Aniversário do #M1TO! Parabéns e Obrigado Rogério Ceni

01   Rogério ceni

• NÚMERO DA CAMISA: 01
• NOME: Rogério Ceni
• ALTURA: 1,88 m
• PESO: 88 kg
• NASCIMENTO: 22/01/1973
• NATURALIDADE: Pato Branco - PR
• ESTREIA: 25/06/1993 - Tenerife (ESP) 1 x 4 São Paulo

Meu escudo é um coração de cinco pontas - vermelho, preto e branco. E eu sou apaixonado por esse time!

Atleta que mais vezes vestiu o Manto São-Paulino, Rogério é a síntese do espírito tricolor. Talentoso, competente, obstinado e único, o Maior Goleiro Artilheiro do Mundo especializou-se em bater recordes em seus mais de 20 anos no clube. Centenário, chegou aos 100 gols na carreira (56 de falta e 44 de pênalti) em uma inesquecível vitória no Majestoso, na Arena Barueri, em 27 de março de 2011.

Quando criança jogava futebol de salão em Pato Branco (PR), mas foi em Sinop (MT) que chegou ao gol, já no campo. Pouco depois desembarcava, em 7 de setembro de 1990, nas categorias de base do Tricolor. A estreia no profissional viria só três anos mais tarde, em 25 de junho de 1993, na Espanha.

"Minha estreia foi sensacional, fora do país. Torneio Santiago de Compostela, contra o Tenerife.  Era um quadrangular. Ganhamos de 4 a 1 e fomos para final", lembra o craque, o atleta que mais vezes vestiu a braçadeira de capitão do São Paulo FC.

Fã de rock e dos momentos que passa em família, ao lado da esposa Sandra e das filhas, as gêmeas Clara e Beatriz, o ídolo da torcida são-paulina é um apaixonado pelo clube. Paixão recíproca, como atestam as inúmeras homenagens da imensa nação tricolor.

Único a chegar à marca de 1000 jogos pelo clube, difícil escolher o melhor momento da trajetória do M1TO. "Todos são bons, estou tentando me atualizar sempre. Sou feliz com minha carreira e com cada momento que vivi."

Rogério Ceni. Só nós temos.

 

CURIOSIDADES

• O gosto musical do Capitão dita a trilha sonora da entrada do time em campo nos jogos no Morumbi. Desde 2010 a preferida de Rogério, "Hells Bells", da banda AC/DC, dá o tom quando o esquadrão tricolor surge no túnel saindo do vestiário
• Jogo Inesquecível: na carreira, São Paulo e Rosário (ARG) pela Libertadores de 2004. Na história do São Paulo, a final do Brasileiro de 86
• Ídolo no futebol: Sempre me espelhei bastante no Zetti. Sempre foi uma referência. Pela amizade e pelo trabalho juntos
• Ídolo fora do futebol: Michael Jordan

SEINFELD "The Best Sitcom Ever" Series - "The Soup Nazi" SEINFACT

ONE OF THE BESTS!!!!!

Seinfeld

"The Soup Nazi" SEINFACT:

Spike Feresten recalls how the Soup Nazi became a Seinfeld episode: "When you're pitching, Larry and Jerry don't want to hear pitches, they want to hear stories...

"The Soup Nazi" is the title of the 116th episode of the NBC sitcom Seinfeld, which was the 6th episode of the 7th season. It first aired in the United States on November 2, 1995.

The Soup Nazi is also the nickname of the titular character played by Larry Thomas. The term "Nazi" is used as an exaggeration of the excessively strict regimentation he constantly demands of his patrons.

EPISODE SUMMARY

The gang all loves the soup from a new, temperamental cook unofficially called the "Soup Nazi". Jerry and his girlfriend are beyond affectionate, and their nickname "Schmoopie" drives George crazy. Elaine buys an antique armoire on the street, but it is stolen while being guarded by Kramer.

Plot

Jerry, George and Elaine go out to a new soup stand Kramer has been raving about; 

its owner is referred to as the "Soup Nazi" due to his temperament and insistence on a strict manner of behavior while ordering. Jerry explains the procedure for ordering which George accepts, but Elaine rejects. En route, Elaine notices a sidewalk furniture dealer with an armoire for sale and decides to stop and buy it. However, when she returns to her building with it, the building superintendent tells her there is no moving allowed on Sundays.

When Jerry and George get to the soup stand, George follows the procedure but notices that he did not get the free bread with his soup order. Jerry tells him to let it go, but George asks for some and is told he will have to pay $2 for it. When George objects, claiming that everybody in front of him got free bread, he is told that the price for bread is now $3. When George continues to protest, he quickly has his money returned and his soup is brusquely taken back, with the catchphrase "No soup for you!"

Over the past weeks, Jerry has been annoying George and Elaine with his open affection and baby talk (calling each other "Schmoopie") with his new girlfriend Sheila (Alexandra Wentworth). During another visit to the soup stand, when Sheila will not stop kissing Jerry in the line of customers, the Soup Nazi orders her out of the line, and Jerry is forced to pretend he does not know her. When George finds out, he admits his annoyance with their "baby talk" romantic behavior to Jerry. Jerry later tells Sheila he was just joking at the soup stand and makes up with her. When George finds out, he begins to act similarly with Susan to make a point. Susan misinterprets George's intentions and thinks that George is finally enjoying showing his feelings in public, continuing to act that way after Jerry again breaks up with Sheila.

Elaine, still awaiting the chance to move her new armoire upstairs, asks Kramer to guard the piece of furniture on the street overnight. When he arrives, she goes to the soup stand to get him soup. While she is gone, some "street toughs" intimidate Kramer and steal the armoire. At the soup stand, Elaine ignores everyone's prior advice and annoys the Soup Nazi with her behavior. He refuses her soup and bans her from coming to his restaurant for one year. She returns to her building to find Kramer without the armoire.

Later, Kramer, who has become friends with the Soup Nazi, tells him the story of the stolen armoire in passing. The Soup Nazi offers Kramer an antique armoire he has in storage in his basement. Kramer gives the armoire to Elaine as a replacement for her stolen one. Elaine goes to thank the Soup Nazi for the armoire, but the Soup Nazi angrily declares that he never would have given it to Kramer if he knew it was for her—instead, he would have smashed it to pieces with a hatchet. Offended, Elaine returns home, where she and Jerry subsequently discover the Soup Nazi's secret soup recipes, which have been left behind in a drawer of the old armoire. She returns to his shop, recipes in hand and declares that she is going to destroy him and his business by exposing the recipes, gleefully revealing this in an ironically similar way he brushed her off earlier. Feeling ruined, the Soup Nazi decides to close the business and move to Argentina and starts giving away his remaining soup, which Newman and Jerry hurriedly try to take advantage of.

The character

The Soup Nazi was portrayed by Larry Thomas, 

who was nominated for a 1996 Emmy for the role. Thomas, who did not realize that the character was based on a real person, received the inspiration for his portrayal from watching Lawrence of Arabia and studying Omar Sharif's accent.

A stone-faced immigrant chef with a thick Stalin-esque moustache, he is renowned throughout Manhattan for his soups. He demands that all customers in his restaurant meticulously follow his strict queuing, ordering, and payment policies. Failure to adhere to his demands brings the stern admonition ("No soup for you!") whereupon the customer is refunded and denied his or her order. He will then yell at the top of his lungs to the next person in line, "Next!" Elaine parodies this when she reveals that she has his recipes. She says to him, "You're through, Soup Nazi. Pack it up. No more soup for you. NEXT!"

The Soup Nazi has a cameo in the Seinfeld series finale, in which his name is revealed to be Yev Kassem. He also reacts as he always does when Elaine insults his soup at the court.

Inspiration

Soup Kitchen International on 55th Street in 2008 after it closed but with the sign remaining

The character was inspired by Al Yeganeh, a New York City soup vendor who runsSoup Kitchen International in midtown Manhattan at 259A West 55th Street, near 8th Avenue, and The Original Soup Man chain of restaurants throughout the United States.

According to an Associated Press article published April 29, 2005, Yeganeh planned to open a chain of soup stores called The Original Soup Man. The first franchise opened in Princeton, New Jersey, on October 24, 2005. His company, Soup Kitchen International, plans to open 1,000 outlets nationwide.  Soup Kitchen International's original West 55th Street location was closed for many years but re-opened July 20, 2010. Al was not at the location on opening day.

Before the episode was written, much of the cast of Seinfeld (including Wayne Knight) had been to Soup Kitchen International. After "The Soup Nazi" had aired, Seinfeld and several writers went to Yeganeh's soup stand for lunch. Upon recognizing Seinfeld, Yeganeh launched into a profanity-laced rant about how "The Soup Nazi" episode had "ruined his life," and he demanded an apology. Seinfeld gave what show writer Spike Feresten described as "the most sarcastic, insincere apology" he'd ever heard. Yeganeh bellowed "No soup for you!" and ejected Seinfeld and his friends from the restaurant.

According to Nora Ephron's DVD commentary, the first pop culture reference to Yeganeh (though not by name) seems to have come years before the Seinfeld episode, in the 1993 movie Sleepless in Seattle. In the film, a magazine writer discusses writing a story: "This man sells the greatest soup you have ever eaten, and he is the meanest man in America. I feel very strongly about this, Becky; it's not just about the soup."

Cosmo Kramer's inspiration, Kenny Kramer, mentions on his own website that he agrees that Yeganeh's nickname is unfair. He jokingly suggests his nickname be changed to "Al, The Soup Rat Bastard."

Quotes

• Sheila: Well, behind every joke there's some truth. Jerry: What about that Bavarian cream pie joke I told you? There's no truth to that. Nobody with a terminal illness goes from the United States to Europe for a piece of Bavarian cream pie and then when they get there and they don't have it he says, 'Ah, I'll just have some coffee.' There's no truth to that. 
• Soup Nazi: You are the only one who understands me. Kramer: You suffer for your soup. 
• Elaine: So, essentially, you chose soup over a woman? Jerry: It was a bisque.Elaine: Yeah. You know what I just realized? Suddenly, George has become much more normal than you. 
• Elaine: (to Kramer) Street toughs took my armoire? 
• Kramer: He's not a Nazi. He just happens to be a little eccentric. Most geniuses are.
• George: Shhh! I gotta focus. I'm shifting into soup mode. 
• George: Why can't we share? Jerry: I told you not to say anything. You can't go in there, brazenly flaunt the rules and then think I'm gonna share with you. George: Do you hear yourself? Jerry: I'm sorry. This is what comes from living under a Nazi regime. 
• Jerry: The guy who runs the place is a little temperamental, especially about the ordering procedure. He's secretly referred to as the Soup Nazi. Elaine: Why? What happens if you don't order right? Jerry: He yells and you don't get your soup.
• Jerry: (to Elaine) He gave you the nice face discount. 
• Kramer: Excuse me. Ray: Are you talking to me? Kramer: Uh, well, uh, we- Ray: I said, are you talking to me? Bob: Well, maybe, he was talking to me. Was you talking to him? Because you was obviously talking to one of us. So what is it? Who?! Who was you talking to?! Kramer: Well uh, we were kind of, uh, talking to each other, weren't we? (Kramer & Jerry turn around and run away) 
• Newman: (panting) Jerry! Jerry! Jerry! Jerry: What is it? Newman: Something's happened with the Soup Nazi! Jerry: Wha - wha - what's the matter? Newman: Elaine's down there causing all kinds of commotion. Somehow she got a hold of his recipes and she says she's gonna drive him out of business! The Soup Nazi said that now that his recipes are out, he's not gonna make anymore soup! He's moving out of the country, moving to Argentina! No more soup, Jerry! No more for of us! Jerry: Well, where are you going? Newman: He's giving away what's left! I gotta go home and get a big pot! 
• 
  
• Customer: Uh, gazpacho, por favor. Soup Nazi: Por favor? Customer: Um, I'm part Spanish. Soup Nazi: Adios muchacho! 
• Soup Nazi: (to George) You're pushing your luck, little man. 
• George: Medium turkey chili. Jerry: Medium crab bisque. (George notices he didn't get any bread with his soup.) George: I didn't get any bread. Jerry: Just forget it. Let it go. George: Um, excuse me; I think you forgot my bread. Soup Nazi: Bread - $2.00 extra. George: $2.00? But everyone in front of me got free bread. Soup Nazi: You want bread? George: Yes please. Soup Nazi: $3.00! George: What? Soup Nazi: No soup for you! (snaps fingers) (The cashier takes away George's soup and gives him back his money.) 
• Elaine: You know, has anyone ever told you you look exactly like Al Pacino. You know, Scent of a Woman? HOO-AHH! HOO-AHH! Soup Nazi: Good, very good, you know something? Elaine: What? Soup Nazi: NO SOUP FOR YOU! Elaine: What?Soup Nazi: Come back, one year! Next! 
• 
  
• Kramer: Where's the soup? Elaine: The Soup Nazi kicked me out. Kramer: Oh YEAH!! 
• Elaine: You're through Soup Nazi. Pack it up. No more soup for you. Next! 
• 
  
• Newman: Jambalaya!! 
• 
  

• Soup Nazi: No soup for you, come back one year! 
• 
  

(http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2012/jan/19/kodak-bankruptcy-digital-photography?fb=optOut)

Thanks for the memories, Kodak – you made photographers of us all

The digital age of photography has been liberating, but we've lost something precious along the way

The way we were … Kodak at the beach, 1906. Photograph: Martha Cooper Collection, 2011

This is a sad day for anyone who feels nostalgic for the days of the"Kodak moment" – almost always a snapshot of a big family gathering, a perfect holiday, or a generally momentous personal event. When many of us were children in the 70s, 80s and indeed 90s, popular photographyflourished under the benevolent eye of Kodak, the once all-powerful giant that has now filed for bankruptcy protection.

For the vast majority of us, getting your photos developed meant taking the film along to the chemist and waiting a few days. When you opened the brightly coloured envelope, usually adorned with a happy kid playing with a balloon on a beach, it felt like you were opening a present. Inside were 24 shiny prints, together with their negatives. It all sounds so cumbersome now, so agonisingly slow, but at the time Kodak was almost as big a revolution as digital: cheap, easy-to-use cameras and colour film meant anyone could take treasured family snapshots. No studio was required. "You push the button," ran its slogan, "we do the rest."

The ritual of getting the film developed had two effects. It made the photographs more precious; but, at the same time, it put us in our place. We were not "photographers", just people taking snaps. To be a proper photographer, you needed your own darkroom. You needed to be able to talk about apertures. You needed a very expensive camera. And you definitely needed a tripod.

Popular cameras back then were rarely good enough to gratify any aesthetic pretensions. But on the omnipresent Kodak film, the results were bright and colourful – and above all emotional. We put them in albums. We treasured them. Well, that turned out to be a very ephemeral moment. It is so different now. Who gets their pictures printed? I keep meaning to – but there are too many. Tens of thousands. Who can even find time to edit them, crop them, touch them up, let alone print them?

The precious memory of a Kodak moment has now turned into a permanent frenzy of picture-taking that leaves us with few images of weight or sentiment once the fun is over. The best way to keep a photograph in my sight is to make it a screensaver: that's where the holiday moments end up. Even very young children can use digital cameras well. And perhaps they make children of us all. The digital camera is a toy to play with; when we're done with it, we forget about the pictures.

There is no denying, however, that this new age of popular photography is liberating. Not usually one to grab the latest gadget, I got a digital camera early on and suddenly it made photography exciting. The quality of these cameras, with their precision lenses and vast canyons of digital memory, has meant the amateur no longer feels so amateur: if a Kodak moment was sentimental, a digital moment can be staggeringly aesthetic. Thus we have gone full circle – returning to the Victorian age, when amateur photographers took themselves very, very seriously. Many people have tripods for their digital cameras; for the rest, there is the immediacy of capturing moments, then more, then more – so many beautiful images that no one gives a damn about them afterwards. Press the button. Don't bother about the rest.

Look, I'm not that nostalgic for the Kodak age. It was also a time when"art photography" surrounded itself with a pious mystique, while popular snappers were stuck with fairly low-quality images that, by their nature, could never be especially fine or beautiful. Today, we can all experiment with the wonders that cameras have become. What we do not have – and will not have – are the cherished memories that photographs used to be.