather. And also, no one's really expecting them to actually be good on 'SNL'! So they come with this relaxed swagger that it's great to be around, because they're like, 'This isn't what I do, so I'm here to have a good time.'
