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Another woman who came forward on Twitter and who spoke to the Times is actress and filmmaker Violet Paley. She said she and Franco had a romantic relationship, though the “power dynamic was really off” because he was a major star and she, now 23, was new to the business. During their relationship, she recalled one situation where he forced her to perform oral sex while they were in a car. — Violet Paley (@VioletPaley) January 8, 2018. “He was kind of nudging my head down, and I just didn’t want him to hate me, so I did it,” she said. Though she said they continued to have a consensual sexual relationship, she says she would have handled the car encounter differently.
After the Harvey Weinstein allegations broke in October, Paley said she emailed Franco to express her anger and sadness over his pointe shoe shank hardness treatment of her, They later spoke by phone, and he tried to make amends, she said, He did so by saying it was wrong for him to have a sexual relationship with someone he knew to be in recovery for substance abuse, Paley recalled, However, she said he told her he hadn’t done “anything illegal” and insisted, “I’m a changed man.”, — Violet Paley (@VioletPaley) January 9, 2018..
The Times also spoke to a dozen former Studio 4 students. While many had positive experiences to share, another former student, Katie Ryan, said the actor “would always make everybody think there were possible roles on the table if we were to perform sexual acts or take off our shirts.”. Vince Jolivette, the co-owner of Franco’s production company, Rabbit Bandini, told the Times “the school was always run professionally.”. Franco’s attorney, Michael Plonsker, disputed all he allegations made in the Times story and referred to Franco’s comments from his appearance on “The Late Show With Stephen Colbert” on Tuesday night.
Franco told Colbert that none of pointe shoe shank hardness the claims made on Twitter were accurate, though he wasn’t pressed to go into details, “If I’ve done something wrong, I will fix it, I have to, I don’t know what else to do,” he said, He also said he supports the Time’s Up movement and women speaking out, He said similar things during an appearance on “Late Night,” telling host Seth Meyers, “If I have to take a knock because I am not going to try and actively refute things then I will, because I believe in [people’s stories being heard] that much.”..
When Juan de Marcos first assembled a group of long-overshadowed Cuban musicians for Ry Cooder’s Buena Vista Social Club project in 1996 he was a generation or two younger than the brilliant cast of rekindled stars. An essential guardian of the Cuban style known as son — the foundation of salsa and a major tributary leading to Latin jazz — De Marcos crafted arrangements for the Buena Vista Social Club that perfectly framed pre-revolution innovators such as pianist Rubén González, guitarist Manuel Galbán, and vocalists Compay Segundo, Ibrahim Ferrer and Omara Portuondo.
While Portuondo is thankfully still with us, the rest of those musicians are gone now, and the 63-year-old De Marcos has taken his rightful place as an elder statesman of Cuban music, He returns to the Bay Area next week for a two-night pointe shoe shank hardness stand at Berkeley’s Freight & Salvage Jan, 16-17 fully comfortable in his role as the institutional memory of his 13-piece Afro-Cuban All Stars, “Originally, I used to be the younger member, now I’m the oldest,” De Marcos says, “It’s a mix of generations, but it’s a younger band, and they really look it.”..
De Marcos initially fell in love with American and British rock as a rebellious young teen, but he ended up dedicating himself to the family business. His father Marcos González sang with Arsenio Rodríguez, the legendary Cuban bandleader, composer and master of the Cuban tres, the small guitar-like instrument that became De Marcos’s mainstay. While studying at the University of Havana in 1976 he helped found Sierra Maestra, a band dedicated to preserving Cuban roots music, particularly son, that had fallen out of favor decades earlier. De Marcos spent two decades touring and recording with the ensemble, which also featured trumpeter Jesús Alemañy, who gained international fame after launching the popular contemporary Cuban dance band Cubanismo in 1996.
That was the year that World Circuit records chief Nick Gold sought out De Marcos to spearhead a collaboration between Cuban and West African musicians, When visa delays left the African artists stranded at home, De Marcos and the Afro-Cuban All Stars ended up recording “A Toda Cuba le Gusta,” an album showcasing stars from the 1940s and ‘50s like Ibrahim Ferrer, Pío Leyva, Manuel “Puntillita” Licea, and Rubén González, Ry Cooder drew on the same cast of players a few weeks later for the “Buena Vista Social Club” album, which brought international attention to an array of musicians who’d languished for years at pointe shoe shank hardness home, De Marcos toured with various Buena Vista Social Club iterations, but his primary creative outlet has been the Afro-Cuban All Stars, which reflects his encompassing vision of Cuban culture..