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Your Three Favorite Jazz Recordings
Here's a question I've been meaning to ask Townspeople, a question that's likely a bit outside many of our participants' comfort zone, but I hope you have the stones to answer, even with limited knowledge of the subject matter: What are your three (3) favorite jazz recordings (individual songs, not entire albums)?
Because this topic is outside my comfort zone I'm not going to be a hard ass regarding your definition of the term "jazz." If you want to suggest a vocal performance of a "standard," Chuck Mangione's "Feel So Good," or some Lydia Lunch "No Wave" track, be my guest.
On the other hand, if you really know your shit and welcome the chance to dig into this topic, I encourage you to specify the recordings you favor, not just throw out any one of an artist's dozen takes on the same track.
Before I forget, here are my three favorite jazz recordings, in no particular order:
John Coltrane, "Olé"
Ornette Coleman, "Ramblin'"
James Blood Ulmer, "Layout"
Add comments Tagged with: jazz
57 Responses to "Your Three Favorite Jazz Recordings"
latelydavidband says:
Love Supreme made me walk funny for a week. I first heard it in college and I remember it blowing my mind. It was a matter of the right music at the right time.
I'm a fan of the big bands. As a former trombonist and drum corps enthusiast, I have a soft place for the recordings of Stan Kenton. I don't know that I have a favorite, but if you put a gun to my head, I might go with Cuban Fire. Lots and lots of really loud brass, like most of Kenton's stuff.
I'm also a fan of the lesser-known Don Ellis. He was a trumpet player who really gave new definitions to "Adventures in Time. Just look him up. He had some wild ideas, but what kills me about his work is that he was able to make bands actually swing in the oddest time signatures. By the 70s, he got into the whole jazz-rock thing, like most (even Kenton) did. I guess we all have to make a buck. Even these recordings are pretty different. This guy refused to play by many rules. Probably my favorite record of his was a double called Tears of Joy. It was recorded live. At this point, he added a string quartet AND a brass quintet to his standard big band. Lots of ridiculous soloing and crazy time signatures in addition to these augmentations make for a very adventurous recording.
I love Jimmy Smith's stuff. Horace Silver. Of course, Miles. The usual stuff. Ask me tomorrow and I may give you a different answer. But Love Supreme is the one for me. I know that may be a little typical, but it's the truth.
shawnkilroy says:
Dexter Gordon-Tanya
http://www.youtube.com/watch?v=6p6lRIpL7s4
Chet Baker-Look For The Silver Lining
http://www.youtube.com/watch?v=02-8boTzMyM
The Lounge Lizards-Bob The Bob
http://www.youtube.com/watch?v=0NdU11z1HXE
Like TB I acknowledge the impossibility of answering this question. Also like him, A Love Supreme was probably the first jazz record that made a huge impact on me. Another, seemingly by way of contrast, was the great Benny Goodman Live at Carnegie Hall 1938. Unlike TB I have never warmed up to Kenton.
Today's top three is no more permanent than my top three rock songs. But:
–Charlie Parker, "Ko Ko" (1945) http://www.youtube.com/watch?v=4rMiD8UUcd0
–Grant Green/Sonny Clark, "It Ain't Necessarily So" (1962) http://www.youtube.com/watch?v=vP1iyEUyHeI
–Jazz Messengers, "Infra Rae" (1956) http://www.youtube.com/watch?v=II-b884rHJU
–Tina Brooks, "Good Old Soul" (1960) http://www.youtube.com/watch?v=IAr4P9ulv5U Been listening to this record (True Blue) a lot lately. Just great.
trolleyvox says:
This is so subject to change on an hourly basis, but as of this hour:
Philip Cohran and the Artistic Heritage Ensemble "The Minstrel"
http://www.youtube.com/watch?v=nQnHtHonavU
Lee Morgan – The Sidewinder
http://www.youtube.com/watch?v=T5jFPrx51Dc
Mulatu Astatge – Tezeta
http://www.youtube.com/watch?v=-1grVZDGXCs
tonyola says:
Jazz has always pretty much left me cold, even though I'm a sax player. I've tried for decades to get into it in all its forms and I've seen a number of jazz greats live but for the most part it doesn't evoke any sort of emotional response. I suppose I'm an uncultured Philistine, but too much of jazz is aimless noodling that ultimately bores me. But then endless and aimless noodling in rock bores me too, like "Nantucket Sleighride" and "Spoonful". Give me a little structure and things improve immensely. I do like some of the rock/jazz crossovers like Mahavishnu Orchestra.
I know it's an album and not a song so it doesn't count, but my favorite jazz recording is Carla Bley's Escalator Over the Hill. I like it because it's wildly ambitious.
I didn't care much for that first one, but the Mulatu Astatge is really great. I had never heard that before or anything by him. Thanks for that. The Lee Morgan of course is classic.
I too would give you different answers based on the hour.
John Coltrane, "Impressions" http://youtu.be/-mZ54FJ6h-k
Miles Davis, "On the Corner / New York Girl / Thinkin' One Thing and Doin' Another / Vote for Miles"
http://youtu.be/Ps0ka1tY5yg
http://youtu.be/POcsWz4GwUA
Mulatu Astake and the Heliocentrics (thanks for the reminder, Tvox!), "Masengo" http://youtu.be/aIN2NHqxjRo
A quick reminder all: if you post 4 or more links your comment is automatically held for moderation. I know Oats wasn't trying to stretch the boundaries of us listing three (3) favorite jazz tunes, but there is a reason beyond the "Links Linkerson Rule" for asking us to do so.
2000 Man says:
I don't hate Take Five by Dave Brubeck.
I don't hate Jazzman by Carole King.
I like Steely Dan.
I know, I suck. I'd sell a complete collection of original Blue Notes without even thinking about it. But I tried. jazz doesn't Rock enough.
I'm more of a female Jazz vocal fan. I know that some don't consider this Jazz, but simply popular music from the 40s and 50s.
I have a few of the Capitol Records "From the Vaults" CDs that I listen to quite a bit as dinner music. This is from "Vine Street Divas" in the series.
June Christy w/Stan Kenton "It's Been a Long, Long Time"
http://youtu.be/LwRrSr0fG_E
I was lucky enough to see Ella Fitzgerald — so I have a huge soft spot for her. She did a meet & greet before the show, and was just wonderful. As much as I enjoyed it, my 23 year-old self found it a bit sad that she was still touring when she could hardly see! But now I see that she still loved to sing and all the attention.
http://youtu.be/mQouJdvB80U
and Billie Holiday
http://youtu.be/h4ZyuULy9zs
the great 48 says:
At this moment:
1. Rahsaan Roland Kirk — The Medley (from the live album Rahsaan Rahsaan, his multiple-reed thing in its purest form.)
2. Dave Brubeck — Audrey (amazing early Paul Desmond solo)
3. Miles Davis — So What (A cliched choice, it's true, but c'mon, there's a reason why it's the most famous jazz album ever.)
I'll fess up to the fact that most of my attraction to Kenton and Ellis probably stem from my days on a marching field more than anything else. Alot of that music was exposed to me through the drum and bugle corps activity and my general attitude of "loud and fast is better" drove its appeal to me.
I always think it's funny when I see Kenton in the "easy listening" section of the record store.
So What and Kind of Blue. Both are obvious choices, but there's a reason.
Albums would have been much easier, because I'm an album guy. Here are the tracks that come to mind:
Miles Davis, In a Silent Way
http://www.youtube.com/watch?v=MMINC9EOZME
Ornette Coleman, Lonely Woman
http://www.youtube.com/watch?v=DRWfRsb4dU8
And one vocal track, Nat King Cole's Sweet Lorraine (from the After Midnight album, all of which is great btw)
http://www.youtube.com/watch?v=C65p2lgZ-MQ
This thread offers many opportunities for healing after that Blood Sweat and Tears/Sympathy for the Devil abomination the other day. I wonder how many people think they hate jazz because of BS&T.
I think I've gone on about it before, but that Mulatu/Heliocentics album totally rules. And Oats, I almost went with On the Corner too, but changed to In a Silent Way on second thought.
Yeah, I think Oats gets the Rock Nerd Points from me for that suggestion.
My favorite jazz recording is Four Brothers by Woody Herman's 2nd Herd, for not only the great sax section unison bits, the four respective solo takes, or the coolness of the answering blasts from the brass in the arrangement, but man, that percussive, jumpy little solo Woody does on clarinet kills me.
http://www.youtube.com/watch?v=hK_9otl3sZ0
Over The Rainbow by Pee Wee Russell. If you hate hearing clams, he's not the guy for you, because Pee Wee doesn't care about the spit on the reed, or controlling vibrato, or tone, and probably wings it every damned time as though he's barely heard the song before. This is actually one of his less venturesome numbers, but he still fumbles around the melody without any concern where it leads him, or whether it makes sense. Now with many musicians, that would irritate me, and I still really don't know how he makes it work, but I can't help liking him. Perhaps it's the frailty of his playing or that it makes me imagine that I wasn't such a lousy clarinet player all those years ago. It's only because of him playing this, that I realized I actually like this song.
Saturday Night by Frank Sinatra with Billy May's Orchestra. I love the arrangement, the sound of the band, the interpretation (he had done a slower, sappier version much earlier). It's not well known enough so ever I hear it except when I feel like it, so it's not like a bunch of other stuff that could be objectively better. But that's not what you asked anyway.
http://www.youtube.com/watch?v=dAVs1viu7m4
For the impossible task I picked three of my favorites, scanned my iTunes listings and picked.
Chet Baker – Let's Get Lost
http://www.youtube.com/watch?v=Q0ZBaZoBCaA
Charles Mingus – Fables Of Faubus
http://www.youtube.com/watch?v=ZI7VOdTQdUs
Lester Young – I Didn't Know What Time It Was
http://www.youtube.com/watch?v=bYtTzZusJkg
Dad loved Chet and so I've been listening to him since I was a baby. And I love his singing voice as well. Mingus needs no comment. Young to me is the best; he's not the revered sax player like others but to me he's pretty much perfect.
If I could pick one song my dad and I would "reach" on, it'd be Brubeck's Blue Rondo A Turk. I think if there was one musician in the world he wishes were still alive, it'd be Paul Desmond.
1. As you know, mockcarr, we REACH on "Four Brothers." That tune is without flaw and without peer in the big band canon, as far as I'm concerned.
2. Did you know that Billy May was a W.C. Fields-caliber drunk? Indeed, he was legendary for being able to show up at his sessions totally pie-eyed, stumble up to the conductor's lectern, and produce some of the swingin'est head charts on the spot for some of the most demanding customers in the industry. Many people have said he accomplished more drunk than could reasonably be expected of a brilliant tee-totaller.
Hey, Funoka, see what you think of this:
http://www.catherinecarraway.com/audio/Speak%20Low.mp3
My apologies if I've pimped this chick's work on here before.
I'm the jazz equivalent of someone who buys the best of the Beatles or Stones and is really content with the purchase.
So What – Miles
Ruby My Dear – The Loneliest Monk
What A Little Moonlight Can Do – Billie Holiday
Bonus track! My Favorite Things – Coltrane
"Four Brothers" is tremendous. Love those early Thundering Herd records.
Happiness Stan says:
Totally valid question, and even thought BS&T are not the culprits in my case I suspect that deep down it was somebody like them.
I've listened to Miles Davis, Coltrane, Weather Report, John McLaughlin, dozens of others, and even if two well-known jazz tracks which I'd heard before were to come on the radio and be as different in style as Captain Beefheart and
The Carpenters I would be entirely unable to make an educated guess about who had been playing on them, which is not a confession I make with any pride.
Jazz and hip-hop are the only two genres where I feel so entirely out of my depth that I not only don't know where to start, but can actually break out in a cold sweat at the thought of starting to dip a toe in to begin with.
Am I alone here?
This wasn't about taking the easy way out. Thanks for going the extra mile!
Right up my alley! Who is it?
Not at all. I know very little about hardcore Jazz and hip-hop is a mystery.
A guy I play golf with (I know, but the 19th hole is often a great place to talk music) makes fun of me because I always mispronounce artists names like Kelis and Nas.
I'm sort of like cdm, and in general I like jazz but don't know it very well. I tend to have more familiarity with older or vocal stuff. Off the top of my head, here would be my favorites:
"Nuages" – Django Reinhardt
Some version of "Green Dolphin Street"
"Lets Get Lost – Chet Baker
If Fred Astaire counts in this, I'd add "Cheek to Cheek."
ladymiss, the other day I was trying to take a mental count of how many different recordings I have of "Green Dolphin Street." I lost track. But they're all great. What a great tune.
mwall says:
Louis Armstrong, "West End Blues" (almost picked his version of "St. James Infirmary" except other people also do it well).
Bud Powell, "Glass Enclosure."
Art Pepper, "Everything Happens To Me" (from his 1981 show at the Maiden Voyage): a total toss-up for me, but I'm taking it over his studio version of "The Prisoner" (also utterly amazing) and several versions of "Over The Rainbow" from Tokyo 1979.
Haha, etc.! That talented lady is my wife! Check the rest of catherinecarraway.com for more — though I think that's her best. She's played Blues Alley a few times, and used to do high society/old money gigs around the Charlottesville area (where she used to live), 'til she got sick of it. I'm trying not to "manage" her, now that she's married to me — but I know a bunch of people in the DC trad jazz scene who have been itching to get her up on stage with them, and there are times when I wish she would, if only to let more of the world hear how great she is. Catherine rules!
I'll tell her she has another fan — and thanks. I am a proud hubby!
Have you read the Pee Wee Russell bio The Life of a Jazzman, Mock? Readable and really informed and at the right length. Helped me track down a lot of Pee Wee's music too–he was the soloist for so many different bands from the 20s into the 60s, a lot of which (the early work that is) can be found on the Classics label. Amazing to think of him coming up with Beiderbecke, with whom he was close friends, and playing with him on tunes on the 20s, and then playing with Thelonious Monk and for Oliver Nelson in the 60s and those weird last records etc–and the guy hardly ate (real stomach problems, and he lived on stewed tomatoes and milk and, of course, oceans of whiskey) for ten years.
Donald Byrd – Cristo Redentor
http://www.youtube.com/watch?v=w2KvM2T40RQ
Thelonious Monk/John Coltrane – Ruby My Dear
http://www.youtube.com/watch?v=cd656Y45Xhg
Louis Armstrong – West End Blues
http://www.youtube.com/watch?v=NmmFKu4FEbc
jeangray says:
Lounge Lizards – "Big Heart"
http://youtu.be/jRzDG5B1NBg
Mahavishnu Orchestra – "Meeting of the Spirits"
http://youtu.be/DQG7XpCiSVA
Stanley Jordon – "Flying Home"
http://youtu.be/wmlbFLt_kko
Guess, I'm a dreaded Fusion fan. I dig a lot of Trad-Jazz, but these three cuts were my gateway drug into Jazziness.
I also dig when Rock artists try to be Jazzbos — Jeff Beck's Fusion albums, Zappa's Jazz Rawk side, Jack Bruce's solo stuff, Sting's first solo album, Elvis Costello's dabbling ("Almost Blue" & my favorite version of "My Funny Valentine") and I still have a soft spot for that Chicago Transit Authority album.
machinery says:
Too many to count. But I'm cool with anything that has the typical second Miles Davis Quintet in it — so this includes a lot of stuff by Shorter and Hancock. My fav period is jazz guys in suits and ties, smaller groups, etc. The exception might be Mingus. Though Mingus alone on piano is super. Monk is the only guy (maybe with the exception of say Beethoven) who deserves the overly-used term "musical genius."
I'll have to check that book out, MWall., but with the recent Borders closeout, I've got a big stack to work through first. As usual, most of what I know of him is from liner notes, and bits here and there while reading about other guys.
I'm not much of an instrumental jazz fan. I can forage backwards though blues and folk but most jazz misses something for me. I do like a lot of vocal standards so I can go with that:
Billie Holiday "Strange Fruit". Just an astounding backstory on that track.
Frank Sinatra "All the Way" Interesting story about Billy May but I've got to go with the Nelson Riddle arrangements.
Ray Charles + Count Basie "One Mint Julep" just jumped off the first Ray Charles compilation I ever heard and Genius + Soul = Jazz is pretty great all the way through.
I have a soft spot for them, too. Plus Soul Coughing, and when Blue Note Jazz recordings started being sampled by hip hop artists.
I love Art Tatum's "Willow Weep for Me"
http://www.youtube.com/watch?v=tCx6ghqg8tg
I can't pick a favorite from Count Basie's Complete Decca Recordings (1937-39), but Jive at Five is a great one:
http://www.youtube.com/watch?v=QLZnKAjlQzQ
I'm also a big Ken Vandermark fan. He sometimes gets way out there on the edge, but "vehicle (for magnus broo)" by The Vandermark 5 blows my mind every time I hear it:
http://www.youtube.com/watch?v=FMw5zHKn86A
Yes, I've been digging on the Verve remix project quite a bit lately.
Once again misterioso confirms my suspicions. "The Minstrel" is mind blowingly good & Mulatu Astatge has been the NPR/hipster World Music go-to-guy for some time now.
Very nice – if she plays DC, I'm there. Thanks for the web site.
I get it now. You don't really like jazz, but you do like stuff by people who like jazz but don't actually play it. This is sort of how I am with country music.
sammymaudlin says:
Speak No Evil – Wayne Shorter
Kind of Blue – Miles Davis
Our Man In Paris – Dexter Gordon
It was hard to not put Coltrane's Giant Steps on and it was hard to intentionally exclude Duke Ellington as "Big Band" rather than jazz. My choice, I know.
This is a cool thread. There is so few jazz that I know of, let alone like and this list gives me a chance to poke around some more.
Bobby Bittman says:
So, now this is Jazz Town Hall? Hopeless…
Given that Basie from the late 1930s rocks harder than a lot of "rock" music, I'm not worried.
And this comes from the Grant Green fan. You are precious misterioso.
Yeah, me and Chrissie Hynde. But, yes, I would say Green's records as a leader or as a sideman up to '64 or so are mostly tremendous. (His later stuff does not interest me.) Idle Moments, Street of Dreams, all the stuff with Sonny Clark, etc., are just great. But feel free to tell me otherwise.
"Lonely Woman" is incredible! Those harmonies between the sax & trumpet, plus Charlie Haden on bass. Coleman got a little too "out" there later in life, but this is jus' perfect.
WoW! I was not familiar with Vandermark, but this track is astoundingly good. Thanx for the heads up.
My point was that by his own admission, Grant considered himself to be a Blues guitarist that somehow stumbled into playing Jazz. Hence a forefather of Fusion, one might say…
Hey! That Wayne Shorter track is da bomb. I'm not so familiar with his solo stuff. That one's a keeper, I'll have to check out the whole album. Thanx.
Ahh, could be, but I'll try not to let that diminish my admiration for his work. But it won't: Miles is virtually the father of fusion and my lack of interest in most of his post-1968 work has never lessened my appreciation of everything that came before.
Dude. That's so… "Dylan Goes Electric" of you.
Yes, guilty as charged, I suppose. But I mean, it isn't like I am sitting at home yelling "Judas" over Weather Report or Return to Forever records. They don't anger me: they just don't interest me. I recognize the fact that "music must change" and all that good stuff. In theory.
News You've Probably Already Heard: Sylvia Robinson, Godmother of Rap, Dies Ha, ha, ha, ha, ha ..


There's a YouTuber tag going around called "50 Facts About Me" and I wanted to join in. But, I'm not YouTube ready! But, I'd like to share some fun tidbits about myself if you're willing to learn!
I like things in multiples of three, especially 15 of anything. 9 and 15 are my "lucky" numbers.
Because of my three fascination, I've actually noticed I get restless every three years and ache for change.
While I'm still adamant I'd like to be a published author, I still secretly wish I had majored in theatre & become a struggling Off-Broadway actress, mercilessly slinging Shakespeare or contemporary theatre to those who live for that type of thing.
One of these days, I'm going to learn how to tap dance.
When I was a child, I ate anything that was given to me, including steak & kidney pie, or liver, or fresh mussels. I'm sure my parents still have a picture of me from when I was about 5 or 6. In my wet raincoat, I was looking incredibly feral and canine, with a hand in a bucket of mussels and the other hand stuffing a mussel in my mouth. I remember that night vividly.
I'd happily eat nothing but broccoli, cauliflower, cucumber, and lentils for the rest of my life. Those four foods are what I crave most.
I used to run competitively (and hard) between the ages of 12 and 18. The moment I graduated high school, I swore off running for a very long time.
For my 31st birthday, I registered myself to run my first official half-marathon. This is a distance I was very capable of running as a teen and did so a few times to blow off steam. I'll be running the 13.1 miles in less than a month.
I can't help myself when it comes to collecting books. I have a hideous amount of books I've bought over the last ten years that I've yet to read. A week ago, I made a promise to myself to not buy any more books until I've read twenty of the books on my bookshelf.
The book that changed my life is Taming The Beast by Emily Maguire. For those of you who didn't pay attention in English in high school, the title pays homage to my favorite Shakespeare play, Othello. Ms. Maguire's book was jarring, unnerving, and emotional. I feel that this book came into my life just at the right time. I was destined to read the book when I did. I is a permanent fixture on my bookshelf, even if I haven't re-read it yet.
The quickest way to get me out of a crabby mood is to wave peppermint essential oil under my nose for 15 seconds.
I think Mark Rothko is a genius and hope that all of you get to have a moment of peace with one of his paintings.
I have an ear for (Western) European languages, even though I don't spend anytime learning, practicing, and seeking them out. I hope that my wanderlust allows me the chance to finesse my francais and become more comfortable with my espanol and relearn conversational italiano and machen ein paar bier in deutschland mit freunden. I'm grateful to work with many native Spanish speakers. I desperately want to know what they're talking about, so I force myself to figure out what they're saying.
I hate long, overly crafted nails. I think they are unattractive and useless. Nails that go just above the tips of your fingers are fine. I naturally assume a person with overly crafted nails don't want to get their hands dirty or lift heavy boxes or do manual labor. With that said, I keep my nails short, and every time I try to grow them, I fail.
My favorite household chore is doing dishes. I could easily live without a dishwasher, as I keep it basic and love doing dishes by hand. Some people knit. Others paint. I do dishes to calm down or distract myself on a bad day. It is such a simple chore that it doesn't feel like a chore.
As a child I hated milk with my cereal. I would either eat it dry or use orange juice. To this day, I still love Cheerios in orange juice.
Just over a decade ago, I wanted to open a bookshop/cafe that featured art from high schoolers up to recent college graduates, as well as hosting a bi-monthly Salon and a bi-weekly open mic. I still do, and waxed mildly poetic about it in a post at A Life In Paperback.
If I don't have to wear shoes, I won't. The shoes are on only at work or while I'm exercising or am in a place of business where social etiquette requires people to wear shoes.
I don't like driving, unless I'm driving long distances. I'd be happy to settle in a major metropolitan area with a strong public transportation system. Or in a contemporary commune that is able to sustain each and every resident.
I'm convinced I was born 30 years late. The history of the 50's-70's in Western Society and amazing cultural & political changes that happened were amazing and seeing all of that happen first hand would have been amazing.
I seem to always root for the underdog. Brian Kinney from the US version of Queer as Folk is my favorite underdog. He was incredibly selfish, pretentious, arrogant, and guarded. But, deep under that really hard veneer was a huge softy. In fact, I like the idea of doing a podcast about underdogs in literature, film, and TV.
Video games baffle me. Sure, I understand that satisfaction of competition & completing tasks. But, sitting at a computer or at a TV to get that kind of satisfaction doesn't appeal to me. I'd rather have some sort of physical or financial reward for completing tasks and having a healthy sense of competition. I'd rather play a game of touch football than play Halo.
I'm not going to take up anymore space. I'm going to make this a two parter! And, to be special, Part 2 is at my other blog, A Life In Paperback. To find out more about me, wonder over there!!


text:
Advances in CPU Performance Scaling - Rafael Wysocki, Intel
Quite significant and radical changes were made in the kernel's CPU performance scaling subsystem (CPUFreq) in 2016. Most importantly, it was switched over from using deferrable timers to a new control flow based on governor callbacks invoked by the CPU scheduler. That change made it possible to clean up the CPUFreq core substantially and to add more functionality on top of it. Among other things, there is a new CPUFreq governor called schedutil that makes decisions based on the CPU utilization metric used internally by the CPU scheduler. Currently, work is in progress to implement energy-aware scheduling (EAS) on top of it. In addition to that, all of the CPUFreq governors receive hints from the scheduler which allows them to optimize decisions in some cases. That opened up another path for improvements, in particular in the intel_pstate driver that has undergone substantial modifications recently as well. All of that leads to an optimistic outlook on the future of CPU performance scaling in Linux.
Rafael Wysocki
Software Engineer, Intel
Rafael maintains the Linux kernel's power management infrastructure and the core ACPI support code. He works at Intel and focuses on the mainline Linux kernel development. Rafael has been actively contributing to Linux since 2005, in particular to the kernel's suspend/hibernate... Read More →
advances in cpu perf scaling pdf

redpajama_set_name: RedPajamaCommonCrawl


text:
Skyline Divide
Skyline Divide, located near Glacier, WA, is a breathtaking hike with beautiful wildflowers in the summertime and unparalleled views of Mount Baker, Mount Shuksan, and the North Cascades. My friends Grace and Margaret had never hiked it before, and after finding out a tree that had been blocking the road had been removed, we decided to go for it! At 5:00 a.m. on Saturday, July 29th, we all met up at the Ash Way Park and Ride, piled into my Subaru with Margaret's dogs, Heidi and Badger, and headed for the trailhead.
We started our hike a little after 8:00 a.m., ascending 1500 feet over 1.9 miles on the moderately steep, mostly shady trail. As we emerged onto the ridgeline, we stood in awe at the phenomenal views of Mount Shuksan and Mount Baker, and meadows of aster, bistort, lupine, phlox, and other wildflowers blooming along the hillside. Mini snowfields dotted the ridge--not big enough to require microspikes, but a nice size for Heidi and Badger to roll, play, and eat snow from :) We hiked another 2.7 miles along a rolling series of knolls, reaching the last knoll at about 12:00 p.m.
Tired, hot, and exhilarated, we soaked in the commanding views of Mount Baker, Colfax Peak, Lincoln Peak, and the Twin Sisters Range to the south, Mount Shuksan to the east, Tomyhoi Peak and Mount Larrabee to the northeast, and Church Mountain to the northwest. Coleman Glacier was just visible too, and we enjoyed the perspective of seeing the Heliotrope Ridge Trail and the Coleman-Deming climbing route to the summit of Mount Baker.
After lunch--and a lot of bug swatting--we started hiking back at 1:00 p.m. and reached the car a little before 4:00 p.m. Overall, we clocked a 9.2 mile roundtrip hike with 3300 feet cumulative elevation gain.
All in all, it was a fantastic day! The weather was clear and we had phenomenal mountain views. We all enjoyed the company of the dogs, and ended up playing with fetch them in the snowfields with snowballs and making our own snow angels. Eventually we just sat in the snowfields for a while to cool off, too :)
A few tips and thoughts:
A nice place for a pit stop on the drive to the trailhead is the Glacier Public Service Center, whose restrooms are generally open and clean early the morning. There is one vault toilet at the trailhead too.
Bring a hat, sunscreen, and extra water; the trail is fully exposed with little shade along the ridgeline.
Wear long pants, a long-sleeve shirt, and bring bug spray to help deflect voracious bugs.
A nice post-hike treat is an ice cream cone at Graham's Store in Glacier. Grace and I liked their maple nut ice cream.
An early, 8:00 a.m. start at the trailhead gave us lots of quiet time--we encountered only three people on our way to the summit, versus upwards of 20-30 people on the way back. The trail never felt crowded.
A Northwest Forest Pass is required to park at the trailhead. An America the Beautiful Pass will work too.
Tagged: wildflowers, mountains, mount baker, mount shuksan
Berkeley Park
Lodge Lake


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Thank you for this post…. I'm making the same thing with multiple blogs and your tutorial helpt me a lot.
I am able to login using the main sites logins to both wordpress installs but unable to share the cookies between the domains. Ie I have to login and logout separately to each install. Loging in into the main site does not log me into the job site. I have to relogin meaning the cookie is not shared.
After upgrade to newer version for eg wordpress 2.8 to 2.9 , Will this hack work?
Loging in into the main site does not log me into the other wordpress installation site. I have to relogin meaning the cookie is not shared.
i wrote a similar blog post on my experiences getting unified login to work across multiple WordPress installs.
i sited this post as additional resources / further reading..
i was looking for one of such guide, recently i am planning for another blog and i want to link them. Hopefully, this will help me in doing so.
This seems like a lot of hacking… good tutorial. but why not wrap it into a plugin then add the plugin to both installs. with the URL of the added URL?
And if you have the tables in differents databases ?
Have you had any luck with wordpress 3.0.1??
Getting the "you do not have sufficient privileges" error on WP 3 after going through these steps. Any suggestions?


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Hi everyone. I hope that you are all well. Yesterday I tried out some more of the freeze dried meals. For my main course I had the Backpacker's Pantry Spaghetti and Sauce, and for desert I had the Mountain House Custard with Mixed Fruit. Once again they were really tasty and I will be happy to eat them during the MDS. I still have more varieties to try, and will do so after finishing this post.
In addition to kit testing by means of eating I have also been doing more training in full gear (except for the shoes as I wanted to see if my blisters the other day were caused by the larger race shoes or by the new socks). Luckily it has been warm enough that I can get away with wearing just my Nike Tempo 2 in 1 shorts and RailRiders Ecomesh top. Having now done 3 decent training runs in full gear I can give a better idea of how the kit is faring for me. I can report back that the Oakley Eye Jacket XLJ sunglasses now feel really comfortable and are not making any tender spots above my ears like they did the first time. My feet are also very comfortable in the Injinji toe socks and no further pilling has occurred since the first run. Since I am now running in the PT03 winter version shoes and they are the correct size, I can only assume my awful blisters after the first run were caused by wearing the PT03 desert shoes I will be using in the MDS that are one size larger. I will try to wear the desert shoes some more times so that my feet get used to them, but running around town in long gaiters still feels a bit strange. The shorts and top feel very comfortable, and the rucksack fits well. All in all I am now very happy with my kit choice.
My run yesterday was 22km (5km with Anny where she set herself a new PB and then 17km by myself). I ran up and down the Uetliberg a couple of times, but not all the way to the top, and the total elevation gain over the 22km was 597 metres.
That run was followed today by a 21km run towards Forch, with 327 metres of elevation gain. Both times I was carrying my rucksack with all the food and gear in it, plus 1.5 litres of water. I tried not to drink the water I was carrying and instead to drink from the water fountains so that I can get used to the extra weight. Don't forget that I don't yet have the energy gels in my pack and they will weigh 20 times 33g so 660g or so. The average weight of water I will be carrying in the MDS will be 0.75kg, since we will be given 1.5 litres at each checkpoint and I will try to drink it evenly between the checkpoints so that it is finished by the time I reach the next checkpoint. That means that I was carrying enough extra water today throughout the run to compensate for the weight of the energy gels that I will put in my pack.
In terms of energy gels I have decided to go with a mixture of Gu and Gu Roctane Gels. Gu Roctane is a lot more expensive but contains extra ingredients such as caffeine and food stuffs that aid recovery. Gu suggest that you mix the two and that is also a cheaper option than consuming Gu Roctane gels alone. They will be arriving in the post next week and I have ordered plenty of spares to play around with in training. They contain 100 calories each and weigh 33g so are quite energy dense. That will be an extra 2,000 calories or so, making around 17,000 in total now.
I plan to do another run of 21km tomorrow wearing full kit. I will try wearing the desert shoes again and maybe put on an extra pair of socks to reduce the amount my foot slides around. But now folks I am off to go and try more of the freeze dried meals - yum yum. Enjoy the rest of your weekends.


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Site Home Page Board index Other The Lists Project
1970s List Discussion and Suggestions (Lists Project Vol. 3)
An ongoing survey of the Criterion Forum membership to create lists of the best films of each decade and genre.
Re: 1970s List Discussion and Suggestions (Lists Project Vol
#851 Post by Black Hat » Tue Jan 28, 2014 4:33 pm
As one who only made a list as opposed to actively participating it comes as no surprise how many films I love that I totally forgot about, I'm looking at you Alfredo Garcia, but in any case here's mine.
1 Zerkalo
2 Discreet Charm of the Bourgeoisie
3 The Godfather
4 Cries and Whispers
5 Celine and Julie Go Boating
6 Chinatown
7 Carnal Knowledge
8 The Mother and the Whore
9 The Godfather Part 2
10 French Connection
Also Rans
F for Fake
The Devil, Probably
Out 1
India Song
The American Friend
matrixschmatrix
#852 Post by matrixschmatrix » Tue Jan 28, 2014 4:34 pm
Goodness, I should have fought harder for my babies- it always seems to have a noticeable effect on how they place when I do.
My top ten:
1. The Long Goodbye (Robert Altman, 1973)
2. F for Fake (Orson Welles, 1973)
3. The Godfather, Part 2 (Francis Ford Coppola, 1974)
4. Taxi Driver (Martin Scorsese, 1976)
5. The Conversation (Francis Ford Coppola, 1974)
6. The Conformist (Bernardo Bertolucci, 1970)
7. Badlands (Terrence Malick, 1973)
8. Solaris (Andrei Tarkovsky, 1972)
9. Night Moves (Arthur Penn, 1975)
10. Nashville (Robert Altman, 1975)
Also-Rans and Orphans
2. F for Fake (Placed #167)
This is the one that hurts the most. This movie is high in the running for my favorite Welles, and my favorite films overall- and not only did it not make the list, but it dropped precipitously from the last list. Is it a matter of timing, since it was a relatively recent release then, and has had no updates since?
At any rate, this is a brilliant movie, cleverly playing with form without ever being tiresomely metafictional, and raising philosophical questions about the meaning of realness and authenticity as forcefully (and with rather more humor, to my eyes) as any Kiarostami film. I was assuming everyone was familiar with it, but if you're not, seriously go seek it out- I've never met anyone to whom I recommended this that didn't enjoy it.
12. The Muppet Movie (Orphan)
I suppose that I have only myself to blame for this one, though- I imagine it's one a lot of people have watched, but few have thought of as potentially great. It's a film I'd have a soft spot for regardless, but (not unlike F for Fake) it is also a movie where the fake real and the real fake collide in really interesting ways, plus also it's got a really funny Steve Martin cameo.
19. The Last Waltz (Placed #206)
I suppose concert movies are always going to be a hard bet- even if people have seen it, they have to like both the moviemaking and the actual music, which is sort of a bonus layer of contention. Nonetheless, this is pretty well the gold standard of concert movies (along with Stop Making Sense, which had damned well better not be an also ran) and Scorsese makes something larger than life about a bunch of coked up dadrockers (I love them so) and shapes the material make it feel like a Scorsese movie, a movie wherein desperate and perhaps unlikable people find a certain measure of grace. And I love the music, so what the hell.
21. Cabaret (Placed #214)
I can see where this one isn't necessarily everyone's favorite- outside of the scenes set in the cabaret, it's good, but not convincingly amazing. For me, though (along with practically every theater kid I've ever met) the in-cabaret scenes are an endless delight- Fosse does us the favor of shooting dance scenes where you can see the dancers' feet, along with everything else that's going on, rather than endlessly cutting in, and the routines are marvelous, minimalist things that feel like they could have been performed at the time (though stylistically nothing like what there would have been, mostly) and convey the expressiveness of the human body as well as the most explosive Berkeley routine. It's a movie that lives in a dark time and doesn't shy away from it, but which also doesn't overly fetishize fascism or fear.
26. The Taking of Pelham One Two Three (Placed #277)
27. The Man Who Would Be King (Placed #108)
I think I may value movies that are wonderful entertainment and not necessarily a lot beyond that more than some of the other members of the board, which is fine, I think. Pelham is one of the innumerable super New York-y movies this decade- Taxi Driver, Manhattan, Dog Day Afternoon and so on- but it makes a joke of that quality, out of racial tension, bad cops, good cops, and terrorism, without ever being flip about any of them, or losing any of its tightness as a thriller. The Man Who Would Be King is a movie that takes two really entertaining actors and a situation that inherently has some super regressive political implications and just sort of has them go for it- and because the performances are from a couple of very silly (though loveable) people, and doesn't try any special pleading, the result feels far less racist than some movies that try their best to be progressive. And it's fun as hell.
28. Silent Running (Orphan)
Yeesh, I have to stop assuming that anything released by Criterion or MoC doesn't need defending. This is a movie with a sort of silly, dated premise that nonetheless treats everything about it with utmost seriousness, and winds up being as moving a portrait of a man who's lost in himself trying to do the right thing as any of the detective movie portraits of despair that wound up placing much higher (and I love those too, obviously.) It's also a wonderful looking movie, with little fiddly bits all over the place and charming little robots and greenery that convinces you that maybe trees could be more important than people, who knows.
33. Foxy Brown (Orphan)
Here, I thought the Arrow blu would give it some notability. Arrgh. Well, anyone who hasn't seen this, it's a real delight, and my favorite of its subgenre. It's hard to describe the pleasures of blaxploitation without being repetitive, but at any rate, this one moves really well, and doesn't have a lot of elements that stick out as problematic (aside from some unpleasant sexual menacing towards Grier, but she does at least come out of the situation well.) Again, though, I also just seem to value terrific entertainment that doesn't necessarily do much more than that more than others, which is still fine.
35. The Friends of Eddie Coyle (Placed #288)
A hard, quiet movie about a hard, quiet man. It's worth watching.
37. Gimme Shelter (Orphan)
Concert movie syndrome again? This is a powerful movie and I hope it fares better on the docs list (though I was negligent in voting for docs myself.)
39. New York, New York (Placed #266)
It's a flawed movie, but a very alive one, and I really love Liza Minelli in it. I guess I can't argue with people who didn't care for this one too hard, but what the hell, I like it.
40. Grey Gardens (Placed #123)
Huh, this one's definitely a surprise. I assume people know about this one, but I can see where it's not to everyone's taste. If you're not familiar with it- it's one of the Maysles best, and they do a wonderful job of allowing us to see the humanity of people that might otherwise seem like campy old cat lady types, without necessarily pressing us to like them.
41. Enter the Dragon (Placed #293)
I'm guessing this one is due to my lack of depth in this genre, rather than nobody knowing about this one, which is fine. This is still an incredibly fun movie, though I wish John Saxon had gone out early and Jim Kelly had made it out- Saxon's not, uh, the most convincing fighter. It was funny to notice to what degree this is almost a Dr. No remake when last I watched it, though.
42. The Outlaw Josey Wales (Placed #184)
43. A New Leaf (Placed #187)
44. The AristoCats (Orphan)
45. Tinker, Tailor, Soldier, Spy (Orphan)
47. Life on Earth (Orphan)
48. What's Up, Doc? (Placed #191)
49. Trafic (Orphan)
50. Rolling Thunder (Orphan)
I'm going to try and edit in some writeups for these later, but good Lord I did not do well in my lower reaches.
#853 Post by Dylan » Tue Jan 28, 2014 4:38 pm
I'm absolutely amazed that a few regular contributors here voted for Obsession, which I've loved (especially the score) for more than half of my life, but most De Palma fans consider it their least favorite (or one of). It made my top five. I imagine it will be like Seconds and really garner a lot of love once (if?) a new R1 release becomes a reality (given the recent 2k restoration I'll assume something of the ilk is in the works).
Who else voted for Veruschka?! Given its availability outside of screenings (a terrible-looking bootleg) I was expecting that to be an orphan but it was also-rans. It's an amazing movie that I had the chance to see a decent version of, and maybe someday a decent release (be it a broadcast or DVD/blu) will surface.
1. Manhattan
2. The Landlord
3. Carnal Knowledge
4. The Last Picture Show
5. Obsession
6. Annie Hall
7. Picnic at Hanging Rock
8. Interiors
9. Sybil (also Orphan)
10. Deep End
Orphans:
9. Sybil (there was some discussion about this so I know I'm not the only one who has seen it.)
11. The Strawberry Statement (had I not completely lost track of time in relation to the 70s list deadline I would've absolutely prepared a spotlight post on this, so I blame myself for it being an orphan. If you get the chance to see it via the Warner Archive release, be sure to watch the theatrical cut & not the longer, full screen version, which adds in unnecessary material)
24. Rider on the Rain (a rare Rene Clement film, but a blast if you ever get the chance to see it. Try to find a good-looking widescreen version as there are terrible prints floating around in the public domain)
26. The Exorcist (I guess this is "classic" enough to not need any more fans, but... really? I'd say it's about as good as The Godfather.)
34. The Duelists (my favorite Ridley Scott)
36. La Luna (Bertolucci's final masterpiece - opera, incest, melodrama - he goes all out and makes an absolutely beautiful film on top of it. He hasn't come close since.)
37. The Last Woman (extremely fascinating and creepy - Depardieu and Ornella Muti are both great. Sadly there isn't a decent version out there to watch, and what I watched combined some foreign broadcast with a VHS French dub, so I can see how nobody has seen it [or seen it recently].)
38. The Sailor Who Fell From Grace With the Sea (I know Domino saw this and hated it. I saw it a few years ago, was intensely creeped out by it, and haven't forgotten it. It also looks beautiful.)
41. A Day in the Death of Joe Egg (Alan Bates is forever my guy crush and this is his very greatest work)
47. Two English Girls (I think the lack of a decent R1 doesn't help)
49. Spoiled Children (My favorite Tavernier, and one of the best Piccioli performances)
My "crazy" #50 spot was The Beguiled, which I adore, and also find to be extremely creepy (I would use "creepy" to describe a lot of great 70s films, actually).
Last edited by Dylan on Tue Jan 28, 2014 4:44 pm, edited 2 times in total.
#854 Post by swo17 » Tue Jan 28, 2014 4:39 pm
A few responses to zedz:
The Man Who Left His Will on Film is available on Criterion's Hulu channel.
Traveler and New Book were regrettably the last two films that got edged off of my list.
The vote splitting for Frampton was interesting, with votes for three different parts of Hapax Legomena as well as one for the whole thing (by someone who had seen all of it). If that had been more readily available, I wonder if some might have switched out their votes. If all the votes for individual parts of Hapax were combined into a single film, it would have placed 49th in the top 100.
Duvidha actually did very well, appearing on five lists. In fact, it was in the top 100 until the very last list submitted pushed it off. And note that another Kaul film (which you now own if you bought the Duvidha DVD) placed as an also-ran.
Finally, The Stone Wedding is most certainly not a stoner comedy. More of a Wedding Crashers type thing.
Last edited by swo17 on Tue Jan 28, 2014 4:55 pm, edited 1 time in total.
Cold Bishop
#855 Post by Cold Bishop » Tue Jan 28, 2014 4:42 pm
matrixschmatrix wrote: It's hard to describe the pleasures of blaxploitation without being repetitive, but at any rate, this one moves really well, and doesn't have a lot of elements that stick out as problematic
Dammit... now I remembered Black Caesar. Which made me remember Larry Cohen. Which makes me regret that I didn't put either that or The Private Files of J. Edgar Hoover on my list.
#856 Post by domino harvey » Tue Jan 28, 2014 4:44 pm
Swo, maybe I missed it, but how many submitted lists?
I've only said it three times now, but 34.
Swo, when is Criterion releasing Bottle Rocket?
zedz
#859 Post by zedz » Tue Jan 28, 2014 4:59 pm
swo17 wrote: Duvidha actually did very well, appearing on five lists.
Mexican wave!
#860 Post by Yojimbo » Tue Jan 28, 2014 5:17 pm
zedz wrote:
1.	Mirror (Tarkovsky, 1975)
12.	Effi Briest (Fassbinder, 1974) ALSO-RAN: The traditional problem with Fassbinder used to be vote-splitting, but it looks a little like his profile as a whole might be on the wane. I would love to see this visually stunning film in a crisp new HD transfer.
OTHER ALSO-RANS
30.	La Gueule ouverte (Pialat, 1974) Is it just a coincidence that the grimmest films on my list are the ones that struggled hardest for support?
33.	Cockfighter (Hellman, 1974)
37.	Kings of the Road (Wenders, 1976) So, does this mean that Criterion's strategy with Wenders' great 70s films is to let them lapse into such complete obscurity that they can then be credited with their rediscovery?
OTHER ORPHANS
23.	A Walk through H (Greenaway, 1978) I actually watched this again just before the close of voting to check that it still had the weird magic I found on first seeing it so long ago, and. . . yep. If Greenaway had stayed as smart and funny and imaginative as this, I'd still be a fan.
31.	Oh! I Can't Stop! (Rybczynski, 1975) Well, let me revise my earlier sentiment. Not only were the grimmest films on my list out on their own, but so were the funniest. Do you think I need to seek psychiatric help?
34.	Abigail's Party (Leigh, 1977) Case in point. Angela likes Demis Roussos. Tony likes Demis Roussos, and Sue would like to hear Demis Roussos. What's your fucking problem?
Mirror used to be my second-favourite Tarkovsky - and was even pushing for a place in my All-Time Top 10 - now it's been leap-frogged by Stalker': I just love the insidiously seductive storytelling in the latter; and the way that he can say so much with so little
I must dig out Effi Briest: I can't think why I haven't already watched it - and 'Ali'.
For years I'd been somewhat indifferent to Fassbinder - largely based on his early 80s successes - but then I started trawling through the box-sets of his early films, and I became a fan.
Anybody else think 'Katzelmacher' was a direct ancestor/inspiration for 'Slacker'?
See above for La Gueule ouverte
37.	Kings of the Road (Wenders, 1976)
Makes for one helluva double-bill
Agreed about Greenaway; although I'm not sure I've seen that one.
I remember when I saw the first (tv) screening of Abigail's Party, when it was a major national event
Actually there was an old childhood buddy of mine who looked a lot like Demis Roussos; and wore a similar hat and poncho.
I still love - and occasionally sing in the shower - 'My Friend The wind'
Dylan wrote: I'm absolutely amazed that a few regular contributors here voted for Obsession, which I've loved (especially the score) for more than half of my life, but most De Palma fans consider it their least favorite (or one of). It made my top five. I imagine it will be like Seconds and really garner a lot of love once (if?) a new R1 release becomes a reality (given the recent 2k restoration I'll assume something of the ilk is in the works).
I love The Beguiled, also - and it almost made it - but I'll always love 'The Gauntlet', which I had to squeeze in; Clint's 'Josey Wales is among my 'aristocracy', but being a long-time Western fan from my boyhood, it was always going to be.
Obsession's ending hit me like a sucker punch; but it still almost made the 50
#862 Post by the preacher » Tue Jan 28, 2014 5:25 pm
Thanks for the hard work.
My apologies to the voters of the following orphans, they were all last minute discards:
Adelheid (František Vláčil, 1970)
Farewell, My Lovely (Dick Richards, 1975)
Milano calibro 9 (Fernando Di Leo, 1972)
A River Called Titas (Ritwik Ghatak, 1973)
The Wind and the Lion (John Milius, 1975)
The 70s is the weakest decade for me, so I was expecting the emergence of some exotic titles (the top 100 was just a dream, as swo explained earlier about the safe choices):
Xala (Ousmane Sembene, 1974) 89/4/20/New
The Dupes (Tewfik Saleh, 1973) 80/2/11(x2)/New
Still Life (Sohrab Saless, 1974) 70/3/14/New or The Cycle (Dariush Mehrjui, 1978) 69/2(1)/2/New
Manila in the Claws of Light (Lino Brocka, 1975) 58/3(1)/9/New (even if I voted for Insiang )
Love (Károly Makk, 1971) 77/4/18/-97
My Orphans:
The Yakuza (1974)
Insiang (1976)
La muralla verde [The Green Wall] (1970)
The Railway Children (1970)
The Last Valley (1971)
La Patagonia rebelde [Rebellion in Patagonia] (1974)
Iko shashvi mgalobeli [There Once Was a Singing Blackbird] (1970)
Soldaat van Oranje [Soldier of Orange] (1977)
Joe Hill (1971)
A Intrusa (1979)
Tatlong taong walang Diyos [Three Years Without God] (1976)
A zori zdes tikhie [The Dawns Here Are Quiet] (1972)
Les choses de la vie [The Things of Life] (1970)
Ankur [The Seedling] (1974)
Osenniy marafon [Autumn Marathon] (1979)
Osânda [The Punishment] (1976)
Selvi boylum, al yazmalim [The Girl with the Red Scarf] (1978)
Reipu 25-ji: Bôkan [Rape! 13th Hour] (1977)
The remainder of my list
21	Night Moves (1975) Arthur Penn
22	Days and Nights in the Forest(1970) Satyajit Ray
23	Frenzy (1972)	Alfred Hitchcock
24	Salo	Pier Paolo Pasolini
25	Mean Streets (1973) Martin Scorsese
26	Tristana (1970) Luis Bunuel
27	Fat City (1972) John Huston
28	Fox and His Friends	Rainer Werner Fassbinder
29	Profondo rosso (1975)	Dario Argento
30	New York, New York	Martin Scorsese
31	Assault on Precinct 13 (1976) John Carpenter
32	Kings of the Road (1976) Wim Wenders
33	Lone Wolf and Cub: Sword of Vengeance	Kenji Misumi
34	Suspiria (1977) Dario Argento
35	Mad Max (1979) George Miller
36	Klute (1971) Alan J. Pakula
37	Female Prisoner #701: Scorpion (1972) Shunya Ito
38	The Promised Land Andrzej Wajda
39	Supervixens (1975) Russ Meyer
40	Le boucher (1970) Claude Chabrol
41	That Obscure Object of Desire (1977) Luis Bunuel
42	The Ballad of Cable Hogue (1970) Sam Peckinpah
43	Farewell, My Lovely (1975) Dick Richards
44	Even Dwarfs Started Small (1970) Werner Herzog
45	Phantom of the Paradise (1974) Brian De Palma
46	A New Leaf (1971)	Elaine May
47	Aguirre, der Zorn Gottes (1972) Werner Herzog
48	Rabid Dogs (1974) Mario Bava
49	Les valseuses (1974) Bertrand Blier
50	The Gauntlet (1977) Clint Eastwood
tojoed
#864 Post by tojoed » Tue Jan 28, 2014 7:06 pm
My number 1 was California Split, which I've talked about in the Altman thread.
A wonderful comedy about gambling in particular, and addiction in general, mainly because the people involved (Walsh, Altman and Gould) knew it well. Very funny and ultimately sad, if not tragic.
I had 13 orphans, some of which I expected, and some that were quite surprising :
Big Wednesday (Milius. 1978)
Breaking Away (Yates, 1979)
Calmos (Blier, 1976)
The Fury (De Palma, 1978)
GoYH (Blier, 1978)
Green Room (Truffaut, 1978)
Late Show (Benton, 1977)
Made (McKenzie, 1972) - Ah, shame.
Next Stop, Greenwich Village (Mazursky, 1976)
Richard Pryor, Live in Concert (1979)
Shampoo (Ashby, 1975).
Spider's Stratagem (Bertolucci, 1970)
The Warriors (Hill, 1979).
and here's those on my shortlist, that didn't make my 50
(listed alphabetically, by director first name)
The Parallax View (1974) Alan J. Pakula
Remember My Name (1978) Alan Rudolph
Family Plot (1976) Alfred Hitchcock
Mirror (1975) Andrei Tarkovsky
Solyaris (1972) Andrei Tarkovsky
Wanda (1970) Barbara Loden
Maîtresse (1976) Barbet Schroeder
Il conformista (1970)	Bernardo Bertolucci
Strategia del ragno (1970) Bernardo Bertolucci
Bill Douglas Trilogy (1972)	Bill Douglas
Cabaret (1972) Bob Fosse
Lenny (1974) Bob Fosse
Sisters	Brian De Palma
Cría cuervos (1976) Carlos Saura
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)	Chantal Akerman
Juste avant la nuit (1971) Claude Chabrol
High Plains Drifter (1973) Clint Eastwood
The Silent Partner (1978) Daryl Duke
The Brood (1979) David Cronenberg
Shivers (1975) David Cronenberg
Charley Varrick (1973) Don Siegel
The Shootist (1976) Don Siegel
The Beguiled (1971) Don Siegel
The Heartbreak Kid (1972) Elaine May
Grey Gardens (1976) Ellen Hovde, Albert Maysles, David Maysles and Muffie Meyer
Le genou de Claire (1970) Eric Rohmer
L'amour l'après-midi (1972) Eric Rohmer
Gates of Heaven (1978) Errol Morris
Amarcord (1973) Federico Fellini
Fellini Roma (1972) Federico Fellini
The Italian Connection	Fernando Di Leo
Cristo si è fermato a Eboli (1979) Francesco Rosi
The Conversation (1974) Francis Ford Coppola
The Godfather: Part II (1974) Francis Ford Coppola
Day for Night (1973) Francois Truffaut
Une belle fille comme moi (1972) Francois Truffaut
L'homme qui aimait les femmes (1977) Francois Truffaut
Martin (1977) George A. Romero
The Crazies (1973) George A. Romero
American Graffiti (1973) George Lucas
Nuits rouges (1974) Georges Franju
Korol Lir (1971) Grigori Kozintsev
Harold and Maude (1971) Hal Ashby
Cries and Whispers (1972) Ingmar Bergman
Race with the Devil (1975) Jack Starrett
Trafic (1971)	Jacques Tati
Fingers (1978) James Toback
Un flic (1972) Jean-Pierre Melville
Zardoz (1974) John Boorman
Wise Blood (1979) John Huston
The Man Who Would Be King (1975) John Huston
Big Wednesday (1978) John Milius
Caged Heat (1974) Jonathan Demme
Confessions Among Actresses (1971) Kiju Yoshida
Heroic Purgatory (1970) Kiju Yoshida
Seven Beauties (1975) Lina Wertmuller
Executioners from Shaolin (1977)	Liu JiLiang
La gueule ouverte (1974) Maurice Pialat
Passe ton bac d'abord (1979) Maurice Pialat
Smile (1975) Michael Ritchie
Woodstock (1970) Michael Wadleigh
Professione: reporter (1975) Michelangelo Antonioni
Get Carter (1971) Mike Hodges
Taking Off (1971) Milos Forman
Two-Lane Blacktop (1971) Monte Hellman
Ai no corrida (1976) Nagisa Oshima
The Man Who Fell to Earth (1976) Nicolas Roeg
F for Fake (1974) Orson Welles
Pastorale (1975) Otar Iosseliani
Once Upon a Time There Was a Singing Blackbird (1970) Otar Iosseliani
Battle Of Chile (1975-9)	Patricio Guzmán
Death Race 2000 (1975) Paul Bartel
Trash (1970) Paul Morrissey
Blue Collar (1978) Paul Schrader
The Harder They Come (1972) Perry Henzel
The Last Picture Show (1971) Peter Bogdanovich
The Last Wave (1977) Peter Weir
The Friends of Eddie Coyle (1973) Peter Yates
Il Decameron (1971) Pier Paolo Pasolini
Il fiore delle mille e una notte (1974) Pier Paolo Pasolini
The Marriage of Maria Braun (1979)	Rainer Werner Fassbinder
Beware of a Holy Whore Rainer Werner Fassbinder
La planète sauvage (1973) René Laloux
Vanishing Point (1971) Richard Sarafin
McCabe & Mrs. Miller (1971) Robert Altman
Thieves Like Us (1974) Robert Altman
The Late Show (1977) Robert Benton
Lancelot du Lac (1974) Robert Bresson
Hickey & Boggs	Robert Culp
The Tenant (1976) Roman Polanski
Beyond the Valley of the Dolls (1970) Russ Meyer
Straw Dogs (1971)	Sam Peckinpah
Cross of Iron (1977) Sam Peckinpah
Giù la testa (1971) Sergio Leone
Vengeance Is Mine (1979) Shohei Imamura
Female Convict Scorpion Jailhouse 41 (1972) Shunya Ito
Barry Lyndon (1975) Stanley Kubrick
A Clockwork Orange (1971) Stanley Kubrick
Duel (1971)	Steven Spielberg
The Sugarland Express (1974) Steven Spielberg
Jaws (1975) Steven Spielberg
San Michele aveva un gallo (1972) Taviani Bros
Badlands (1973) Terrence Malick
The Texas Chain Saw Massacre (1974) Tobe Hooper
The Spirit of the Beehive (1973) Víctor Erice
The Driver (1978)	Walter Hill
Alice in den Städten (1974) Wim Wenders
The Wrong Move (1975) Wim Wenders
Der amerikanische Freund (1977) Wim Wenders
Manhattan (1979) Woody Allen
Bananas (1971) Woody Allen
#866 Post by knives » Tue Jan 28, 2014 7:40 pm
tojoed wrote: Next Stop, Greenwich Village (Mazursky, 1976)
Damn, knew I forgot something.
#867 Post by Gropius » Tue Jan 28, 2014 8:10 pm
I had quite a few experimental orphans, not that I'd made an effort to advocate for them. The 70s (I suppose it was more like 1967-77) was the golden age of structuralism: to some viewers these films are simply boring, but to converts they have the formal elegance to rival the greatest art of the 20th century.
1.	Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) – For me, this is the iconic film of the decade, and perhaps the greatest synthesis of experimental and traditional narrative methods.
2.	Serene Velocity (Ernie Gehr, 1970) – On paper it's a zooming-in-and-out shot of a corridor, but it's in the great tradition of film as a kind of visual music, and a candidate for the 'purest' structural film.
3.	La Région centrale (Michael Snow, 1971) – Snow attached a camera to a gyroscope apparatus and set it to rotate for hours on a Canadian mountain top. The result is a floating immersion in a disembodied, pre-human world of sky and rock.
4.	Picture and Sound Rushes (Morgan Fisher, 1973) – Fisher had a day job as an editor in Hollywood. His own films are wry meta-analyses of the technological conventions of filmmaking. In this one, he gives a mini-lecture on how image and sound are combined, while systematically switching them off and on in various permutations. Again, that might not sound terribly exciting, but it's a waggish conceptual masterpiece.
5.	The Passenger (Michelangelo Antonioni, 1975) – Down 52 places?
6.	O Lucky Man! (Lindsay Anderson, 1973) – How can this be an orphan? One of the most interesting, eccentric British features ever made. McDowell's advocacy of Anderson clearly still has some way to go.
7.	Le Camion (Marguerite Duras, 1977) – Duras is the only director with three titles on my list. This one is the most austerely conceptual, although India Song is really as good, and Nathalie Granger not far off. If you like her novels, the films are essential: they need more Anglophone exposure. (Last time I voted for something by fellow Resnais collaborator Robbe-Grillet as well, but his sleazier stylings have lost some of their appeal.)
8.	Musical Stairs (Guy Sherwin, 1977) – Looks like I split the Sherwin vote with Zedz. His experiments with optical sound (on a good DVD from Lux) are fascinating.
9.	Vertical Features Remake (Peter Greenaway, 1978) – Great to see this chart, even if it was at the expense of Walk Through H.
10.	Céline et Julie vont en bateau (Jacques Rivette, 1974) – Watching the sprawling Out 1, intriguing as it is, just makes this one seem even better. (I also included Duelle further down; still haven't seen Noroît.)
Also-rans with one other voter:
11.	Ludwig: Requiem for a Virgin King (Hans-Jürgen Syberberg, 1972)
12.	Salomé (Carmelo Bene, 1972) – Hat-tip to Bamwc2 for recommending this one. Deranged, lurid aestheticism: can't beat the Harvard Film Archive's description of 'Pasolini meets Jack Smith' (but, to my taste, preferable to anything Pasolini did in the 70s). Wonder if Matthew Barney ever saw this.
17.	Madame X – An Absolute Ruler (Ulrike Ottinger, 1978) – Still looking forward to Bildnis einer Trinkerin.
29.	The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972) – How the mighty have fallen.
38.	From the Clouds to the Resistance (Jean-Marie Straub/Danièle Huillet, 1979) – I might vote this higher with another viewing, but, like so many of the Straubs' films, it's as dry and dense as it impressive. Moses and Aaron was the other contender.
Other orphans (shorts):
14.	La Femme qui se poudre (Patrick Bokanowski, 1972)
15.	Critical Mass (Hollis Frampton, 1971) – I have seen the Hapax Legomena sequence, but they're too distinct to think of as a single unit. This one stands out for its humour.
19.	S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED (Paul Sharits, 1971) – Sharits's best-known films come from the late 60s, but he kept on going.
21.	White Dust (Jeff Keen, 1972) – Keen's chaotic films can blur together in the mind, but this one is substantial.
25.	Eureka (Ernie Gehr, 1974) – Early horse and cart footage, slowed down.
28.	Ruskin (Robert Beavers, 1975) – Borderline eligible, as he re-edited it in 1997. Beavers is a rather precious latter-day aesthete, but an engaging one.
31.	Whitchurch Downs (Duration) (Malcolm Le Grice, 1972) – Le Grice was, along with the puritanical Peter Gidal, the major theorist of structural film in Britain.
33.	Reflections (Jerzy Kucia, 1979) – One of the darker Polish animations, tracking the fleeting struggle of an insect.
Other orphans (features):
16.	Un homme qui dort (Georges Perec/Bernard Queysanne, 1974) – Experimental French novelists had a good screen run in this decade. Perec's existential slacker tale rivals the best of Resnais.
26.	Crimes of the Future (David Cronenberg, 1970) – His three 70s horror features are all fun, but this early experiment about insane paedophile scientists on a dystopian Toronto campus is like nothing else.
27.	Nathalie Granger (Marguerite Duras, 1972)
35.	King Lear (Peter Brook, 1970) – Brook delivers a Lear fit for a post-Beckett age.
37.	The Little Mermaid (Karel Kachyňa, 1976) – I have a weakness for fairy tale films, and this one by Kachyňa (of Ear fame) is one of the most charming. (Demy's Peau d'âne might have made the grade if I'd got round to it.)
42.	Vampir–Cuadecuc (Pere Portabella, 1970) – Filmed on the set of Jesús Franco's Count Dracula with Christopher Lee, but it's very far from a making-of doc. (At points, the relationship between the two films is more like that between Peter Tscherkassky's Outer Space and The Entity - looking at this trailer again, I think I'd have placed it much higher with a more recent viewing.)
Last edited by Gropius on Tue Jan 28, 2014 8:19 pm, edited 1 time in total.
For the record, I voted for a third Sherwin (and that DVD is a fair bit more than merely "good"), as well as a second Le Grice.
#869 Post by Tommaso » Tue Jan 28, 2014 8:28 pm
Yeah, one of the pleasant surprises of this round for me was that Vertical Features Remake made the list. In a way, it's the quintessential Greenaway film with its obsessive structuralism, its conspiracy, and its commenting on itself all the time. Thanks for voting for Syberberg and Ottinger, Gropius; well, we'll have to combine forces for "Dorian" in the next round. And I share the sadness for "Petra von Kant", even if I did not vote for it, because Fassbinder is someone I rather admire than love in many cases. But it's one of Fassbinder's major (early) films, along with Martha and Welt am Draht ( I actually voted for the latter). And do watch Noroit!
life_boy
Location: Mississippi
#870 Post by life_boy » Tue Jan 28, 2014 8:37 pm
life_boy wrote: I'm guessing I will have around 16 also-rans and 7 orphans.
Pretty close: I had 17 Also-Rans and 9 Orphans, having seen 67/100 films in the final list.
1. Nashville (Altman, 1975)
2. Stroszek (Herzog, 1977) – ALSO-RAN This has been a favorite for years. I consider Herzog the equal of Altman this decade (and I voted for plenty of both), it's just that my favorite Herzog films are not Aguirre and Kaspar Hauser, though I like them both. I was surprised Stroszek failed to chart since it charted last time but I guess if this iteration of the project has taught us anything besides the law of large numbers, it is that those lower echelons of the list are not safe for assumed classics.
3. The Merchant of Four Seasons (Fassbinder, 1971) -- ORPHAN - I was genuinely shocked that I was the only one who voted for this as I assumed Fassbinder support was broad and deep. I guess it plays very strangely for many (and there is so much Fassbinder to choose from in the 70's) but I found this delicate little melodrama completely moving. You can read my defense of it further up this thread.
4. The Long Goodbye (Altman, 1973)
5. Two-Lane Blacktop (Hellman, 1971)
6. All the President's Men (Pakula, 1976)
7. Chinatown (Polanski, 1974)
8. 1900 (Bertolucci, 1976) – ALSO-RAN I decided I preferred this to the formal rigor of The Conformist. It is a huge film and takes some effort to get through but in the end I found myself deeply affected by it continuing to think on it for days. I gave it a small write-up earlier.
9. Paper Moon (Bogdanovich, 1973)
10. At Long Last Love (Bogdanovich, 1975) -- The power of the Member Spotlight.
11. The Last Picture Show (Bogdanovich, 1971)
12. Don't Look Now (Roeg, 1973)
13. The Godfather (Coppola, 1972)
14. Alien (Scott, 1979)
15. Alex in Wonderland (Mazursky, 1970) -- ORPHAN -- My spotlight that either no one saw or no one liked (looks like the Mazursky vote -- such as it was -- was split between several films). I knew it was an uphill battle arguing for this film because I know that of the few people who've ever seen it, most don't care for it. Since no one mentioned it in the thread I was starting to suspect its orphan status coming. I wrote some about it earlier but perhaps it is a film in which more effort is necessary to pique interest.
Coming to audiences near the beginning of the New Hollywood era (1970), Alex in Wonderland is both an appreciation of the artistic freedom afforded to directors by producers/studios during that time and a unique representation of the paradoxes and paralysis facing the New Hollywood filmmaker in light of that freedom. It is bold and audacious and brilliant, written and directed by Paul Mazursky, one of the forgotten dual talents of that era.
Alex is a film director who has just finished cutting his first feature for MGM. Premiered but not yet released, Alex's film is already garnering him attention as an up-and-coming auteur. Beginning to believe the hype of the preview screenings, Alex and his wife begin to look for a new house where their family of four can live a little more luxuriously. But Alex isn't happy. He is troubled by his own political interests, by his own cinematic influences, by his own desire to be appreciated, and by his own fear of making the wrong next step. He cannot decide what he will make next, where he will put his creative focus.
The most obvious correlation is with 8 ½ (Federico Fellini, 1963), but this is not a Hollywood riff on the Italian classic. It is a co-opting of the imaginative framework of that film to express the reductive tendencies of Alex. Does he truly love Fellini's films or love the acclaim Fellini's films have garnered? Beyond the question of influence is the real tension between liberal guilt and the obligations of artistic freedom. Alex wants to be respected, he wants to be innovative but he can't move beyond shallow notions of politics and cinema. He feels an obligation now he had not felt previously to create a film that shocks its audience out of political complacency. The problem is, Alex is politically complacent. He can talk a good talk about the oppression of African-Americans and about the tragedy of war, but that doesn't motivate him in any way beyond feeling guilty not to miss his chance to speak to these platitudes.
Artistry and commerce are two things that, according to the conventional narrative of American film history, came together beautifully in the New Hollywood era. Paul Mazursky isn't so sure. There is an overwhelming paralysis of choice. The countercultural artist must position himself against commerce but he is using the most commercial of mediums. He believe that movies must be important, not trivial. They must deal with important social issues and offer critique of the culture at large. They must motivate political action. These are the manifold tensions facing the New Hollywood, according to Mazursky, and they have not been alleviated in our day. Can a film simply be for entertainment or is that too light an aim? Critics have set up their camps and it is part of why the New Hollywood is revered. It put important social concerns in films during a time when there was a broad audience acceptance of those themes so they easily found the financial backing of the studios because the studios were out of touch with the youth market. Does that make the New Hollywood films more honest or more subtly exploitative?
A large part of the film takes place in Alex's home, charting the slowly straining relationships with his wife (Ellen Burstyn) and two daughters. There is a life and charisma in these scenes, the emotional cues and some of the dialogue feeling very spontaneous. Mazursky has put the responsibility for the strain fully on the shoulders of Alex, whose coldness towards his wife and his passive acceptance of her conventional role in the home proves the shallowness of his political convictions. Alex is the one who really wants a new house but he carefully couches it in something close to the subtly sexist rhetoric of a 1950's advertisement for home ownership. He wants the bigger house. He wants the more spacious yard. He wants the pool out back. But he pretends as if these are her desires given to him through her nagging.
Because of his calm and unassuming demeanor, it is easy to forget just how good Donald Sutherland is as an actor and how many unconventional roles he took on (particularly in the 70's). This is one of his finest performances, finding the intensely focused director bordering on obsessive who ostensibly breaks down in front of his idols and bristles with contempt when his wife only half listens to his story ideas. It is complex and dynamic, connecting the audience to a character who is essentially a passive wanderer, but still daring us to judge him as an object of satire. It is available through the Warner Archive or to rent/download on iTunes.
16. American Graffiti (Lucas, 1973) -- ALSO-RAN
There were probably boomer nostalgia movies before American Graffiti, but there were definitely boomer nostalgia movies after it, helping give birth to a whole niche genre. But the thing that makes American Graffiti stand out from the imitators and wannabes is the characters it plants within that time and place. Paul Le Mat's "little too old for high school" hot rodder who gets tricked into driving around town with a flirtatious 12-year old, Richard Dreyfuss' confused, wandering attempt to contextualize purpose for his life and thereby figure out what he is supposed to do about college (and along the way stumbling into the craziest antics that anyone in the film engages in), Candy Clark's dim-witted beauty, who is strangely impressed by the exaggerations of a dork. All the characters seem so perfect, subverting the archetypes and finding some honesty underneath. There is enough doubt and confusion and uncertainty in everything the kids say and do to keep it from being simply a deification of 1950's Americana, and Lucas ends the film with one of the more shocking mainstream subversions, a brief description of what happens to the four main males after that night. But, American Graffiti also captures a feeling better than many imitators do, probably because it eschews a conventional narrative storyline in favor of a vignetted portrait of one crazy night, yet having the intelligence not to pretend that the one crazy could be every night. It only happened once and after that nothing felt the same. Perhaps it is a metaphor for America's economic post-war prosperity.
17. The Stone Wedding (Pita & Veroiu, 1973) - Great rec, swo! Another Spotlight success story.
18. The Deer Hunter (Cimino, 1978)
19. Even Dwarfs Started Small (Herzog, 1970) -- ALSO-RAN
20. Fata Morgana (Herzog, 1971) -- ORPHAN
What to say about these two strange films? Not much because they are films very hard to describe. The first is an intoxicating nightmare of destruction and the latter is a fever dream of creation. I love them both. I knew Fata Morgana was in trouble when zedz listed his #51-60 picks.
21. The Parallax View (Pakula, 1974)
22. Network (Lumet, 1976)
23. Jaws (Spielberg, 1975)
24. Last Tango in Paris (Bertolucci, 1972)
25. Electra Glide in Blue (Guercio, 1973) -- ORPHAN One of the great one-hit wonders of cinema. Everything that I dislike about Easy Rider gets corrected here.
26. M*A*S*H (Altman, 1970) -- ALSO-RAN I've seen this film at least 5 times and it makes me laugh every time. I grew up on the show and was slow warming to the film but now my affections have flipped. The film gets a bad rap nowadays for how poorly Sally Kellerman gets treated but it is also one of the most ripping satires on the military, bureaucratic incompetence and American imperialism. And not that it matters in terms of personal taste, but simply in historical terms, we should all kiss the feet of M*A*S*H for allowing Altman to do every other crazy thing he would do this decade.
27. The Man Who Fell to Earth (Roeg, 1976)
28. A Clockwork Orange (Kubrick, 1971)
29. Phantom of the Paradise (De Palma, 1974) -- De Palma's weirdo rock opera picked up a groundswell of support.
30. Harlan County U.S.A. (Kopple, 1976) -- ALSO-RAN The only journalistic thriller this decade that was better was directed by Pakula.
31. La Soufriére (Herzog, 1977) -- ORPHAN Herzog goes to an island to wait for its volcano to erupt. Instead, he comes back with a fascinating film about failure and mortality.
32. Beyond the Valley of the Dolls (Meyer, 1970) -- ALSO-RAN One of the funniest movies of the decade, mostly because the comedy is often Meyer's aesthetic choices as much as it the characters, dialogue or situation.
33. The Man Who Left His Will on Film (Oshima, 1970)
34. Wanda Gosciminska – A Textile Worker (Wiszniewski, 1975) -- ALSO-RAN "Such a startling formal experience": words not usually used to describe documentaries (though this skates that line). Whatever the case, seek out the fantastic Wiszniewski set (is it still in print??) if you're participating in the Documentary genre project.
35. The Killing of a Chinese Bookie (Cassavetes, 1976)
36. Catch-22 (Nichols, 1970) -- ORPHAN I haven't seen it in years so I'm not sure how it still holds up for me but such an utterly strange film. It kind of fails as an adaptation of the book but is still able to pull out some amazing moments.
37. Across 110th Street (Shear, 1972) -- ORPHAN If only Schreck still came around, he would get onto everyone for letting this be orphaned and then get onto me for not placing it higher.
38. Wrong Move (Wenders, 1975) -- ALSO-RAN Wim Wenders rips out the barely beating heart of the German post-war existential crisis and eats it for breakfast by breaking the golden eggs of despair, suicide, meaninglessness and absurdity on top of the aimless wanderings of would-be poets, lovers and carinvalé and seeing what sticks. The fact that he's able to do this with a great degree of cynicism and dry humor while keeping the whole thing light and engaging is testament to his strengths as a filmmaker.
39. Sounder (Ritt, 1972) -- ALSO-RAN Sorry my vote didn't get this charting higher, bamwc2. I never wrote anything about it because it was one of the last films I squeezed in before submitting but I found this to be a film of quiet power and grace. In such a simple way it is able to not just tug the heartstrings through overt melodrama but paint an honest and tender portrait of a black family of sharecroppers trying to eek out an existence during the Great Depression. There is social injustice and systematic indifference along with other slightly more subtle forms of prejudice, but the heart and soul of the film is the positive focus upon this family as they try and hold themselves together through every trial that befalls them. Martin Ritt keeps things from becoming too complicated and avoids overt commentary on the situation, while Cicely Tyson, Paul Winfield and the young Kevin Hooks give such life and empathy to their characters it is hard not to love them and wish for the best.
40. Close Encounters of the Third Kind (Spielberg, 1977) -- ALSO-RAN
41. Tale of Tales (Norshteyn, 1979) -- ALSO-RAN
42. Smile (Ritchie, 1975) -- ALSO-RAN Hilarious character comedy and social satire. This might be my favorite Bruce Dern performance.
43. Cockfighter (Hellman, 1974) -- ALSO-RAN Warren Oates plays a man who fights chickens. That should be enough said. Hopefully there's a Criterion Blu-ray in the future.
44. The French Connection (Friedkin, 1971)
45. Bone (Cohen, 1972) -- ALSO-RAN Write-up earlier in thread.
46. Thieves Like Us (Altman, 1974) -- ALSO-RAN Write-up earlier in thread.
47. The Taking of Pelham One Two Three (Sargent, 1974) -- ALSO-RAN
48. The Day of the Locust (Schlesinger, 1975) -- ORPHAN I didn't get to revisit this for the list but it holds a warm spot in my heart. This was an early important marker in my cinema-going, one of the first non-cannon American 70's films I "discovered" that astonished me that I had never read anything about it. It is beautifully shot and is a slow boil of sexual angst and repressed rage against Hollywood's perfections.
49. The Marriage of Maria Braun (Fassbinder, 1978)
50. If You Spot a Cat Flying Through the Air (Szczechura, 1971) -- ORPHAN A weird and hilarious little oddity that's available on the Anthology of Polish Children's Animation. A one joke movie that makes me laugh every time.
Tommaso wrote: Yeah, one of the pleasant surprises of this round for me was that Vertical Features Remake made the list. In a way, it's the quintessential Greenaway film with its obsessive structuralism, its conspiracy, and its commenting on itself all the time. Thanks for voting for Syberberg and Ottinger, Gropius; well, we'll have to combine forces for "Dorian" in the next round. And I share the sadness for "Petra von Kant", even if I did not vote for it, because Fassbinder is someone I rather admire than love in many cases. But it's one of Fassbinder's major (early) films, along with Martha and Welt am Draht ( I actually voted for the latter). And do watch Noroit!
Tommo, if you haven't already done so, I recommend that you begin at the beginning with Fassbinder: some of those early films may be rough and ready - and a long way from the Sirk-ian lushness of his late films, if that's your bag - but they're chockful of ideas.
And he had a wonderful, impish, sense of humour
Gropius wrote: 6.	O Lucky Man! (Lindsay Anderson, 1973) – How can this be an orphan? One of the most interesting, eccentric British features ever made. McDowell's advocacy of Anderson clearly still has some way to go.
This got edged off my list this time around, but I suspect it would have made it if I'd got around to watching it again in the run-up to compiling my list. I think I also assumed it would have plenty of support without my vote!
7.	Le Camion (Marguerite Duras, 1977) – Duras is the only director with three titles on my list. This one is the most austerely conceptual, although India Song is really as good, and Nathalie Granger not far off. If you like her novels, the films are essential: they need more Anglophone exposure.
I would have loved to have voted for this, since it's one of the most perverse films I've ever seen, but I really need to see this again to jog my memory enough for an honest vote.
For the record, Cycles, Newsprint and Intervals from that disc were all on my "must include" short list, but ultimately there was only room for one, so I chose the one that was the most fun (and maybe the trippiest.)
I'd jotted down Threshold on my "must include" shortlist, but when I watched it again I couldn't figure out why. I might have noted down the wrong film from that LeGrice disc.
Also among my also-rans. It's definitely one of the most distinctive French films of the decade, and one of the best films of the immediate post-New Wave, more radical generation of French filmmakers.
This too was a reluctant omission, and I highly recommend the film as one of the most brilliantly original adaptations of Dracula ever shot (and frankly, it's far more a free-standing adaptation of the same source than it is a making-of). I'm determined to find space for Warsaw Bridge on my 80s list, and that entire Portabella box set is essential viewing.
Yojimbo wrote: Tommo, if you haven't already done so, I recommend that you begin at the beginning with Fassbinder: some of those early films may be rough and ready - and a long way from the Sirk-ian lushness of his late films, if that's your bag - but they're chockful of ideas.
You're quite right, the Sirkian (or Ophulsian? or even Forstian?) lushness is my thing when it comes to Fassbinder, and I can already say that "Veronika Voss" will be in my Top 10 of the 80s list, and "Lili Marleen" (much maligned, especially in Germany it seems) will not range far behind. But I still take your recommendation, and it's one of the reasons why my ideal for this listmaking would be nine months of viewing, plus three months of intermission which might give everyone some time to watch the films they missed... Well, I have to squeeze in those early Fassbinders somehow in between, I guess, but it might take some time....
zedz wrote: I'd jotted down Threshold on my "must include" shortlist, but when I watched it again I couldn't figure out why. I might have noted down the wrong film from that LeGrice disc.
I did and thought the exact same thing. Threshold does take a while to get going but then sort of explodes into sublime weirdness in the end. Meanwhile, Berlin Horse is just a joy to watch from start to finish. Plus, its soundtrack is the first music Brian Eno ever made or something.
swo17 wrote: For the record, I voted for a third Sherwin (and that DVD is a fair bit more than merely "good"), as well as a second Le Grice.
Ah, nice. It's good that some of the underground filmmakers of that generation have finally started to relent on their anti-digital purism. Personally I've always felt that claims about the magic of celluloid are vastly inflated, and, whether they like it or not, the future legacy of this stuff will depend on successful digitisation.
Tommaso wrote: Thanks for voting for Syberberg and Ottinger, Gropius; well, we'll have to combine forces for "Dorian" in the next round.
Indeed. Not sure if I'd rate it higher or lower than Johanna d'Arc of Mongolia. (Saw both of these, along with Madame X, in an Ottinger mini-retro at a LGBT festival a few years ago - it seems only ropey VHS bootlegs circulate for most of them.)
The other 'weird German thing' I watched for this round was Werner Schroeter's Der Tod der Maria Malibran, which had hints of Syberberg, but was too deliberately sloppy and aimless to be really enjoyable. Will have to check out his later work, though.
It's colourful? I agree that choosing among avant-garde shorts often feels a bit arbitrary. There's often a kind of rush (a bit like listening to a favourite record) that can't always be recaptured.
Zedz wrote: I'm determined to find space for Warsaw Bridge on my 80s list, and that entire Portabella box set is essential viewing.
Agreed, although Warsaw Bridge is dated 1990, so will have to wait.
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The third round of the RBS Six Nations 2016 see's Eddie Jones coach his first match at Twickenham as England play the defending Six Nations champions Ireland.
England enter the game with two wins from two having beaten Scotland and Italy away from home. While those performances have been far from perfect there has certainly be areas of improvement; the defence has yet to be breached and the bench has made match winning contributions in both games.
For the clash with Ireland, Jones has made two changes to his starting XV. Joe Marler replaces Mako Vunipola at loosehead prop, while Maro Itoje makes his first start at second-row. The 21-year-old is one of the most exciting prospects in world rugby, with many feeling he will become a permanent fixture in the side and eventually be made captain.
But current skipper Dylan Hartley has told fans to temper expectations saying: "Let's just give him that game time and see how he goes, let's not build him up too much and then knock him off his pedestal.
On the bench Elliot Daly comes into the 23 and will likely make his debut at some point on Saturday. His versatility and form in the Premiership have impressed Jones this week and he is fully deserving of his place.
In contrast the defending champions will arrive at Twickenham without a win and missing several of their big players.
Joe Schmidt has had to deal not only with the loss of Paul O'Connell after the World Cup but injuries to Jared Payne, Sean O'Brien, Peter O'Mahony and Dave Kearney all missing the game at Twickenham.
The New Zealand born mastermind has brought two debutants into his side for Saturday with Stuart McCloskey and Josh van der Flier replacing Jared Payne and Sean O'Brien respectively.
Jonny Sexton continues at 10, the playmaker was targeted several times (including illegally) during the defeat to France and Eddie Jones has already made it clear that England will be doing the same, but within the laws of the game.
In the past two years Ireland have without doubt been the most well coached and tactically astute side in Europe, but are teams just starting to work them out? If you can deal the aerial bombardment, match the physical challenge and maintain shape in defence there is a feeling that Ireland could struggle to score tries.
England have five of the last six encounters between the sides. They seem to be a team constantly growing in confidence, Ireland are still a world class side on their day, but can they cope with the amount of changes and injuries?
This new England side is a very different animal in terms of mentality to the Lancaster era and they will be desperate to get a win at home.
Please follow the link to our Twickenham Six Nations hospitality page.