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Richard Pryor: Stand-Up Philosopher
The great American comic satirized white racism, his fellow blacks, and himself.
By Stefan Kanfer
http://www.city-journal.org/
Playwright Neil Simon called him "the most brilliant comic in America." For humorist Lily Tomlin, he was "a gifted, raging, soaring, plummeting, deeply human man with the tender boy inside—the greatest pioneering comic artist of the last three generations." Critic Pauline Kael dubbed him "a master of lyrical obscenity; the only great poet satirist among our comics." They weren't exaggerating. Other African-American comedians preceded him, and since his death in 2004, a handful of young black performers have earned more money and entertained larger audiences. One, Chris Rock, has every right to boast about his accomplishments. Yet he is modest enough, and wise enough, to warn his colleagues: "You should not even get onstage and attempt to be funny unless you realize you're never going to be as funny as Richard Pryor."
Henry Diltz/CORBIS
A typically protean Pryor routine in 1968
On his way to fame and self-destruction, Pryor became the funniest man in America by creating a new kind of comedy—a hilarious, heartbreaking, and conflicted view of life seen from the underside. He was conscious of his minority status but refused to take the route of special pleading. His vocabulary was down and dirty, but his work had a surprising elegance. He was always himself, yet could populate the stage with a cast of characters ranging from a pack of dogs to a bewildered black alcoholic to a Mafia thug. He was a savage, equal-opportunity satirist; he targeted white racism, his fellow African-Americans, and—finally and most severely—himself.
Pryor grew up in Peoria, Illinois, in the forties and fifties. "Black folks didn't have it so good in Peoria," he recalled. "If they worked at all, they were probably employed at one of the nearby slaughterhouses. My family escaped that fate. They ran a whorehouse."
Richard's grandmother, Marie Carter, was a madam, her daughter Gertrude (his mother) a hooker. His father, Leroy, was a boxer turned pimp who paid little attention to his son except to intimidate him when he stepped out of line. The boy grew up in an atmosphere of moral confusion: prostitution was the family's source of income, yet he attended a predominantly white Catholic school. His mother seemed to love him, yet when Richard was ten she ran off. From that point on, Marie raised him—or tried to.
It was too late; he had become unmanageable. Apart from Leroy's brutality and Gertrude and Marie's professional activities (Richard once saw his mother in bed with Peoria's white mayor), the bright kid suffered from a slew of other miseries. He was small, thin, and shy—the classic grade-school victim. In addition to daily bullying, he was twice sexually molested, once by a john at the bordello, another time by a member of his church.
A high school dropout at 14, Richard spent the next six years doing odd jobs, from truck driver to janitor to untutored drummer in a pickup band. He was drafted in 1960 but attacked another GI of higher rank and wound up discharged after 13 months, many of them spent in the stockade. By this time, an idea had come to him: he could always make people laugh—soldiers, fellow workers, family members. Why not get paid for it?
I wasn't much taller than my daddy's shin when I found I could break people up. A little dog wandered by and poo-pooed in our yard. I got up, ran to my grandmother, and slipped in the dog poop. It made Mama and the rest laugh. I was really onto something then. So I did it a second time.
"Look at that boy! He's crazy!"
That was my first joke.
All in poop.
And I been covered in it ever since.
Pryor landed a gig singing in a Peoria nightclub. Between numbers, he would tell jokes and wow audiences. Encouraged, he pushed on to bigger venues. In New York City, he found work as the opening act for Nina Simone, Richie Havens, and Bob Dylan. He came on like Mr. Cool, a pose that fooled quite a few people, but not Simone. "Opening night," she remembered, "Richard shook like he had malaria, he was so nervous. I couldn't bear to watch him shiver, so I put my arms around him there in the dark and rocked him like a baby until he calmed down. The next night was the same, and the next, and I rocked him each time." Pryor began to calm himself with multiple shots of scotch, then got ready for the next performance with lines of cocaine. It was the opening chapter of a long saga.
Early on, Pryor patterned himself after the reigning black comic, speaking politely, telling middle-class jokes, doing impressions of businessmen and tourists. To audiences, he seemed a Bill Cosby satellite—one reason why he continually found work, but also why star status eluded him. And then one night in Las Vegas, things changed forever. "There was a world of junkies and winos, pool hustlers and prostitutes, women and family screaming inside my head, trying to be heard," Pryor remembered. "The longer I kept them bottled up, the harder they tried to escape." He peered out at the audience at the Aladdin, spotted Dean Martin at a front table—and suddenly experienced what he would call "my nightclub epiphany."
I asked myself, "Who's he looking at, Rich?"
I couldn't say.
I imagined what I looked like and got disgusted. I gasped for clarity as if it was oxygen. The fog rolled in. In a burst of inspiration, I finally spoke to the sold-out crowd: "What am I doing here?"
Then I turned and walked off the stage.
In the dressing room my agent was hysterical, incredulous. How could I have walked off? "Do you know what you did?" he screamed. "Do you know what this means?"
"No, you're the agent. You tell me."
Then I heard those famous words. "You'll never work in this town again. Did you hear me? You will never work in this town again!"
As things turned out, he was inaccurate.
The turnaround took several years. During that time, Pryor divorced, remarried, divorced again, and became increasingly involved with hard drugs. Looking back years later, he observed, "I couldn't escape the darkness." But at least he was able to put his demons at the service of his art—and it was art.
To remake the Pryor persona, he went into self-imposed exile in Berkeley, California. For the next three years, he hung out with a group of writers who called themselves the Black Pack, headed by the satiric novelist Ismael Reed. Slowly, Richard began to evolve a new comic style—biting, scatological, improvisational, rooted in the experiences of his childhood, told in the argot of poor and working-class black folks. He prowled the stage like a puma, dispensing the most penetrating comedic view of African-American life ever revealed to the American public.
Pryor's vast cast of characters, headed by a wise old drunk called Mudbone, were at once volatile and vulnerable, gross and sensitive, streetwise and intimidated. As he portrayed them, he showcased an astonishing array of dramatic skills. "I saw myself as a victim of the system," Pryor said, "an outsider for whom justice was out of reach, a dream. And then I saw how closely my situation mirrored the black man's larger struggle for dignity and equality and justice in white society. So I became a kind of prism, refracting the experience of a race."
When he reentered the club scene in the late 1960s, Richard rocked show business. His perspective proved ideally suited to the time, with its Black Is Beautiful agitation, Vietnam anti-warriors, and counter-culture leaders attacking the mores of previous generations. But poignancy lay beneath Pryor's brightest comic moments, in his work and on his face; the explosively funny addict had become America's black Pagliacci.
You wonder why a nigger don't go completely mad. You get your stuff together. You work all week, right? Then you get dressed, right? And you go out and get clean and be driving with your old lady, going out to a club.
And the police pull you over. "Get out of the car. There was a robbery. The nigger looked just like you. All right, put your hands up, take your pants down, and spread your cheeks."
Now, what nigger feel like having fun after that? "No, let's just go home, baby." You go home, beat your kids. You gonna take that crap out on somebody.
The laughter of recognition began with black audiences, but within a year Pryor was the most popular crossover comedian in the country. Now it wasn't just African-Americans like LeRoi Jones and Muhammad Ali who flocked to his performances; college students and hip whites showed up, too.
Verboten 4-, 6-, and 12-letter words dominated his vocabulary, but as the Washington Post observed, Richard "always had a higher purpose than the chest-thumping, crotch-grabbing entertainers who use the N-word with such profligacy. As Pryor saw it, 'nigger' meant 'black like me and millions of others, who'll never get on this stage,' and his use of it might end up doing more than Ali, Stevie Wonder or Bill Cosby to break down racial barriers in mainstream America."
Years later, one Yalie recalled that "the release of a new Richard Pryor album in the seventies became a major event. We ran to the record store to purchase a copy of That Nigger's Crazy or Is It Something I Said? even before we ever heard all the funny, cold-blooded, true stuff Pryor was talking."
I'm glad I'm black. I'd hate to be white. 'Cause y'all got to go to the moon.
Ain't no niggers going to the moon, you know that. First of all, there ain't no niggers qualified. Or so you all tell us.
If niggers was hip, they'd help y'all get to the moon. "Hey, let's organize and help them whites get to the moon. So they leave us alone!"
In Ebony, a young woman covered a typical Pryor performance: "His elastic face melts, his body contorts, his voice gains and loses octaves, before our eyes he morphs into a German shepherd, a deer drinking from a pond, his car as he shoots it to death so his wife can't use it to leave him. Watching him, we are terrified, exhilarated and provoked. Pryor will forever be the gangly, slightly nerdy, funny and smart kid of our collective childhood. The one we ended up falling in love with not only because he was funny, he was sexy; the member of the group we all suspected would do something marvelous, large and life-changing—if he could ever figure out what that was, and beat racism back far enough to get to it."
Pryor's jazzy, improvisational approach was something far beyond Lenny Bruce, who had been funny because of his foul language; Richard was hilarious despite it. Comedians responded to his extraordinary talent. Robin Williams called Pryor "an alchemist who can turn the darkest pain into the deepest comedy." Eddie Murphy said he was "better than anyone who ever picked up a microphone." Bill Cosby admitted that the "troubled soul" who had run so hard from the Cosby style had "found laughter where none had a right to exist."
Hollywood producers wanted in and offered Pryor a career in films. He won rave reviews for his straight performance as Piano Man in the Billie Holiday biopic Lady Sings the Blues. But the audacious albums and concerts kept coming. They featured a laundry list of volatile phrases and attitudes, and they made producers uneasy. Was he exhorting African-Americans or mocking them? Was he castigating whites or praising them? Or was he attacking both groups?
They had a movie of the future called Logan's Run. There ain't no niggers in it.
I said, "Well, white folks ain't planning for us to be here. That's why we got to make movies. But we got to make some really hip movies. Not movies about pimps. We done made enough movies about pimps, because white folks already know about pimping. 'Cause we the biggest whores they got."
We find Super Nigger, with his X-ray vision that enables him to see through everything except white, disguised as Clark Washington, mild-mannered custodian for the Daily Planet. He's shuffling into Perry White's office.
"Hey, man, I'm quitting, baby."
"Great Caesar's Ghost! I can't talk to you now."
"Talk to me, Jack. 'Cause I'm ready to quit, man. You dig? I'm tired of doing them halls. Every time I finish, Lois Lane and them come slipping and sliding down through there and I got to do them over again. I'm through."
Pryor cowrote Blazing Saddles with Mel Brooks, but Cleavon Little won the role of black sheriff: Warner executives feared that Pryor's "street cred" might turn off suburban audiences. Still, independents were willing to roll the dice. In 1978 came Blue Collar, set in a Detroit automobile factory, a searing tragicomedy that examined the lives of three assembly-line workers, two black and one white: Pryor, Yaphet Kotto, and Harvey Keitel. Impoverished and ill-used, the trio decides to raid the union treasury. Instead of loot, they find paperwork showing that the labor organization is in bed with the mob, lending money at usurious rates. When they try to use the information, however, they wind up brutally quashed. Critics found Blue Collar rough-edged, and it failed at the box office. But most reviewers agreed with Vincent Canby's appraisal in the New York Times: "The center of the film is Mr. Pryor, who has a role that for the first time makes use of the wit and fury that distinguish his straight comedy routines."
Pryor had joined Bill Cosby and Sidney Poitier in another trio for Uptown Saturday Night and was the marquee attraction in such comedies as Car Wash and Silver Streak, the first of four pepper-and-salt features costarring Gene Wilder. Lily Tomlin hired Pryor to write material for her TV specials; then Saturday Night Live grabbed him. In one skit, he and Chevy Chase played job candidate and employer. Their word-association game, a cascade of escalating network-verboten terms, pushed NBC to the edge.
Chevy: "Negro."
Richard: "Whitey."
"Tar baby."
"Ofay."
"Colored."
"Redneck."
"Jungle bunny."
"Peckerwood."
"Burr-head."
"Cracker."
"Spear-chucker."
"White trash."
"Honkey."
"Spade."
"Honkey-honkey."
"Nigger!"
"Deeeeeead honkey!"
All the while, Pryor was becoming ever more celebrated. A documentary, Richard Pryor Live in Concert, set the standard for all comedy "concert" films to follow. It caught the entertainer in peak form, reflecting on his disorderly life, his domestic quarrels with wives and girlfriends, the death of a pet monkey, the story of his brush with death during a heart attack: "I woke up in the ambulance, right? And there was nothing but white people staring at me. I said, 'I done died and wound up in the wrong heaven. Now I got to listen to Lawrence Welk the rest of my days.' "
As his fame rose, so did his trouble with wives and ex-wives—five, all told, with a total of seven children. (Only one, Rain Pryor, chose a show-business career, appearing in sitcoms and off-Broadway plays. Her memoir, Jokes My Father Never Told Me, was published by HarperCollins in 2006.) Accompanying Richard's familial complications were deteriorating health and difficulties with the IRS.
I went to jail for ten days for income tax evasion. I didn't know a thing about no taxes. I told the judge, "Your Honor, I forgot."
He said, "You'll remember next year, nigger."
Unhappy and guilt-ridden, he exiled himself once more, this time to Africa. He had heard tales about the place and wanted to see it for himself. Something epochal occurred while he was there—though initially, he hid his insight beneath gags: "Landing at the airport in Nairobi, it just fills your heart up. You see everybody's black. And you realize that people are the same all over the world. Because people in Africa screw over your luggage just like people in New York."
Even though Pryor would use the continent for routines, the visit deeply affected him. Long before black leaders like Cosby and Juan Williams warned about the corrosive social effects of gangsta rap, he went public about the black community's degraded language and its consequences.
One thing that happened to me that was magic was that I was leaving, sitting around the hotel lobby, and a voice said, "What do you see? Look around."
And I looked around, and I looked around, and I saw black people everywhere. At the hotel, on television, in stores, on the street, in the newspapers, at restaurants, running the government, on advertisements. Everywhere.
And the voice said, "You see any niggers?"
I said, "No."
It said, "You know why? 'Cause there aren't any."
I'd been there three weeks and hadn't said it. And it started making me cry, man. All that crap. All the acts I've been doing. As an artist and comedian. Speaking and trying to say something. And I'd been saying that. That's a devastating word. That had nothing to do with us. We are from a place where they first started people. I left regretting ever having uttered the word on a stage or off it. It was a wretched word. I felt its lameness. It was misunderstood by people. They didn't get what I was talking about. And so I vowed never to say "nigger" again.
The N-word vanished from his routines. But the comedian failed to make a corresponding cleanup in his private life. From standard substance abuse he moved on to freebasing cocaine. While filming in Phoenix, he dropped in at the Arizona State Penitentiary to play Cool Black Celebrity for the inmates. Richard even planned to sneak in some drugs. Both the prisoners and the wardens quickly disabused him, and because he could never be anything but honest, he turned the experience into material.
I always said the black man had been screwed over since the Revolution. "We're nice people. We just got a bad break." But I was there six weeks and I talked to some of the brothers there. Thank God we got jails.
I said to one, "Why'd you kill everybody in the house?"
He said, "They was home."
The drug use intensified. Friends tried to get him to stop, or at least slow down. Jim Brown, the running back turned actor, asked him what the hell he was doing to himself. "Freebasing," replied Pryor. Snapped Brown, "What's free about it?" The words bounced off ineffectively until the night Pryor spilled cognac all over himself while lighting a toke. A moment later, he was engulfed in flames, screaming down a thoroughfare. Later, a Washington Post columnist commented that Pryor was "his own Nero. He fiddled while he burned."
You know something I noticed? When you run down the street on fire, people will move out of your way. They don't screw around. Except for one old drunk who's sitting there, going, "Hey, buddy, can I get a light? Come on, pal. A little off the sleeve?"
Bad press made Richard reconsider his life. He quit taking drugs and got his act together. In the post-crackup documentary Live on the Sunset Strip (1982), he speaks with extraordinary candor about his freebasing catastrophe. The revelation begins, of course, with a gag: "Before going to bed, it's my habit to have a glass of no-fat milk and cookies. When I put them together, they exploded. Scientists are still trying to figure out what happened." He proceeds to the delusions that arise from cocaine-smoking ("I understand, I understand," his pipe tells him), the falling away of his friends, the denial of drug use to his family, the horrific accident with first-, second-, and third-degree burns, and months of agonizing physical and mental therapy. All these could have served as pretexts for self-pity; instead, Pryor turns them into something as laugh-provoking as they are affecting.
Richard's 38th film, Jo-Jo Dancer, Your Life Is Calling, had more to say about life lessons. The contrite, transparently autobiographical account of a black superstar's rise and crash—written, produced, and directed by the star himself—wasn't a hit, but it seemed to exorcise many demons. Alas, Pryor had hit the brakes too late. During the filming of the ironically named Critical Condition, he found his legs unresponsive to his will. Physicians at the Mayo Clinic gave him the awful news: he was in the first stages of multiple sclerosis.
There were still movies to make, and he did some standup at the Comedy Store in Los Angeles, and later, when the paralysis made it impossible to walk, he entertained in a wheelchair. Pryor won an Emmy for his performance as a bedridden victim of paralysis in Chicago Hope. And in 1998, he received the first Mark Twain Humor Prize, awarded at the Kennedy Center. He responded, "It is nice to be regarded on a par with a great white man. Now, that's funny!" Then he got serious. "Two things people throughout history have had in common are hatred and humor. I am proud that, like Mark Twain, I have been able to use humor to lessen people's hatred."
Pryor dropped out of sight during his last years, but when he died in 2004 large obituaries ran in every major newspaper. Network and cable news shows broadcast expurgated versions of his routines and excerpts from his films. And celebrities lined up to acknowledge their debt to an authentic original. "To fully appreciate the power of Richard Pryor as a stand-up comedian," said David Letterman, "you had to follow him at the Comedy Store. I did once, and I'm lucky to be alive." Composer Quincy Jones added, "I've always thought that a big laugh is a really loud noise from the soul saying, 'Ain't that the truth!' Richard Pryor was the truth machine. He took black street humor to its highest universal level."
Jim Carrey was the most eloquent: "Some people are born wearing an iron shoe. They're the ones who kick doors down and enter the places that before them have been untouched even by light. Theirs is always a mission filled with loneliness and broken bones. Pryor was one of the bravest of them."
Today, new generations are discovering Pryor's routines on YouTube, as well as on widely available DVDs and CDs, making him famous all over again. With good reason. For unlike the shock-troop comedy that panders to a snickering audience, Richard Pryor's work had authenticity, purpose, an odd dignity. His memorable representatives of both the black and white worlds, his acute social observations, his autobiographical self-parodies were timeless—and so were his strivings for racial pride. As Mudbone once observed about himself in a third-person monologue: "He'd learned somethin' through all the crap he'd been through. Acquired wisdom. Done become a philosopher."
You all know how black humor started? It started on slave ships. Cat was rowing and dude says, "What you laughin' about?"
He said, "Yesterday I was a king."
- Stefan Kanfer, a contributing editor of City Journal and a former editor of Time, is the author, most recently, of a biography of Marlon Brando, Somebody.
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Watch the First Teaser for Bryan Singer's X-Men Show The Gifted
With Legion already a critical and commercial success, one wondered what the X-Men movies most seasoned director, Bryan Singer, would do with his show The Gifted. One thing you can count on (and you'll glean this from the teaser) is that it's not going to be like Legion at all. As Singer told Mashable earlier this year, The Gifted is a very different kind of story from both Legion and his own work in the cinematic X-Men universe:
"I'll tell you, it's very different from [Legion], visually, and yet it's very different from the X-Men films as well. It's mostly about a family. It's a family drama. There'll be effects, powers, and things like that. But at its heart, it's about a family. It's an emotional story. […] It's another standalone. That's our design. We developed it together — not together, but like at the same time. The only reason I was able to direct it was because the movie I want to make next, I'm not going to be able to make until September, so it gave me four months, and I suddenly said, "Why don't I take the helm?"
The Gifted is being billed as a 'family adventure series,' one that's produced with Marvel TV and that tells the story of a suburban couple who find their pleated, comfortable lives upended by the realization that their children are mutants. The family has to go on the run and end up joining an underground network of mutants in order to survive. It's a solid premise; one much more devoted to the troubling origin stories and the ramifications of youth lost than, say, Netflix's Jessica Jones or Luke Cage or even The CW's Supergirl.
The Gifted is due out on Fox this fall, with a full trailer coming next Monday, May 15, 2017.
TAGSThe Gifted
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Featured chalk artist Mark Jenks works on his street painting alongside young chalkers.
Free to visitors wishing to enjoy the artists' work and listen to the musical entertainment, the Chalk Festival takes place on the museum's south-side pathways, which wind through the Fine Arts Garden and down to Wade Lagoon.
The Indian Kalighat Paintings exhibition gave Chalk Festival founder and artistic director Robin VanLear the germ of an idea for her street painting, which she developed with her own artistic sensibility.
Feature artist Rafael Valdivieso Troya incorporated a three-dimensional structure into his street painting.
A group of friends who met in a museum adult studio class incorporated the Fine Arts Garden stairway treads into their street painting of a sailing ship.
Art class friends incorporated the sides of the Fine Arts Garden steps into their street painting of a flotilla of balloons.
For a small fee the museum provides a square and a box of chalk; participants supply their own artistry.
The grid on this preliminary sketch will help the artists enlarge the image on the sidewalk.
Individuals, families, schools, and neighborhood groups are all invited to participate or watch.
The Chalk Festival attracts Northeast Ohio artists of all ages and levels of experience.
Young artists and art critics make pointed observations as they discuss the chalk art.
Chalkers choose large or small squares; some chalk one square and some multiple squares; some chalk their own individual squares and some chalk jointly with friends, family, or classmates.
The image of the Goddess Kali in the Indian Kalighat Paintings exhibition inspired featured artist Jan Stickney-Kleber's street painting.
Even when it's shirt-sleeve weather at the Chalk Festival in September, an artist may draw a winter scene.


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#Creep-2014Film Creep (2014 film)
Creep is a 2014 American independent found footage horror film directed by Patrick Brice, based on a story written by Brice and Mark Duplass. The film, which is Brice's directorial debut, had its world premiere on March 8, 2014, at South by Read More..
Review# tag Creep-2014Film
Hash title Creep (2014 film)
Description Creep is a 2014 American independent found footage horror film directed by Patrick Brice, based on a story written by Brice and Mark Duplass. The film, which is Brice's directorial debut, had its world premiere on March 8, 2014, at South by Southwest and stars Brice as a man that answers a cryptic Craigslist ad.The film was released on video on demand on June 23, 2015, by The Orchard prior to a global release on Netflix on July 14, 2015.
Creep is a 2014 American independent found footage horror film directed by Patrick Brice, based on a story written by Brice and Mark Duplass. The film, which is Brice's directorial debut, had its world premiere on March 8, 2014, at South by Southwest and stars Brice as a man that answers a cryptic Craigslist ad.The film was released on video on demand on June 23, 2015, by The Orchard prior to a global release on Netflix on July 14, 2015.
Director Patrick Brice
Story , Patrick Brice , Mark Duplass
Editing Christopher Donlon
Starring , Mark Duplass , Patrick Brice
Music , Kyle Field , Eric Andrew Kuhn
Producer , Mark Duplass , Jason Blum
Studio Blumhouse Productions,Duplass Brothers Productions
Distributor The Orchard
Released 2014/3/8 (SXSW) /2015/6/23 (United States)
No reviews available for #Creep-2014Film, Do you know Creep (2014 film)?, Please add your review and spread the good things.
#Creep2
#TheOneILove-film
#CorporateAnimals
#BlueJay-film
#Paddleton
#SafetyNotGuaranteed


The Beverly Hills Marriott, formally the Crowne Plaza Beverly Hills, is a 12-storey, 258 room hotel, less than a mile from the famous Rodeo Drive, with its boutiques and famous names, and Santa Monica Boulevard, which runs right out to the coast. It is also a short taxi ride to many of the famous attractions around the area, such as the Hollywood Walk of Fame, Grauman's Chinese Theatre, Sunset Strip, Disneyland, Universal Studios and Knotts Berry Farm theme parks and Santa Monica Pier and the beach.
The whole hotel had a full redesign and renovation in 2016, updating it to a stylish and contemporary property.
The Marriott Beverly Hills has 248 Guest Rooms and 10 Suites, each with 1 King or 2 Double beds with pillow-top mattresses, ensuite bathroom with complimentary toiletries and vanity mirror, air conditioning, complimentary Wi-Fi internet access, tea and coffee making facilities, fridge, work desk and chair, iron and ironing board, 42" satelite TV with cable channels and in-room movies, alarm clock radio, CD player, telephone and views across the surrounding cityscape. Executive Guest Rooms offer more space, upgraded bathrooms, bathrobes, in-room safe, a sitting area and access to the Executive Lounge with complimentary breakfast, snacks and drinks.
Suites offer a separate bedroom and separate sitting room, with double sofa bed, wet bar, microwave and refrigerator.
The Beverly Hills Marriott has a few dining options to choose from. Marty's Bistro serves classic American cuisine, from burgers, grills and salads, and a breakfast buffet with hot and cold choices. The Lobby Lounge offers lite bite and snack with a selection of beers, wines and spirits. The Corner Pantry has snack, soft drinks and lite food items, as well as suovenirs and sundries.
Outside the hotel, there are several restaurants nearby, and the rest of Beverly Hills, West Hollywood, Culver City and West LA are only a short drive or taxi ride away.
The Beverly Hills Marriott offers a number of facilities and amenities for guests, including an outdoor heated pool and hot tub, free Wi-Fi throughout the property, a well-equipped business centre, a 24 hr fitness centre, Concierge, safety deposit boxes at front desk, local area transportation and excursion arrangements, limo and town car service (fee) and on-site valet and self parking (fee).
They also have a large conference and event room, where conferences, training courses, weddings and celebrations can be held.
For a few days sightseeing around the Beverly Hills area, the Beverly Hills Marriott makes an ideal place to stay.
Children of all ages are welcome and stay FREE when sharing with accompanying parents using existing bedding.
Round trip airport transfers can be arranged on request. Hire Cars can be booked for collection at the airport if required.
Early check-in/Late Check-out available on request.
Prices are based on a per room, per night room only basis for single or twin occupancy. Complimentary continental breakfast is offered in the Executive Lounge for all Executive Rooms.
Standard Guest Rooms offer 1 King or 2 Double beds with pillow-top mattresses, ensuite bathroom with complimentary toiletries and vanity mirror, air conditioning, complimentary Wi-Fi internet access, tea and coffee making facilities, fridge, work desk and chair, iron and ironing board, 42" satelite TV with cable channels and in-room movies, alarm clock radio, CD player, telephone and views across the surrounding cityscape.
Executive Guest Rooms the same amenities as the standard guest room and additionally offer more space, upgraded bathrooms, bathrobes, in-room safe, a sitting area and access to the Executive Lounge with complimentary breakfast, snacks and drinks.
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As America's most popular grocery chain, Trader Joe's has fans in all 50 states, and fans in each of those states have a favorite Trader Joe's product.
After exchanging candy with our classmates every Valentine's Day growing up, we'd sift through our hauls and organize it all from "can't wait to dig in,"
A recent study conducted by a consumer data science company called dunnhumby found that Trader Joe's is America's number one favorite grocery chain.
From pickles to llama cakes, we're dishing on the latest food trends to grace your plate and your feed.


text:
Yesterdish's Pasta e Fagioli
Or pasta fasúl, depending on which part of Italy (or Jersey) you're from.
Both pasta e fagioli and pasta fasúl mean pasta and beans; different Italian dialects have different words for the same thing (something we discussed previously in the post for Yesterdish's avocado and goat cheese panzanella). Either way, it's a peasant soup made with beans and pasta, and usually, some kind of ham.
Other than that, there isn't a lot of orthodoxy about it. And my mother made this pot specifically to prove that point, after having to hear about how great some restaurant's version was. (I'm not going to use the name, but you know the place. They brag about having a cooking school in Italy, then sell stuffed pastas that are entirely corporate inventions and are unrelated to any Italian tradition.)
It doesn't matter that it's made from the odds and ends of other meals–the leftover pork, the rind of the cheese, the last servings of pasta from the boxes. What matters in pasta e fagioli are the techniques and the time.
Of course, dressing up new recipes by claiming a nonexistent ethnic heritage isn't anything new–we've talked about it with lobster Cantonese and chicken Kiev, among other places. But what happens with pasta e fagioli is something different–marketing gurus build a mystique around a dish that converts it from a natural expression of ingredients at hand to a bondage-and-discipline recipe that sends you to squint at the shelves in the specialty shop.
It doesn't have to be that way, and it shouldn't be that way. So let's talk a little about the orthodoxy of pasta e fagioli.
First, some people will insist that pasta e fagioli must be made with cannellini beans, as if the cannellini was to pasta e fagioli what arborio and its short-grain cousins are to risotto. It's not. Cannellini beans are basically just white kidney beans. There's no "magical cannellini dust" that makes the soup part of a grand Italian tradition.
Peasants used cannellini when they had them, sure. But sometimes they used borlotti beans (the white-with-red-swirl beans that look like pinto beans), or regular kidney beans (particularly in Umbria), or whatever else they had at hand. You could even use lentils, although you'd have to omit the soaking period. We use an assortment of beans and the results are perfect.
Second, there's a reputation in the domestic iterations that pasta fagioli is a vegetarian dish, because Jersey Catholics ate it on Fridays. While it's true that a vegetarian bean soup would sometimes be used as a minestra di magro, or lean soup, on Fridays, it's also true that pasta fagioli would be consumed during the rest of the week made with a meat stock, and usually, some pancetta or ham in the base. We used a triple stock, made by using a chicken stock that had been boiled until the volume reduced by half as the liquid in cooking down another set of chicken bones (you don't need something that strong, but if you have it, why not use it?).
Third, the type of pasta. A lot of sources will say it has to be the tiny tubes called ditalini. To address this, here's a story from my mother's childhood in Eritrea, where her grandfather operated a general store.
In the store, short, dry pasta was sold in wooden barrels. To buy the pasta, you'd bring a clean pillowcase to the store, fill it with the pasta you wanted, and pay by the weight. (I asked if they factored in the weight of the pillowcase, but evidently, this wasn't considered a big deal. You know that if they did this today, there'd be an old lady at the counter arguing that she wants her seven cents back.) When there wasn't enough pasta to fill a barrel, it was moved into an odds-and-ends barrel.
If you were buying pasta for pasta e fagioli, that is the barrel you used to fill your pillowcase. As long as everything is relatively small with any larger bits broken into smaller ones, they'll cook at about the same speed and make a soup that's every bit as delicious and a visual improvement. This time, we used little shells, because that was the leftover pasta we had on hand.
Finally, the marketing drones have decided to popularize pasta e fagioli as a Tuscan bean soup. This would no doubt come as a surprise to the residents of Tuscany, who are fully aware that dishes of pasta and beans are common to Italian cities and former colonies the world over. I mean, it's like advertising clam chowder as Kansas Clam Soup. Do they eat it in Kansas? Well, yeah, but that doesn't make them the ambassadors of clam chowder.
Now, there is such a thing as a Tuscan bean soup; ribollita, made with cannellini beans, tomato, and kale, thickened with crumbled bread (which, in the authentic versions, wouldn't be made with salt). Which is a lovely thing, but it's not pasta e fagioli. And Tuscans do eat a lot of beans–they have a reputation as mangiafagioli. Along with ribollita, Tuscans enjoy their cannellini all'uccelletto (stewed with tomato, garlic, and sage) or al fiasco (that is, in a flask–cooked in a bottle and then served dressed with olive oil).
If you wanted to accurately describe the pasta e fagioli we typically eat in the United States, you'd call it a Neapolitan or Sicilian Bean Soup, because the thicker versions we enjoy are closest to Sicilian and Neapolitan pasta fasúl. But that'd never do for the big chain restaurants; Naples (which happens to be my favorite city in Italy, for the record) is rough and urban and Sicily is mostly associated with The Godfather. Meanwhile, Tuscany is all lovely rolling hills and olive groves and cottages (owned by rich foreigners, but you can't tell that on the olive oil label).
While Italian immigrant communities brought the dish with them to the United States, it first started to catch on outside Italian communities during World War I, when the thrifty approach to cooking used by the poor in Italy was suddenly very useful to domestic households. Stretching one or two servings of pork into six or twelve servings of pasta e fagioli accomplished better popularity than any chain restaurant's commercials.
It grew in popularity quickly enough to enter American pop culture in 1927, when vaudeville song and comedy duo Van and Schenck sang the praises of Pastafazoola (the sound is missing from some of the opening dialogue but it kicks in before the song):
That said, neither Van (born August Von Glahn) or Schenck (born Joseph Thuma Schenck) were of Italian extraction; both were born in Brooklyn and came from fully German ancestry. But growing up in Brooklyn, they had surely encountered a soup quite a bit like ours here, with a mixture of beans and whatever pasta was on hand that day.
It doesn't matter that it's made from the odds and ends of other meals–the leftover pork, the rind of the cheese, the last servings of pasta from the boxes. What matters in pasta e fagioli are the techniques and the time. With the right stock and properly soaked beans, the results will be creamy, rich, and warming–and often, more satisfying than the meals that contributed to its creation.
From Yesterdish's recipe box.
One medium diced yellow onion
2 charred, skinned, seeded, diced tomatoes
1 celery rib, diced
1 carrot, peeled and diced
1/2 to 1 cup diced pancetta or ham
1/2 cup diced Parmigiano rind
3 Tbsp. persillade (parsley and garlic)
8-10 cups of chicken/beef stock
1 spring rosemary
pepper *Grind fresh! No box!!!
1 cup of short pasta–ditalini or gemelli–whatever you like.
1 lb. = 2 cup soaked/brined rinsed beans–
Start cooking!
In a heavy saucepan, heat enough olive oil to coat the bottom.
Add the pancetta, onion, persillade and saute until the onion is translucent.
Add the seeded diced tomatoes and cook until they start to caramelize and (stick to the bottom–not burn). Add the carrots and celery and sautee.
Now add the broth and the rinsed, pre-soaked beans and your rosemary and bay leaves.
Bring to a boil, then turn fire down to a simmer. Add your cheese bits.
Cook until the beans are tender, about 10-12 minutes.
Take out the rosemary and bay–take one cup of soup out and puree.
Add your pasta–cook al dente. Add your pureed beans.
Taste. Season with pepper and salt and 1 Tbsp. raw olive oil.
Serve with more Parmigiano.
Eat!
Bean Brine:
1 lb. = 2 cups dry beans
3 Tbsp. salt
4 quarts of water
8-24 hour rest period. Soak at room temperature.
A brined dry bean that has been cooked properly will be creamy dreamy not mushy gluey!
Brining softens the skin only.
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By: adgoFiled under Arlington, Main course, Soup, Virginia, Yesterdish's recipe box. Tagged bay leaf, carrots, celery, cheese, garlic, ham, olive oil, onion, pancetta, Parmesan, parsley, pepper, persillade, rosemary, salt, tomatoes, Yesterdish. Bookmark the permalink. Leave a comment
Yesterdish Cocktail Nibbles, and talking about original Chex Mix (like, with shredded wheat). https://t.co/OZeMTn6Kyi https://t.co/OAwCYMOJhr
Sep 21 • reply • favorite
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←Older: Oil Pickles
But feel free to omit the alum.
Hydrated potassium aluminum sulfate, or alum, helps keep pickles crisp; the aluminum ions reinforce the pectin in the cell …
Newer: Cocoa→
Using unsweetened cocoa.
From the box of C.N. sold in De Soto, Kansas.
Scald milk in double boiler.
Mix cocoa and sugar in saucepan.
Stir water into the sugar …
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persillade
Garlic and parsley chopped together, usually with olive oil and salt added for texture and flavor.


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The Irish Supreme Court has upheld an appeal by a member of Fianna Fáil who brought proceedings challenging the constitutionality of laws linking state funding of political parties to gender quota targets.
Brian Mohan sought to secure a Fianna Fáil nomination for the 2016 general election in the Dublin Central constituency. However, he was informed by letter that the candidate selected must be a woman. As a result, he was excluded from consideration and a female candidate was nominated.
Mr Mohan brought proceedings to challenge the constitutionality of Section 17(4B) of the Electoral Act 1997, as inserted by Section 42(c) of the Electoral (Amendment) (Political Funding) Act 2012.
The section was introduced in order to increase the number of female elected representatives in Ireland given a historic under-representation of women candidates. Section 17(4B)(a) does so by providing that State funding to a registered political party will be reduced by 50% if the candidates presented are not at least 30% male and 30% female. This first came into operation for the 2016 election. Within 7 years, there will be a requirement of 40% males and 40% female.
The High Court and Court of Appeal ruled that Mr Mohan lacked legal standing (locus standi) to challenge the constitutionality of the provision as the section operated directly on the political party as opposed to the individual.
Before the Supreme Court, Mr Mohan argued that he had standing as a candidate that sought election, as a member of a political party and as a citizen. He argued that he fell within the primary rule of standing set out in Cahill v Sutton as his interests "have been adversely affected, or stand in real or imminent danger of being adversely affected, by the operation of statute".
Justice Donal O'Donnell considered the case within the context of both equality rights and freedom of association under the Constitution. Justice O'Donnell found that Mr Mohan's interests, "both in the broad sense of his personal interest in being selected as a candidate and his interest in participating in the nomination process as a member of the party, and the more specific sense of the rights (of equality) and freedoms (of association) he asserts under the Constitution would appear, at least prima facie, to be affected by s. 17(4B)".
Justice O' Donnell acknowledged that this was a sophisticated piece of legislation pursuing an important social goal, doing so through positive discrimination on gender grounds and controlling public funding for political parties – both of which are areas of constitutional sensitivity. Justice O'Donnell's preference was therefore that the case be addressed on its merits rather than decided on the basis of standing.
In stating that the deprivation of standing was a "serious error" by the High Court and Court of Appeal, the Court granted the appeal and remitted the case to the High Court for a full hearing of the validity of Section 17 (4B) of the Electoral Act 1997.
Click here for the decision in Mohan v Ireland and the Attorney General.


text:
Q: Linking File's Owners and View Controller [iPhone SDK] I seem to be having an issue with iPhone SDK 2.1 in as far as being
able to establish a relationship between a ViewController and a View
window. In as far as a Cocoa Touch Class, I went forward and added a
UIViewController subclass. I made sure that the target is part of the
existing project. Right afterwards I added a User Interfaces -> View
XIB. Within the UIViewController I have some straight forward code I
literally copy/pasted from sample code elsewhere:
EditViewController.h:
@interface EditorViewController : UIViewController <UITextFieldDelegate> {
    UITextField *field;
}

@property(nonatomic, retain) IBOutlet UITextField *field;
@end

EditViewController.m
#import "EditorViewController.h"

@implementation EditorViewController

- (BOOL)shouldAutorotateToInterfaceOrientation:
         (UIInterfaceOrientation)interfaceOrientation {
   // Return YES for supported orientations
  return (interfaceOrientation == UIInterfaceOrientationPortrait);
}

- (void)didReceiveMemoryWarning {
    [super didReceiveMemoryWarning];
}

- (void)dealloc {
   [super dealloc];
}

@end

As you can tell, it doesn't do much.  Now when I click my new xib, and
reference a class identity with EditorViewController, no auto complete
happens, which to me implies that it has no such awareness of a
EditorViewClass. When I attempt to control+click from the view to
File's Owners, I get nada.
What are some of the possible idiosyncrasies in this process that I'm
overlooking that's not allowing me to outlet my view to a controller?
How would I also ensure that my User Interface View XIB is associated with the project besides seeing the project name checked off as a Target?

A: (This doesn't appear to be specific to iPhone -- it's a general class of problem for any platform.)
It's barely clear what this means:
"Now when I click my new xib, and reference a class identity with EditorViewController, no auto complete happens, which to me implies that it has no such awareness of a EditorViewClass."
Do you mean that you selected the File's Owner and tried to set its class to EditorViewController, but Interface Builder didn't autocomplete the class name for you?
If this is the case, is the xib file associated with the project?
Other points that aren't directly relevant:
Best practice is now that IBOutlet be associated with the property:
@interface EditorViewController : UIViewController
{
    UITextField *field;
}
@property(nonatomic, retain) IBOutlet UITextField *field;
@end

You should also release the text field in dealloc:
-(void)dealloc {
    [textField release];
    [super dealloc];
 }

The formatting of your question makes it difficult to see what code you've written.  The terminology is also "odd" -- outlet is not a verb:
"What are some of the possible idiosyncrasies in this process that I'm overlooking that's not allowing me to outlet my view to a controller?"
do you mean:
"Is there anything I may have overlooked that means I can't connect my controller's view outlet to the view in Interface Builder?"

A: It should be as simple as selecting the files owner and entering the name of your class in the class box (it should auto-complete and also be in the drop down menu). Make sure you arent trying to set the class to the view itself.

redpajama_set_name: RedPajamaStackExchange


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text:
Duterte welcomes Robredo's acceptance of ICAD co-chair post
Published November 7, 2019, 9:10 AM
By Argyll Cyrus Geducos
President Duterte has welcomed the decision of Vice President Leni Robredo to accept his offer to be the government's drug czar, saying this will give the latter the opportunity to know the realities on the ground, especially with the so-called extrajudicial killings.
Presidential Spokesman Salvador Panelo
(OPS / MANILA BULLETIN)
"The President mentioned it was good that Vice President Ma. Leonor Robredo accepted his formal offer to co-chair the Inter-Agency Committee on Anti-Illegal Drugs (ICAD)," presidential spokesman Salvador Panelo said after a Cabinet Meeting in Malacañang Wednesday evening.
"With the Vice President at the helm of the anti-narcotics campaign, President Duterte expects that the former would see the realities on the ground, particularly with respect to the government's position against extrajudicial or state-sponsored killings, and understand that deaths occur due to the violent reactions on the part of agents of the illegal drug trade against the strict enforcement of the law," he added.
Robredo was not able to attend the Cabinet Meeting on Wednesday evening.
President Duterte offered the post of drug czar to Robredo in late October after she criticized that the drug war was a failure and needed reassessment.
Malacañang on Tuesday released a copy of a memorandum from the Office of the President, stating Robredo's appointment as ICAD co-chairperson until the end of her term, or unless sooner revoked.
The ICAD was created by President Duterte through Executive Order No. 15 and is composed of 21 member agencies. Among its functions is to ensure the effective conduct of all anti-illegal drug operations and arrest of high-value drug personalities including street-level peddlers and users.
Based on the memorandum signed by President Duterte on October 31, the Philippine National Police (PNP), Philippine Drug Enforcement Agency (PDEA), Dangerous Drugs Board (DDB), and all other law enforcement agencies were also instructed to "extend their full assistance and cooperation" to Robredo to ensure the success of the government's efforts on the drug war.
On Wednesday, Robredo said she accepted Duterte's offer because she thought it was an opportunity for her to end the killings and hold those behind them accountable.
"Kung ito ang pagkakataon para matigil ang patayan ng mga inosente at mapanagot ang mga kailangang managot, papasanin ko ito (If this will be my chance to end the killings among the innocent people and hold those behind it responsible, then I will bear this)," she said.
Malacañang welcomed Robredo's decision, saying the Vice President was finally her own person.
"Her acceptance shows she is smarter than her colleagues in the opposition who do not want her to succeed in serving the people. She is finally her own person," Panelo said Wednesday.
"She is much better off listening to her own instincts as a mother and a lawyer," he added.
Go: Indictment of Albayalde, 12 cops 'strong message' to lawbreakers
Duterte blasts water concessionaires anew, calls them "show-offs" over charitable foundations
DepEd moves early registration to Feb. 1


omg i just got home. i will watch it NOW.
What a wonderful Drama!! I had seen the 7th first episodes and it's absolutely great!! Zettai sugoi!!!!
Zettai Kareshi - SARS Fansub Go to "current projects"!!
I read the Manga.. a long time ago..
Imagine Soshi as your own boss!
Mika: Riiko, don't you have some hot guy friends?
Soshi: How about ME? I can be your hot friend!
Riiko: Ah~ Chief. That's not necessary.
PLEASE BE MY HOT FRIEND !!
hiro, can you be also my hot friend? hahaha.
is it okay to post a screencap?
Oh but I love him most as Asamoto Soshi,, even better than Tendou Souji.. and a slight better than Kausakabe Souji.
Personally, I like the drama even more than the manga.
The story develops far more intresting.
Episode 9 was so cool!
Soshi-kun is gonna find out Nighto-san is a robot!!
I can't wait till episode 10!!
This was too bad for nighto kun!!!
yup in kamen rider its his biggest role but not everyone likes to watch that kind of story. i mean all kids love it but for teens its different ne? so for dorama, zettai kareshi is his biggest role. agree?
..im sooooo in love with this drama!!! one of the best so far..
..its a plus that hayami mocomichi (fyi: he is half filipino.. hehe! just something i wanna share..) is also there!!! hot guys galore..
man! too busy with studies, dont have time to watch zk.
This drama made me cry. It really did. It was great and I really enjoyed it but yes it made me so sad.
i`ve seen all of episode..
wow... what a nice strory. I hope i can get the sequence of Zettai Kareshi.
i mean i hope i can get the sequel of Zettai Kareshi..


At 8:37pm on Sunday nevening 4/2/17, Yorktown Heights Volunteer FD, along with our FAS-Team were dispatched to a reported structure fire on Wilson Rd in the YHFD district in Yorktown. While our FAS-Team was assembling, Yorktown FD arrived and confirmed the fire and transmitted their 10-75 (working structure fire) assignment. Due to this being in the non-hydrant section of their district, this brought Croton-on-Hudson Fire Department, Millwood Fire, Somers Volunteer Fire Department, and Continental Village Vol. Fire Department all to the scene with additional tankers, while an additional croton FD engine was dispatched to establish a water source. Ossining Fire Department, Bedford Hills Fire Department, and Mount Kisco FD all relocated and covered Yorktown FD. Mohegan FD's FAS-Team arrived and set up 2 teams (one in front, one in rear) until the fire was brought under control. Once the fire was knocked down, Mohegan FD went to work to assist in overhaul operations to extinguish additional hidden pockets of fire. Mohegan FD members did find the homeowner's cat during overhaul and brought the cat to safety. All Mohegan FD units cleared the scene by 9:15pm. Mohegan FD units operating were Car 2262, 2264, 2265, 2266, DC40, Engine 256, and Utility 80 with a total of 12 members. Yorktown Police Department and Yorktown Volunteer Ambulance Corps also assisted on scene.