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On Music, On Politics
Reelin' in the years: A mixtape (and a tribute)
July 27, 2020 Dennis Hartley Leave a comment
(Originally posted on Digby's Hullabaloo on July 25, 2020)
In my 2009 review of Ang Lee's Taking Woodstock, I wrote:
"If you can remember anything about the sixties, you weren't really there". Don't you hate it when some lazy-ass critic/wannabe sociopolitical commentator trots out that old chestnut to preface some pompous "think piece" about the Woodstock Generation?
God, I hate that.
But I think it was Paul Kantner of the Jefferson Airplane who once said: "If you remember anything about the sixties, you weren't really there." Or it could have been Robin Williams, or Timothy Leary. Of course, the irony is that whoever did say it originally, probably can't really remember if they were in fact the person who said it first.
You see, memory is a funny thing. Let's take the summer of 1969, for example. Here's how Bryan Adams remembers it:
That summer seemed to last forever
and if I had the choice
Yeah – I'd always wanna be there
Those were the best days of my life
Best days of his life. OK, cool. Of course, he wrote that song in 1984. He'd had a little time to sentimentalize events. Now, here's how Iggy Stooge describes that magic time:
Well it's 1969 okay.
We've got a war across the USA.
There's nothing here for me and you.
We're just sitting here with nothing to do.
Iggy actually wrote and released that song in the year 1969. So which of these two gentlemen were really there, so to speak?
"Well Dennis," you may be thinking (while glancing at your watch) "…that's all fine and dandy, but doesn't the title of this review indicate that the subject at hand is Ang Lee's new film, Taking Woodstock? Shouldn't you be quoting Joni Mitchell instead ?"
Patience, Grasshopper. Here's how Joni Mitchell "remembers" Woodstock:
By the time we got to Woodstock
We were half a million strong
And everywhere there was song and celebration
She wrote that in 1969. But here's the rub: she wasn't really there.
There was a point in there, somewhere. Somehow it made sense when I was peaking on the 'shrooms about an hour ago. Oh, I'm supposed to be writing a movie review. Far out, man.
2020 has been quite a year; the kind of year that gets memorialized in song. Actually, with five months still to go (survive?), somebody already has memorialized 2020 in song:
New Year's Eve, don't it seem
Like decades ago?
Back in 2019
Back when life was slow
Now it's June, we're just halfway done
2020, hey are we having fun?
How many years will we try
To cram into one?
You thought we'd be living 1918 again
But we messed that up so bad
God had to toss 1930 in
As the sun rose on 1968 this morning
A tweet from the john
Please let's not add the Civil War
How many years will we cram into one?
How much more will she take?
Boys, hope you enjoy
Your beautiful tax break
We're not repeating history, just the parts that sucked
2020, what the actual fuck?
Pray we get through, but hey don't hold your breath
'Cause there's plenty left to wreck
We got six months left
How many years
— Ben Folds, "2020"
Do you see what he did there? Since we are still ensconced in "2020" (and all it implies) I think it's safe to confirm Ben Folds is really there, in 2020-right along with the rest of us. And if I may add…I think Mr. Folds has written the best pop elegy for 2020 (in ¾ time!). Since first hearing it last Thursday on The Late Show, I must have watched this 25 times:
It got me thinking (which is always dangerous) about other songs I love with a year as the title…or in the title. So here are my top 10 picks, presented chronologically (how else?!).
"Hilly Fields (1892)" – I was hooked on this haunting, enigmatic song from the first time I heard it on a Bay area alt-rock station in 1982 (it was either KTIM-FM or KUSF-FM; I used to listen to both stations religiously when I lived in San Francisco in the early 80s). It sounded like the Beatles' Revolver album, compressed into three and a half minutes. The artist was Nick Nicely, an English singer-songwriter who released this and one other song, then mysteriously vanished in the mists of time until reemerging with a full album in 2004 (which was basically a compilation of material he had accumulated over the previous 25 years). He's since put out several albums of new material, which I have been happily snapping up.
"Paris 1919" – This lovely chamber-pop piece by Velvet Underground alum John Cale is from his eponymous 1973 album, which I think is his finest song cycle. Obviously I wasn't alive in 1919, but when I close my eyes and listen, Cale's evocative lyrics make me feel like I'm sitting in a sidewalk cafe somewhere in Europe between the wars:
The Continent's just fallen in disgrace
William William William Rogers put it in its place
Blood and tears from old Japan
Caravans and lots of jam and maids of honor
Singing crying singing tediously
Efficiency efficiency they say
Get to know the date and tell the time of day
As the crowds begin complaining
How the Beaujolais is raining
Down on darkened meetings on Champs Elysee
"1921" – Got a feeling '21 is gonna be a good year… Great track from the The Who's classic 1969 double-LP rock opera Tommy, with nice vocals from Pete Townshend.
"1969" – From The Stooges' debut album…
Last year I was 21
I didn't have a lot of fun
And now I'm gonna be 22
I say oh my and a boo hoo
I get a sense that 1969 was not Iggy's happiest year.
"1979" – The Smashing Pumpkins' 1996 single was a sizeable hit for the band. It's an autobiographical song written by front man Billy Corgan about coming of age in the 'burbs (he was 12 in 1979). Sense memories of hanging with his buds; the restlessness of budding adolescence. I see it as an update of Gerry Goffin and Carole King's "Pleasant Valley Sunday".
Creature comfort goals, they only numb my soul
And make it hard for me to see
Ah, thoughts all seem to stray to places far away
I need a change of scenery
— from "Pleasant Valley Sunday"
That we don't even care, as restless as we are
We feel the pull in the land of a thousand guilts
And poured cement, lamented and assured
To the lights and towns below
Faster than the speed of sound
Faster than we thought we'd go, beneath the sound of hope
— from "1979"
"1983 (A Merman I Should Turn to Be)" – This trippy magnum opus was a highlight of Jimi Hendrix's classic double-LP, Electric Ladyland.
"1984" – Spirit's ominous song, like its literary inspiration by George Orwell, never seems to lose its relevancy. In fact, in light of very recent events, you could easily rename it "2020":
Those classic plastic coppers, they are your special friends
They see you every night
Well they call themselves protection but they know it's no game
You're never out of their sight
Knockin' on your door
Will you let it come?
Will you let it run?
"Nineteen Hundred and Eighty Five" – It's tough to pick a favorite from Wings' finest album (it's a strong set) but I've always had a soft spot for this one. I wouldn't call it Sir Paul's finest lyrical moment (I just can't get enough of that sweet stuff my little lady gets behind) but McCartney has such a genius for melody and arrangement that I am prepared to forgive him.
"1999" – Mommy…why does everybody have a bomb? Good question; I yearn for the day it no longer needs to be asked. In the meantime, this Prince classic IS the bomb. I'll never tire of it.
"In the Year 2525 (Exordium and Terminus)" – Look in the dictionary under "one-hit-wonder", and you will see a picture of Zager & Evans. Love it or hate it, if man is still alive, if can woman can survive– I bet this song will still be playing somewhere in the year 9595. In case you're wondering, Evans passed away in 2018, and Zager now builds custom guitars.
(One more thing) RIP Peter Green
I was dismayed to learn this morning about the passing of English musician Peter Green, one of my guitar heroes. Most obits are noting that he wrote "Black Magic Woman"…but that is just a minor part of his significance in the rock 'n' roll pantheon.
An expressive player and distinctive vocalist, the original Fleetwood Mac co-founder was also a master at creating memorable riffs:
While he could obviously rock out with the best of them, he also crafted music of incredible beauty and subtlety; perhaps none more so than the classic Mac instrumental, "Albatross" (which was acknowledged by the Beatles as inspiration for the Abbey Road track "Sun King").
If pressed for a favorite Green track, I usually cite "Before the Beginning", a heartrending slow blues number from Fleetwood Mac's excellent 1969 album Then Play On:
Sadly, Green struggled with drug dependency and mental health issues for most of his life, but his influence and musical legacy is assured…as evidenced by tributes from his peers:
Most sadly have lost one of the most tasteful guitar players ever I have always been a huge admirer of the great Peter Green may he rest in peace.
— Peter Frampton (@peterframpton) July 25, 2020
(from "Before the Beginning")
But how many times
Must I be the fool
Before I can make it
Oh make it on home
I've got to find a place to sing my words
Is there nobody listening to my song?
Rest assured, Mr. Green…I will be listening always. RIP.
2020 ReviewsMixtapeOn MusicTop 10 ListsTribute
Energy, Space, and Time: RIP Ennio Morricone
July 6, 2020 Dennis Hartley Leave a comment
(Originally posted on Digby's Hullabaloo on July 6, 2020)
I often use the same harmonies as pop music because the complexity of what I do is elsewhere.
— Ennio Morricone
Well, this is embarrassing. When I heard the news this morning that film composer Ennio Morricone had passed away, my initial thought was "Wait…isn't he already gone?" I quickly came to my senses and realized I was conflating him with film director Sergio Leone, who passed away in 1989. That gaffe either demonstrates that a). I'm a tad slow on the uptake, or b). The names "Leone" and "Morricone" are forever enmeshed in the film buff zeitgeist.
Of course, if I'd really been paying attention I would have noticed that his score for Quentin Tarantino's 2015 western The Hateful Eight was an original one; perhaps I could be allowed some leeway of willful ignorance, based on Tarantino's history of "re-appropriating" some of Morricone's music that was originally composed for Leone's films back in the 60s and 70s.
While he was unarguably most recognized for collaborating with fellow countryman Leone on genre classics like A Fistful of Dollars, For a Few Dollars More, The Good, the Bad, & the Ugly, Once Upon a Time in the West, and A Fistful of Dynamite (aka Duck, You Sucker!) that is not to imply that spaghetti westerns were Morricone's raison d'etre.
Indeed, he worked with a bevy of notable film directors, like Bernardo Bertolucci (1900, Luna), Roman Polanski (Frantic), Terrence Malick (Days of Heaven), Pedro Almodovar (Tie Me Up! Tie Me Down!), Brian De Palma (The Untouchables, Casualties of War), Samuel Fuller (White Dog), even John Carpenter…a director known for also taking on the scoring duties for his films, didn't pass up a chance to work with the maestro (The Thing).
Morricone's music was burned into my neurons before I had even seen any of the films he scored. When I was a kid, my parents had one of those massive, wood-finished stereo consoles with built-in AM-FM tuner, turntable and speakers. One of my favorite albums in my parents' collection was this one, by Hugo Montenegro and his Orchestra:
I remember strategically planting myself dead center (for that maximum "360 Stereo" effect). "Hut, two, three, fo! Hut, two, three, fo! Ah-ah-ah-ah-aaah, wah-wah-waaah…" I was riveted.
Something about Morricone's music captured my imagination. I guess it was…cinematic.
That's the beauty of Morricone's art; you can appreciate it as a film buff, as a music fan-or both. That was evident from reactions on social media, like Yo-Yo Ma's lovely tribute:
I'll never forget the way Ennio Morricone described music as "energy, space, and time." It is, perhaps, the most concise and accurate description I've ever heard. We'll truly miss him. This is the Love Theme from "Cinema Paradiso." #EnnioMorricone pic.twitter.com/kpbkodhHrh
— Yo-Yo Ma (@YoYo_Ma) July 6, 2020
With an embarrassment of riches to pick from (60 years of score credits to his name), this may be a fool's errand, but here are 10 of my favorite Morricone soundtrack compositions:
On MusicTop 10 ListsTribute
Biopic, Conspiracy a-go-go, Drama, Film Noir
The ragman's son: RIP Kirk Douglas
February 5, 2020 Dennis Hartley Leave a comment
Kirk Douglas December 9, 1916-February 5, 2020
This one hurts. Not a shocker at age 103. But still…this one hurts. Beyond a legend…last of a breed. Where do I even begin?
In his 1988 autobiography The Ragman's Son, Kirk Douglas wrote:
The biggest lie is the lie we tell ourselves in the distorted visions we have of ourselves, blocking out some sections, enhancing others. What remains are not the cold facts of life, but how we perceive them. That's really who we are.
An astute and particularly self-aware observation for an actor to make. After all, you could say that actors "lie" for a living, always pretending to be someone they are not; "blocking out some sections, enhancing others" to best serve the character. That said, the best actors are those who can channel this human flaw into a superpower that brings us face-to-face with "the cold facts of life" when necessary and reveal universal truths about "who we are".
Kirk Douglas could do that with a glance, a gesture, a shrug. He was a very physical actor, but you had a sense there was a carefully calibrated intelligence informing every glance, every gesture, every shrug.
He played heroes and villains with equal elan but injected all of his characters with a relatable humanity. He was one of the last players standing from the echelon of "classic" Hollywood…a true movie star.
I hope the Academy does him justice with a worthy tribute Sunday night. He deserves one. Ru in shlum, Issur Danielovitch Demsky.
Ultimately, the work speaks for itself. There are so many great Douglas films, but here are 15 "must-sees" available right now via cable on-demand and rentals (this is based on my Xfinity package; so depending on your subscriptions, "results may vary"-as they say).
Spartacus (HITZ on demand)
Paths of Glory (ScreenPix on demand)
Ace in the Hole (Paramount PPV)
Lust for Life (Xfinity PPV)
Seven Days in May (Warner Brothers PPV)
Out of the Past (Warner Brothers PPV)
Lonely Are the Brave (Universal PPV)
Detective Story (Paramount PPV)
Gunfight at the OK Corral (STARZ on demand)
The Strange Love of Martha Ivers (EPIX, Prime Video, tubi)
Young Man With a Horn (Warner Brothers PPV)
The Bad and the Beautiful (Xfinity PPV)
Two Weeks in Another Town (TCM on demand)
I Walk Alone (Paramount PPV)
The Man From Snowy RIver (STARZ on demand)
2020 ReviewsTribute
60's Counterculture, Comedy, Conspiracy a-go-go, Social Satire
Just drifting: R.I.P. Buck Henry
January 12, 2020 Dennis Hartley Leave a comment
(Originally posted on Digby's Hullabaloo on January 11, 2020)
Mr. Braddock: Ben, what are you doing?
Benjamin: Well, I would say that I'm just drifting. Here in the pool.
Mr. Braddock: Why?
Benjamin: Well, it's very comfortable just to drift here.
Mr. Braddock: Have you thought about graduate school?
Benjamin: No.
Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work?
Benjamin: You got me.
– from The Graduate, screenplay by Buck Henry and Caldar Willingham
I was saddened to hear about the passing of Buck Henry a few days ago; screenwriter extraordinaire, droll character actor, occasional director and samurai deli enthusiast. He co-created the classic "Get Smart" TV series with Mel Brooks, and co-directed the well-received 1978 comedy-fantasy Heaven Can Wait (a remake of Here Comes Mr. Jordan) with the film's producer/star/co-writer Warren Beatty (Henry also had an acting part).
Depending on your age, you may be thinking "Buck who?" or "Oh yeah…the bespectacled guy in all those SNL "Samurai Deli" sketches with Belushi back in the day." Regardless of your Buck Henry touchstone, know that he brought a lot of laughter to a lot of people…and that's a good thing.
For me, I'll always remember him for his acting work in films like The Man Who Fell to Earth, Gloria, Eating Raoul, Taking Off, Short Cuts, the Real Blonde, Defending Your Life, and The Player…even if a lot of them were bit parts, he had a knack for understated hilarity. And of course, I'll remember him for his writing. Here are the Henry-penned films you need to see (alphabetical order).
Candy – As far as barely decipherable yet weirdly entertaining films go, you could do worse than Christian Marquand's 1968 curio. Henry adapted the script from the novel by Terry Southern and Mason Hoffenberg.
What I can say with certainty is that there is a protagonist, and her name is Candy Christian. (Ewa Aulin). However, disseminating what this film is "about" remains in the eye of the beholder. Semi-catatonic Candy whoopsie-daisies her way through vaguely connected vignettes awash in patchouli, bongs, beads and Nehru jackets, as a number of men philosophize, pontificate, and (mostly) paw at her.
Oddly compelling, largely thanks to the cast: Marlon Brando, Richard Burton, James Coburn, John Huston, Walter Matthau, Ringo Starr, John Astin, Anita Pallenberg, Sugar Ray Robinson (don't ask), and a host of others. Henry has a cameo as a mental patient.
Interesting sidebar: Director Marquand (also an actor) appeared in Francis Ford Coppola's Apocalypse Now. His lengthy monologue in the "French plantation" scene originally ended up on the cutting room floor but was resurrected for the "Redux" and "Final Cut" versions that Coppola has assembled in recent years. He died in 2000.
Catch-22 – Yossarian: OK, let me see if I've got this straight. In order to be grounded, I've got to be crazy. And I must be crazy to keep flying. But if I ask to be grounded, that means I'm not crazy anymore, and I have to keep flying.
Dr. 'Doc' Daneeka: You got it, that's Catch-22.
Yossarian: Whoo… That's some catch, that Catch-22.
Dr. 'Doc' Daneeka: It's the best there is.
Anyone who has read and appreciated the beautifully precise absurdity of Joseph Heller's eponymous 1961 novel about the ugly and imprecise madness of war knows it is virtually "un-filmable". And yet…Buck Henry did a pretty good job of condensing it into a two-hour screenplay (although arguably some of the best exchanges in the film are those left virtually unchanged from the book).
Of course, it didn't hurt to have a great director (Mike Nichols) and such a fabulous cast: Alan Arkin, Martin Balsalm, Richard Benjamin, Art Gafunkel, Jack Gilford, Bob Newhart, Anthony Perkins, Paula Prentiss, Martin Sheen, Jon Voight, Orson Welles, Charles Grodin, Bob Balaban, et. al., with Henry playing the part of "Colonel Korn". I think this 50-year-old film has improved with age.
Day of the Dolphin – "Fa loves Pa!" This offbeat 1973 sci-fi film marked the third collaboration between Henry and director Mike Nichols. Henry adapted from Robert Merle's novel. George C. Scott is excellent in the lead role as a marine biologist who has developed a method for training dolphins to communicate in human language. Naturally, there is a shadowy cabal of government spooks who take keen interest in this scientific breakthrough. Unique and involving. I like to call this one a conspira'sea' thriller (sorry).
The Graduate – "Aw gee, Mrs. Robinson." It could be argued that those were the four words in this 1967 Mike Nichols film that made Dustin Hoffman a star. With hindsight being 20/20, it's impossible to imagine any other actor in the role of hapless college grad Benjamin Braddock…even if Hoffman (30 at the time) was a bit long in the tooth to be playing a 21-year-old character.
Poor Benjamin just wants to take a nice summer breather before facing adult responsibilities, but his pushy parents would rather he focus on career advancement immediately, if not sooner. Little do his parents realize that in their enthusiasm, they've inadvertently pushed their son right into the sack with randy Mrs. Robinson (Anne Bancroft), wife of his Dad's business partner (the original cougar?). Things get complicated after Benjamin meets his lover's daughter (Katharine Ross).
This is one of those "perfect storm" creative collaborations: Nichols' skilled direction, Calder Willingham and Buck Henry's witty screenplay, fantastic performances from the cast, and one of the best soundtracks ever (by Simon and Garfunkel). Some of the 60s trappings haven't dated well, but the incisive social satire has retained all its sharp teeth. Look for Henry in a cameo as a room clerk.
The Owl and the Pussycat – George Segal plays a reclusive, egghead NYC writer and Barbra Streisand is a perfect foil in one of her best comedic turns as a profane, boisterous hooker in this classic "oil and water" farce, directed by Herbert Ross. Serendipity throws the two odd bedfellows together one fateful evening, and the resulting mayhem is crude, lewd, and funny as hell. Buck Henry adapted his screenplay from Bill Manhoff's original stage version. Robert Klein is wonderfully droll in a small but memorable role. My favorite line: "Doris…you're a sexual Disneyland!"
To Die For – Gus van Sant's 1995 mockumentary centers on an ambitious young woman (Nicole Kidman, in one of her best performances) who aspires to elevate herself from "weather girl" at a small market TV station in New England to star news anchor, posthaste. A calculating sociopath from the word go, she marries into a wealthy family, but decides to discard her husband (Matt Dillon) the nanosecond he asks her to consider putting her career on hold so they can start a family (discard…with extreme prejudice).
Buck Henry based his script on Joyce Maynard's true crime book about the Pamela Smart case (the most obvious difference being that Smart was a teacher and not an aspiring media star, although it could be argued that during the course of her highly publicized trial, she did become one). A barbed and darkly funny meditation on the cult of celebrity.
What's Up, Doc? – Peter Bogdanovich's 1972 film is an entertaining love letter to classic screwball comedies of the 30s and 40s (the most obvious influence is Bringing Up Baby), with great use of San Francisco locations. Ryan O'Neal and Barbara Streisand have wonderful chemistry as the romantic leads, who meet cute and become involved in a hotel mix-up of four identical suitcases that rapidly snowballs into a series of increasingly preposterous situations for all concerned (as occurs in your typical screwball comedy). Henry gets top billing on the script, co-written with David Newman and Robert Benton. The cast includes Madeline Kahn, Kenneth Mars, Austin Pendleton and Michael Murphy.
On Music, On Pop Culture
Special guest post: A tribute to Robert Hunter
By John Wing
Note: John Wing is a Canadian comedian, writer and poet with whom I had the pleasure of working with several times during my stint in stand-up. He's made a half-dozen appearances on The Tonight Show with Jay Leno and is a perennial favorite at the Winnipeg Comedy Festival. Today, Grateful Dead fans the world over are mourning the passing of poet and lyricist Robert Hunter. John wrote a piece on his Facebook page that meshes a great road story with a touching tribute to the Dead's late muse. With his permission, I am re-publishing John's thoughts here.
1983, winter, probably February or March. I was booked on a comedy night at the Tralfamadore in Buffalo NY. I was opening and I did all right. Nice room. I was getting $250, which was the most I had ever been paid up until that time.
The boss called me into the office after my show and said, "We have Robert Hunter playing here tomorrow night. Two shows. If we take care of another night in the hotel, could you stay and open for him? We'll pay you $100." I must have been feeling my oats, because I said, "Sure, but why am I worth $250 tonight for one show and only $100 tomorrow for two shows?" He thought about it and then offered me $250 to open for Robert, and I agreed.
I had a typical three-years-in act at the time. About 30 minutes, 40 if it was going GREAT, lots of crap, drug jokes, some song parodies and some personal stuff. Some of it was funny, but my real voice was a couple of months away. That spring I would write the opening and closing bits that would make me a headliner in the next two years.
So I went back the next night and met a very nice man, Robert Hunter, lyricist of the Grateful Dead. He shared his dressing room with me and we chatted and I did a pretty good first show for 300 screaming deadheads. The drug jokes worked very well. Robert had a great show and after, we had a meal in the dressing room and he lit a powerful joint and offered me some. I was 24 years old and what did I have to fear? I got high with Robert Hunter.
I went out for the second show completely stoned and noticed within 30 seconds that the crowd hadn't been turned. It was the same 300 people, and they knew every joke, and I didn't have a spare 30 minutes. After two or three minutes of death with hecklers, I put the guitar on and took requests. What the fuck.
Did a couple of songs and during the second or third one I thought "I gotta do something uptempo to get them going." So I finished the song and went blazing into Good Lovin' by the Rascals. And they went craaaazzzy! They sang along, louder then hell. My God, it tingles even now, 36 years later. I did a couple more songs and finished.
They CALLED ME BACK for an encore, the first one I ever got. I did "Sweet Baby James" and finished. Backstage, getting ready to go on, Robert asked, "How did you know to do Good Lovin'?" I said I didn't know. I just wanted to get them going. "The Dead do it every show," he said.
What a nice man and a perfect memory. Rest in peace, Robert Hunter. 1941-2019
Start out running but I'll take my time
Friend of the devil is a friend of mine
If I get home before daylight
I just might get some sleep tonight.
2019 ReviewsOn MusicOn Pop CultureTribute
60's Counterculture, Action, Drama, Neo-Noir
Free to ride: RIP Peter Fonda
August 19, 2019 Dennis Hartley Leave a comment
(Originally posted on Digby's Hullabaloo on August 17, 2019)
Regarding Peter Fonda: Well, I didn't see that coming. Not so much his death (he was 79 and he had been battling cancer for a while) but my unexpectedly emotional reaction to it.
At 63 I'm no spring chicken myself; by the time you reach your sixth decade, you begin to grow armor against losing your shit every time another pop culture icon of your youth buys the farm. It's all part of life. Nobody lives forever, and your idols are no exception.
[**SPOILER ALERT**] So why the waterworks? I mean, I was 13 when Easy Rider came out in 1969; by the time I finally had a chance to see it (probably on late-night TV or maybe a VHS rental…can't recall) I was in my mid 20s and Jerry Rubin was working on Wall Street; so obviously that abrupt shock ending where Captain America gets blown away by inbred rednecks did not have the contemporaneous sociopolitical impact on me that it might have for a 25 year-old dope smoking longhair watching it in a theater back in 1969.
Maybe it's the timing of Fonda's passing. Not that he planned it, but it came smack dab amid the 50th anniversary of Woodstock (August 15-17, 1969). Since it began on Thursday, I've been sporadically listening in to a 72-hour synchronized broadcast/web-streaming of the uncut audio recordings of every Woodstock performance via Philly station WXPN. It's a very different experience from watching Michael Wadleigh's famous documentary, which (for very practical reasons) only features bits and pieces of the event. WXPN's presentation is more immersive, and somehow-it is more moving.
So perhaps I was feeling extra nostalgic about the era; which adds additional poignancy to Fonda's passing, as he was very much a part of the Woodstock Generation iconography.
But Fonda was not just an icon, he was a human being. Here's his sister Jane's statement:
"He was my sweet-hearted baby brother. The talker of the family. I have had beautiful alone time with him these last days. He went out laughing."
I did not know him personally, but if you can go out laughing…that is a pretty cool life.
As to that part of his life he shared with all of us-here are some film recommendations:
Dirty Mary, Crazy Larry – John Hough's 1974 road movie features Fonda as the leading man and co-stars Susan George (*sigh* my first teenage crush) and Adam Roarke. Fonda and Roarke are car racing partners who take an ill-advised detour into crime, robbing a grocery store in hopes of getting enough loot to buy a pro race car. They soon find themselves on the run from the law. A shameless rip-off of Vanishing Point; but delivers the thrills for action fans (muscle car enthusiasts will dig that cherry '69 Dodge Charger).
Easy Rider – This was the film that not only awakened Hollywood to a previously untapped youth market but put Fonda on the map as a counterculture icon. He co-wrote the screenplay along with Terry Southern and Dennis Hopper (who also directed).
Fonda and Hopper star as two biker buddies (flush from a recent lucrative drug deal) who decide to get on their bad motor scooters (choppers, actually) and ride from L.A. to New Orleans for Mardi Gras. Along the way, they encounter a cross-section of American society; from a commune of idealistic hippies, a free-spirited alcoholic Southern lawyer (memorably played by Jack Nicholson) to a pair of prostitutes they end up tripping with in a cemetery.
The dialogue (along with the mutton chops, fringe vests and love beads) may not have dated so well, but the outstanding rock music soundtrack has held up just fine. And thanks to Laszlo Kovacs' exemplary DP work, those now iconic images of expansive American landscapes and endless gray ribbons that traverse them remain the quintessential touchstone for all American "road" movies that have followed in its wake.
The Hired Hand – Fonda's 1971 directorial debut is a lean, poetic neorealist Western in the vein of Robert Altman's McCabe and Mrs. Miller and Jan Troell's Zandy's Bride. Gorgeously photographed by the great Vilmos Zsigmond, it stars Fonda as a taciturn drifter who returns to his wife (Verna Bloom) after a prolonged absence.
Embittered by his desertion, she refuses to take him back, advising him to not even tell their young daughter that he is her father. In an act of contrition, he offers to work on her rundown farm purely as a "hired hand", no strings attached. Reluctantly, she agrees; the couple slowly warm up to each other once again…until an incident from his recent past catches up with him and threatens the safety of his longtime friend and traveling companion (Warren Oates). Well-written (by Alan Sharp), directed, and acted; it's a genuine sleeper.
The Limey – One of my favorite Steven Soderberg films (from 1999) also features one of Fonda's best latter-career performances. He's not the main character, but it's a perfect character role for him, and he runs with it.
Scripted by Lem Dobbs, Soderberg's taut neo-noir centers on a British career criminal (Terrance Stamp, in full East End gangster mode) who gets out of prison and makes a beeline for America to investigate the death of his estranged daughter. He learns she had a relationship with an L.A.-based record producer (Fonda), who may be able to shed light on her untimely demise. Once he locates him, the plot begins to thicken.
Fast-moving and rich in characterization, with a great supporting cast that includes Lesley Ann Warren, Luis Guzman, Nicky Katt, and Barry Newman (look for a winking homage to Newman's iconic character in Vanishing Point).
92 in the Shade – This quirky, picaresque 1975 black comedy is acclaimed writer Thomas McGuane's sole directorial effort. (I consider it a companion piece to Frank Perry's equally oddball Rancho Deluxe, which was also written by McGuane, features several of the same actors, and was released the same year).
Fonda stars as a trustafarian slacker who comes home to Key West and decides to start a fishing charter business. This doesn't set well with a gruff competitor (Warren Oates) who decides to play dirty with his rival.
As in most McGuane stories, narrative takes a backseat to the characters. In fact, the film essentially abandons its setup halfway through-until a curiously rushed finale. Still, there's a bevy of wonderful character actors to savor, including Harry Dean Stanton, Burgess Meredith, William Hickey, Sylvia Miles and Louise Latham.
Also in the cast: Margot Kidder (McGuane's wife at the time) and Elizabeth Ashley (his girlfriend at the time)-which begs speculation as to what was going through his mind as he directed a scene where Kidder and Ashley exchange insults and then get into a physical altercation!
Race With the Devil –In this 1975 thriller, Fonda and Warren Oates star as buds who hit the road in an RV with wives (Lara Parker, Loretta Swit) and dirt bikes in tow. The first night's bivouac doesn't go so well; the two men witness what appears to be a human sacrifice by a devil worship cult, and it's downhill from there (literally a "vacation from hell"). A genuinely creepy chiller that keeps you guessing until the end, with taut direction from Jack Starrett.
The Trip – This 1967 drug culture exploitation fest from famed B-movie director Roger Corman may be awash in beads, Nehru jackets, patchouli and sitars…but it's a much better film than you'd expect.
Fonda plays a TV commercial director who seeks solace from his turned-on and tuned-in drug buddy (Bruce Dern) after his wife leaves him. Dern decides the best cure for Fonda's depression is a nice getaway to the center of his mind, courtesy of a carefully administered and closely supervised LSD trip. Susan Strasberg and Dennis Hopper co-star. Trippy, with a psychedelic soundtrack by The Electric Flag.
Ulee's Gold – Writer-director Victor Nunez's 1997 family drama ushered in a career revival for Fonda, who received critical accolades (as well as an Oscar nomination and a Golden Globe win) for his measured and nuanced performance. Fonda plays a widower and Vietnam vet who prefers to keep himself to himself, living a quiet life as a beekeeper-until the day his estranged son (Tom Wood) calls him from prison, asking for a favor. Unexpected twists ensue, with Fonda slowly peeling away hidden depths of his character's complexity. Beautifully acted and directed, with career-best work by Fonda.
The Wild Angels – Another youth exploitation extravaganza from Roger Corman, this 1966 drama kick-started a spate of low-budget biker movies in its wake. Fonda is a member of San Pedro M.C., The Angels. The club decides to party in Palm Springs…and all hell breaks loose. It's fairly cliché genre fare, but a critical building block for Fonda's 60s iconography; especially when he delivers his immortal line: "We wanna be free to ride our machines…without being hassled by The Man!" The cast includes Nancy Sinatra, Michael J. Pollard and erm-Laura Dern's mom and dad (Bruce Dern and Diane Ladd!).
2019 ReviewsTop 10 ListsTribute
Man of 1,000 dances: R.I.P. Hal Blaine
March 18, 2019 Dennis Hartley 1 Comment
(Originally posted on Digby's Hullabaloo on March 16, 2019)
I nearly had a Curb Your Enthusiasm moment at the 2008 Seattle International Film Festival. I attended a screening of The Wrecking Crew, a music documentary profiling a group of legendary studio session players. This guy sitting right next to me began talking back to the screen halfway through. The house was packed, so I couldn't move to another seat. I almost shushed him but thought better of it (you never know how someone is going to react these days). Lights came up, and my chatty neighbor turned out to be… Wrecking Crew drummer Hal Blaine, who was there to do a Q & A after the screening.
I only share that memory now because Hal Blaine passed away this week at the age of 90.
In a scene from a 1995 documentary about Brian Wilson called I Just Wasn't Made for These Times, his daughter Carnie talks about a period of her childhood where she recalls being startled awake every single morning by the iconic "bum-ba-bum-BOOM, bum-ba-bum-BOOM…" drum intro to The Ronettes' "Be My Baby" blasting from her dad's stereo system. Apparently, Brian was obsessed at the time with trying to suss how producer Phil Spector was able to achieve that distinctive "wall of sound" on his records.
Carnie may or may not have been aware that technically, the man disturbing her rest was Hal Blaine. In a 2015 Guardian article, Blaine confessed that his drum intro was a fluke:
I was like a racehorse straining at the gate. But [Phil Spector] wouldn't let me play until we started recording, because he wanted it to be fresh. That famous drum intro was an accident. I was supposed to play the snare on the second beat as well as the fourth, but I dropped a stick. Being the faker I was in those days, I left the mistake in and it became: "Bum-ba-bum-BOOM!" And soon everyone wanted that beat. If you listen to me in Frank Sinatra's "Strangers in the Night", I'm playing the "Be My Baby" beat, just very softly.
Yes, Blaine also played with Sinatra. His services were also requested for the Pet Sounds sessions by the Phil Spector-obsessed Wilson. In fact, from the late 50s through the mid-70s, Blaine did sessions with Sam Cooke, Ray Charles, The Righteous Brothers, Henry Mancini, Ike & Tina Turner, The Monkees, The Association, Nancy Sinatra, The Fifth Dimension, The Byrds, Sonny & Cher, Petula Clark, Mamas and the Papas, The Grass Roots, and countless others. Not to mention myriad TV themes and movie soundtracks.
Blaine was a member of the "Wrecking Crew", a moniker given to an aggregation of crack L.A. session players who in essence created the "sound" that defined classic Top 40 pop from the late 50s through the 70s. With several notable exceptions (Glen Campbell, Leon Russell and Mac "Dr. John" Rebennack) their names remain obscure to the general public, even if the music they helped forge is forever burned into our collective neurons.
Blaine may have been the most recorded drummer in pop music history. Remember that one time at band camp, when I almost told him to shut up? I remember him telling the audience that he was then in the midst of compiling his discography; he said at that time he'd been able to annotate "only" about 5,000 sessions (some estimates top the 10,000 mark!).
That's quite a legacy. Condensing a "top 10" list from such a wondrous catalog is likely a fool's errand-but that hasn't stopped me in the past. So here you go, in alphabetical order:
"Any World (That I'm Welcome To)" (Steely Dan) – One of the better songs on Steely Dan's 1975 album Katy Lied, "Any World" is essentially a musical daydream featuring compelling chord changes and wistful lyrics about quiet resignation and wishful thinking ("If I had my way, I would move to another lifetime/Quit my job, ride the train through the misty nighttime…") You know – a typical excursion into Donald Fagen and Walter Becker's willfully enigmatic and ever-droll universe ("Any world that I'm welcome to/Is better than the one I come from."). The famously picky duo only used Blaine for this cut.
"Aquarius/Let the Sunshine In" (The Fifth Dimension) – James Rado, Gerome Ragni and Galt MacDermot's groundbreaking 1967 musical Hair was such a pop culture phenomenon at the time that it yielded huge hit singles for several artists who were not associated with any of its stage productions; namely Oliver ("Good Morning, Starshine"), Three Dog Night ("Easy to Be Hard"), and this epic two-song medley, which was covered by The Fifth Dimension. Bones Howe produced it, and The Wrecking Crew provided primary backing. The complex instrumental arrangement is by Bill Holman. Released as a single in 1969, it was not only a chart-topper, but picked up two Grammys.
"A Taste of Honey" (Herb Alpert & the Tijuana Brass) – Man, I heard this song a lot when I was a kid. Whipped Cream and Other Delights was a staple of my parents' LP collection; I recall having a particular…fascination for the album cover (I'm pretty sure I stared a hole in it). Written by Bobby Scott and Ric Marlow in 1960, the song was covered by quite a few artists (including The Beatles), but Herb Alpert's #1 1965 instrumental version is pretty definitive. Blaine holds it down tight with that bass drum!
"Be My Baby" (The Ronettes) – Just like Ronnie say. Produced (bigly) by Phil Spector, with Blaine's unmissable "mistake" kicking things off quite nicely, thank you very much.
"Cecilia" (Simon & Garfunkel) – Featured on the duo's outstanding 1970 swan song album Bridge Over Troubled Water, this jaunty Caribbean-flavored number was one of several cuts that hinted at Paul Simon's burgeoning interest and future forays into world music. The song is very percussion-oriented, which makes it a good showcase for Blaine. Simon adds additional percussion on xylophone (although the overall effect gives the number a steel drum vibe very reminiscent of Bobby Bloom's 1970 hit "Montego Bay").
"Drummer Man" (Nancy Sinatra) – Blaine famously played on Nancy's biggest hit "These Boots Were Made for Walkin" (1966), but this lesser-known cut from her 1999 album How Does it Feel? gives Blaine lots of room to stretch and really strut his stuff.
"Galveston" (Glen Campbell) – In a touching memoriam to Glen Campbell that Blaine posted on his Facebook page in 2017, he wrote "Everything that Glen recorded, with the Crew or with other musicians, were all hits. As for personal favorites, Glen always had a special place in his heart for the great song "Galveston", and I guess we all did." I will happily second that emotion. Blaine and the Crew are all in fine form on this beautifully crafted Jimmy Webb composition, which says all it needs to say in 2:41. Pop perfection.
"Kicks" (Paul Revere & the Raiders) – This single (which peaked at #4 on the Billboard charts in 1966) was produced by Terry Melcher and written by the Brill Building hit-making team of Barry Mann and Cynthia Weil ("You've Lost That Lovin' Feeling", "On Broadway", "We Gotta Get Out of This Place"). Solid drumming from Blaine, a memorable guitar riff, and a great growly (almost punky) lead vocal from Mark Lindsay.
"That's Life" (Frank Sinatra) – When you've loved and lost like Frank…well, you know how the song goes: "Ridin' high in April/Shot down in May…" Released in 1966 as the B-side to "The September of My Years" the song was written by Dean Kay and Kelly Gordon and produced by Jimmy Bowen (it went to #1 on the Easy Listening chart). Blaine, Glen Campbell and several other Wrecking Crew "regulars" are featured on the cut. The bluesy Hammond organ flourishes were played by Michael Melvoin. "My, my!"
"Wouldn't It Be Nice" (The Beach Boys) – A great opener for a damn near perfect song cycle (if it weren't for that loopy throwaway cut "Sloop John B" that has always ruined the otherwise flawless magic of Pet Sounds for me…mumble grumble). Co-written by Brian Wilson, Tony Asher, and Mike Love, it features an expansive production by Wilson and a transcendent vocal arrangement with lovely harmonies. The Wrecking Crew are in full force on this cut, with Blaine holding it steady.
2019 ReviewsOn MusicTribute
Drama, Mystery, Neo-Noir, Romantic Comedy
Stop that train: R.I.P. Albert Finney
February 10, 2019 Dennis Hartley Leave a comment
(Originally posted on Digby's Hullabaloo on February 9, 2019)
Albert Finney died yesterday, and more people should have cared. I almost missed it myself, which is odd considering how much time I fritter and waste in an offhand way online these days. It didn't even trend on Twitter, for fuck's sake. No, I learned of his passing the old-fashioned way: a perfunctory mention on a nightly network TV newscast.
A file photo of Finney popped up (rarely a good sign), and the blow-dried anchor mustered all the teleprompter-fed solemnity extant in his soul to sadly inform me that "the actor who played Daddy Warbucks in the movie version of Annie has died" before moving on to "a video you have got to see". The actor who played Daddy Warbucks in the film version of Annie? Really? That's all you got? I wouldn't call that his most memorable performance; I wouldn't even consider Annie to be a particularly good movie.
The Royal Shakespeare Theatre-trained Finney's film career spanned over 50 years, and in the course of that time he proved over and over that he had chops to spare for both drama and comedy. Innately charismatic onscreen, he could effortlessly hold your attention as the dashing leading man, or just as easily embed himself into a character role.
Finney never strayed too far from his working-class roots in his off-screen demeanor. He shunned interviews and the trappings of stardom; he was all about the work. He declined the offer of a CBE (as well as a knighthood) and once compared an actor's job to that of a bricklayer. So let's get to work here, shall we? My picks for Finney's top 10 film roles…
The Dresser– Peter Yates directed this tale of a fiercely devoted "dresser" (Tom Courtenay) who tends to the mercurial lead player (Finney) of a traveling company's production of King Lear.
The story is set against the backdrop of London during the blitz, but it's a tossup as to who is producing more Sturm and Drang…the German bombers, the raging king, or the backstage terror who portrays him and is to be addressed by all as "Sir". Courtenay and Finney deliver brilliant performances. Ronald Harwood adapted the script from his own play. In the most memorable scene, Sir literally halts a locomotive in its tracks at a noisy railway station with his commanding bellow to "STOP. That. Train!"
Gumshoe– This relatively obscure U.K. gem from 1971 was produced by Finney and marked the feature film directing debut for Stephen Frears (My Beautiful Laundrette, Prick Up Your Ears, The Grifters, High Fidelity, et. al.). Finney is wonderful as an emcee who works in a seedy Liverpool nightclub and models himself after Philip Marlowe. He decides to indulge his long-time fantasy of becoming a private detective by placing a newspaper ad offering his services-and gets more than he bargains for with his first case.
Screenwriter Neville Smith's clever dialog is infused with just enough shadings of Chandler and Hammet to deflect suspicion of plagiarism (and Finney thankfully doesn't overdo his Bogey impression-which isn't half-bad). Nice supporting turn from Billie Whitelaw, and Frears' use of the gritty Liverpool milieu lends an appropriate "noir" vibe.
Miller's Crossing-This 1990 gangster flick could only come from the unique mind-meld of Joel and Ethan Coen (with shades of Dasheill Hammet). Finney is excellent as an Irish mob boss engaging in a power struggle with the local Italian mob during the Prohibition era. Gabriel Byrne (the central character of the film) portrays his advisor, who attempts to broker peace.
You do have to pay attention in order to keep up with the constantly shifting alliances and betrayals and such; but as with most Coen Brothers movies, if you lose track of the narrative you always have plenty of great supporting performances (particularly from Marcia Gay Harden and John Torturro) , stylish flourishes, and mordant humor to chew on until you catch up again.
Orphans– There is sometimes a fine line between "intense drama" and "overcooked ham", and while I will admit that this 1987 Alan J. Pakula adaptation of Lyle Kessler's stage play toddles dangerously close to that line, it is still well worth your time.
Matthew Modine and Kevin Anderson are two fringe-dwelling brothers who live on their own in a decrepit house. Finney is a low-rent Chicago gangster who gets blotto at a New Jersey bar, and upon waking up discovers he's been "kidnapped" by Modine, who has a hold over his brother reminiscent of the dynamic between the sisters in Whatever Happened to Baby Jane? The story becomes even stranger when Finney decides then and there to move in and impose himself as a father figure. It's a bit 'stagey', but the acting is superb.
Saturday Night and Sunday Morning– This 1960 Karel Reisz drama gave the 24-year-old Finney his first major starring role and is one of the seminal entries of the "British New Wave" film movement. Finney delivers an explosive Brando-esque performance as a womanizing young man stuck in a dreary factory job. Allen Sillitoe adapted the screenplay from his own novel. A gritty slice of life steeped in "kitchen sink" realism.
Shoot the Moon– Be forewarned: Alan Parker's 1982 drama about the deterioration of a marriage pulls no punches (it is right out as a "date night" movie). Finney co-stars with Diane Keaton as a couple with four kids whose marriage is about to go kaput. As in Kramer vs. Kramer, the film essentially opens with the split, and then focuses on the immediate emotional aftershocks and its profound impact on all family members.
Absolutely heartbreaking, but beautifully acted by a skilled cast that includes Karen Allen, Peter Weller, and Dana Hill. Bo Goldman scripted, and Michael Seresin's cinematography is lovely (the Marin County environs almost becomes a character itself).
Tom Jones– The film that made Finney an international star, Tony Richardson's 1963 romantic comedy-drama is based on the Henry Fielding novel about the eponymous character's amorous exploits in 18th-Century England.
Tom (Finney) is raised as the bastard son of a prosperous squire. He is a bit on the rakish side, but wholly lovable and possesses a good heart. It's the "lovable" part that gets him in trouble time and again, and fate and circumstance put young Tom on the road, where various duplicitous parties await to prey upon his naivety. Will he triumph? Of course, he will…the entertainment lies in how he gets there.
John Osborne adapted the Oscar-winning script; the film also won for Best Picture, Director, and Music Score (Finney was nominated for Best Actor).
Two For the Road– Stanley Donen's 1967 dramedy is a cinematic soufflé…folding in two generous scoops of Albert Finney and Audrey Hepburn, seasoned with Frederick Raphael's sophisticated script, a dash of colorful European locales, and topped by one cherry of a Henry Mancini score.
Donen follows the travails of a married couple over the years of their relationship, by constructing a series of non-linear flashbacks and flash-forwards (a structural device that has been utilized since by other filmmakers, but rarely as effectively). While there are a lot of laughs, Two For the Road is, at its heart, a thoughtful meditation on the nature of love and true commitment. Finney and Hepburn (both at the peak of their sex appeal) exude an electric on-screen chemistry.
Under the Volcano– John Huston's masterful 1984 adaptation of Michael Lowry's novel stars Finney as a self-destructive British consul stationed in Mexico on the eve of WW2. The story tracks the consul on the last day of his life, as it unfolds during Dia de los Muertas celebrations (the irony is strong in this tale). Very dark and steeped in dread. Superb performances all round from a cast that includes Jacqueline Bisset, Anthony Andrews and Katy Jurado. Guy Gallo wrote the script. My favorite Finney performance.
Wolfen– This 1981 supernatural thriller from director Michael Wadleigh generated mixed reviews, but I think it has held up rather well. Sort of a thinking person's horror film, it follows a NYPD homicide detective (Finney) and his partner (Gregory Hines) as they investigate a series of grisly murders. The victims' wounds indicate something much akin to a wild animal attack. Add elements of ancient Native American legends regarding "shapeshifters" and things get…interesting. Granted, some of the early 80s visual effects haven't aged well, but overall Wolfen is a smart, absorbing, and genuinely creepy chiller.
In Dreams: Farewell, Ursula K. Le Guin
Geek flags at half-staff. Earlier today, we learned of the loss of Ursula K. Le Guin, sci-fi/fantasy writer extraordinaire. She was one of the last of a classic generation…Asimov, Heinlein, Bradbury. She once said: "I saw that women don't have to write about what men write about, or write what men think they want to read. I saw that women have whole areas of experience men don't have—and that they're worth writing and reading about." It's a huge loss. My favorite film adaptation of a Le Guin story is "The Lathe of Heaven", which I wrote about a few years back…
(This review originally posted on Digby's Hullabaloo, July 21, 2007)
One of my favorite sci-fi "mind trip" films is The Lathe of Heaven. Adapted from Ursula K. Le Guin's classic novel, the film was produced by Thirteen/WNET-TV in New York and originally aired on PBS stations in 1979. A coveted cult favorite for years, it was reissued on DVD by Newvideo in 2000.
The story takes place in "near future" Portland, at a time when the Earth is suffering profound effects from global warming and pandemics are rampant (rather prescient, eh?) The film stars Bruce Davison as George Orr, a chronic insomniac who has become convinced that his nightly dreams are affecting reality. Depressed and sleep-deprived, he overdoses on medication and is forced by legal authorities to seek psychiatric help from Dr. William Haber (Kevin Conway), who specializes in experimental dream research.
When Dr. Haber realizes to his amazement that George is not delusional, and does in fact have the ability to literally change the world with his "affective dreams", he begins to suggest reality-altering scenarios to his hypnotized patient. The good doctor's motives are initially altruistic; but as George catches on that he is being used like a guinea pig, he rebels. A cat and mouse game of the subconscious ensues; every time Dr. Haber attempts to make his Utopian visions a reality, George finds a way to subvert the results.
The temptation to play God begins to consume Dr. Haber, and he feverishly begins to develop a technology that would make George's participation superfluous. So begins a battle of wills between the two that could potentially rearrange the very fabric of reality.
This is an intelligent and compelling fable with thoughtful subtext; it is certainly one of the best "made-for-TV" sci-fi films ever produced. I should warn you that picture quality and sound on the DVD is not quite up to today's exacting A/V equipment specs; apparently the master no longer exists, so the transfer was made from a 2" tape copy.
Don't let the low-tech special effects throw you, either (remember, this was made for public TV in 1979 on a shoestring). Substantively speaking, however, I'd wager that The Lathe of Heaven has much more to offer than any $200 million dollar special effects-laden George Lucas "prequel" one would care to name.
On Music, On Politics, Tribute
Blood at the root: An MLK Day mixtape
I came into this world on April 4, 1956. 12 years later, to the day, the Rev. Martin Luther King, Jr. left it. My intention is not to attach any particular significance to that kismet, apart from the fact that I have since felt somewhat ambiguous about "celebrating" my birthdays (I could push the weird cosmic coincidence factor further by adding RFK was killed 2 months later on June 5th, my parents' wedding anniversary…but I won't go there).
There will be plenty of discussion and contemplation regarding that tragic day in a couple of months, especially as this will be the 50th anniversary, so I won't dwell on that now. This holiday weekend is about celebrating his birthday. So tonight I wanted to share my top 10 picks for songs to honor the life and legacy of Rev. King. In alphabetical order…
"Abraham, Martin, & John" – Late 50s-early 60s teen idol Dion DiMucci reinvented himself as a socially-conscious folk singer in 1968 with this heartfelt performance of Dick Holler's beautifully written tribute to JFK, RFK, and MLK. Seems they all die young…
"Barack Obama" – Yes, Cocoa Tea's song is very much about MLK. Besides, you need to hear this right now. Remember, history is cyclical; one day, the sun will shine again.
"Blues for Martin Luther King" – In 1968, music was our social media. The great Otis Spann gives us the news and preaches the blues. Feel his pain, for it is ours as well.
"400 Years" – The struggle began long before Dr. King joined it; sadly, it continues to this day. A people's history…written and sung by the late great Peter Tosh (with the Wailers).
"Happy Birthday" – A no-brainer for the list. Good to remember that Stevie Wonder was also a key advocate in the lobby to make Dr. King's birthday a national holiday.
"Is it Because I'm Black?" – Syl Johnson's question may sound rhetorical, but he pulls no punches.
"Pieces of a Man" – The late Gil Scott-Heron's heartbreaking vocal, Brian Jackson's transcendent piano, the great Ron Carter's sublime stand-up bass work, and the pure poetry of the lyrics…it's all so "right".
"Pride (In the Name of Love)" – Including U2's stirring anthem feels mandatory here.
"Strange Fruit" – "Black bodies swinging in the Southern breeze." Billie Holiday's song was powerful then, powerful now, and will remain powerful forever.
"Why (The King of Love is Dead)" – Like the Otis Spann song on this list, Nina Simone's musical eulogy (written and performed here just days after Dr. King's death) is all the more remarkable for conveying a message at once so timely, and so timeless.
2018 ReviewsMixtapeOn MusicOn PoliticsTribute


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IVF and Other Reproductive Technologies Do Not Boost Ovarian Cancer Risk
But not bearing children appears to do so.
November 23, 2020 • By Caroline Tien
Ever since the introduction of assisted reproductive technology (ART) in the 1980s, medical concerns that it might increase the risk for ovarian cancer have lingered.
ART refers to a wide array of treatments and procedures designed to facilitate pregnancy and childbirth, including embryo cryopreservation, intracytoplasmic sperm injection and in vitro fertilization (IVF).
Now a new study, conducted in the Netherlands and published in the journal of the National Cancer Institute, provides reassurance that these fertility technologies do not increase individual risk for ovarian cancer.
However, nulliparity, or not bearing children, does appear to increase risk.
Since it first became available, medical experts have raised concerns that ART might increase ovarian cancer risk by elevating levels of the sex hormone gonadotropin or by puncturing the ovarium epithelium, the soft tissue surrounding the ovaries.
Despite these concerns, ART has become more popular in the four intervening decades. In 2016, 1.8% of all babies born in the United States were conceived with the help of fertility treatments, according to the Centers for Disease Control and Prevention. As the number of women turning to ART to start families increases, the researchers wrote in the study, it is more important than ever to identify and quantify any associated risks. Previous epidemiological studies have yielded conflicting results.
The researchers cross-compared a database of women who had received reproductive assistance and two national cancer registries, the Netherlands Cancer Registry and the Dutch Pathology Registry. In total, they reviewed the medical histories of 30,625 women who had undergone ovarian stimulation—the second stage of IVF—between 1983 and 2001 as well as those of 9,988 women who had not undergone ovarian stimulation during the same time period despite being infertile.
Over an average of 24 years, 158 of the women had developed invasive (cancerous) ovarian tumors, and 100 had developed borderline (noncancerous) ovarian tumors. As it turned out, both study populations—women who had received reproductive assistance for infertility and women who had not—were at higher risk for ovarian cancer than women in the general population. But women who had received reproductive assistance for infertility were not at higher risk for ovarian cancer than women who had not received reproductive assistance for infertility.
According to the researchers, nulliparous women had a statistically significant twofold increased risk of ovarian cancer, whereas parous women (women who have borne children) had no increased risk compared with the general population. This suggests that the root cause of the increase in risk was not reproductive assistance but childlessness itself. Not having children is a well-known risk factor for several cancers, including breast, endometrial and ovarian.
"Reassuringly, women who received ovarian stimulation for assisted reproductive technology do not have an increased risk of malignant ovarian cancer, not even in the long run," said the study's lead author, Flora E. van Leeuwen, PhD, in a press release.
While relatively rare, ovarian cancer kills 14,100 women in the United States annually. It owes much of its lethality to the fact that it is often asymptomatic in the early stages.
To read all about ovarian cancer, click here. To read more about ovarian cancer risk factors, click here, click here and click here.
#cancer risk
#infertility
#ovarian cancer
On Birth Control? Your Ovarian and Endometrial Cancer Risk Is Probably Reduced

redpajama_set_name: RedPajamaCommonCrawl


text:
The redomestication of wolves
On landscapes around the world, environmental change is bringing people and large carnivores together--but the union is not without its problems. Human-wildlife conflict is on the rise as development continues unabated and apex predators begin to reoccupy their former ranges. Further complicating matters, many of these species are now reliant on anthropogenic, or human, foods, including livestock, livestock and other ungulate carcasses, and garbage.
Writing in BioScience, Thomas Newsome, of Deakin University and the University of Sydney, and his colleagues use gray wolves and other large predators as case studies to explore the effects of anthropogenic foods. They find numerous instances of species' changing their social structures, movements, and behavior to acquire human-provisioned resources. For instance, in central Iran, gray wolves' diets consist almost entirely of farmed chickens, domestic goats, and trash.
Other instances of these phenomena abound. In a similar case in Australia, dingoes gained access to anthropogenic foods from a waste facility. The result, according to the authors, was "decreased home-range areas and movements, larger group sizes, and altered dietary preferences to the extent that they filled a similar dietary niche to domestic dogs." Moreover, wrote the authors, "the population of subsidized dingoes was a genetically distinct cluster," which may portend future speciation events. Hybridization among similar predator species may also contribute to evolutionary divergence: "Anthropogenic resources in human-modified environments could increase the probability of non-aggressive contact" between species. According to the authors, "If extant wolves continue to increase their reliance on anthropogenic foods, we should expect to observe evidence of dietary niche differentiation and, over time, the development of genetic structure that could signal incipient speciation."
Wolves' use of anthropogenic food could have serious implications for wider conservation efforts, as well. In particular, Newsome and his colleagues raise concerns about whether wolf reintroduction and recolonisation programs will meet ecosystem-restoration goals in human-modified systems. Managers will need to consider "how broadly insights into the role played by wolves gleaned from protected areas such as Yellowstone can be applied in areas that have been greatly modified by humans," say the authors.
Newsome and his colleagues call for further research--in particular, "studies showing the niche characteristics and population structure of wolves in areas where human influence is pervasive and heavy reliance on human foods has been documented." Through such studies, they argue that "we might be able to ask whether heavy reliance of anthropogenic subsidies can act as a driver of evolutionary divergence and, potentially, provide the makings of a new dog."
BioScience, published monthly by Oxford Journals, is the journal of the American Institute of Biological Sciences (AIBS). BioScience is a forum for integrating the life sciences that publishes commentary and peer-reviewed articles. The journal has been published since 1964. AIBS is an organization for professional scientific societies and organizations, and individuals, involved with biology. AIBS provides decision-makers with high-quality, vetted information for the advancement of biology and society. Follow BioScience on Twitter @BioScienceAIBS.
Oxford Journals is a division of Oxford University Press. Oxford Journals publishes well over 300 academic and research journals covering a broad range of subject areas, two-thirds of which are published in collaboration with learned societies and other international organizations. The division been publishing journals for more than a century, and as part of the world's oldest and largest university press, has more than 500 years of publishing expertise behind it. Follow Oxford Journals on Twitter @OxfordJournals
American Institute of Biological Sciences
Related Wolves Articles:
Sensitivity to inequity is in wolves' and dogs' blood
Not only dogs but also wolves react to inequity -- similar to humans or primates.
Study doesn't support theory red and eastern wolves are recent hybrids, researchers argue
A University of Idaho-led research team is calling into question a 2016 study that concluded eastern and red wolves are not distinct species, but rather recent hybrids of gray wolves and coyotes.
Wolves need space to roam to control expanding coyote populations
Wolves and other top predators need large ranges to be able to control smaller predators whose populations have expanded, according to a study appearing May 23 in Nature Communications.
Two in the pack: No changes for Isle Royale wolves
Researchers from Michigan Technological University have released the annual Winter Study detailing updates on the ecology of Isle Royale National Park.
The dangers of being a saber-toothed cat in Los Angeles 12,000 years ago
Large saber-toothed cats that roamed Los Angeles 12,000 years ago had many injuries to their shoulders and backbones that likely occurred when they were fighting with other large animals, UCLA biologists report.
Are wolves becoming domesticated again?
On landscapes around the world, environmental change is bringing people and large carnivores together -- but the union is not without its problems.
In harm's way: Wolves may not risk 'prey switching' say USU ecologists
Utah State University researchers report Yellowstone wolves seldom hunt bison, though plentiful, and instead pursue elk, a scarcer, yet safer, target.
Gray wolves provide an important case study for understanding ecosystem effects when apex predators reoccupy their former ranges.
Big-game jitters: Coyotes no match for wolves' hunting prowess
As wolf populations plummeted, the eastern coyote assumed the role of apex predator in forests along the Atlantic Coast.
Wolfing it down: Brown bears reduce wolf kill rates says USU ecologist
Researchers report the influence of predation on an ecosystem may depend on the composition of the predator community.
More Wolves News and Wolves Current Events
Related Wolves Reading:


In keeping with Verseon's philosophy of approaching problems from new perspectives, we are also pioneering the use of blockchain technology to create a new funding model for the 21st century.
In 2019, we plan to launch a security token offering (STO) to accelerate the development of our diverse drug pipeline of novel drug candidates.
We are structuring our STO as one of the first global offerings backed by a prospectus. The STO will use the technology and services of our blockchain fintech subsidiary BlockRules Ltd. to enforce regulatory compliance across multiple jurisdictions.
Each security token will be a form of preferred share that grants its holder rights to a percentage of Verseon's future drug program revenues.
We will initially conduct a private offering, followed by a public token sale upon approval of the prospectus.


dard bhari desi chuite ki chuite Alberto is gonna be the tourist guide.
Meri girlfriend shakshi ki chudaei Monique Alexander is going to have a very pleasant exchange with a friend.
चूत से चूत चुदी फोटो This guy has morning glory for a reason.
kamuta maa beti sexkahni This chick's pipes are backed up and she calls a good plumber whom her friends have recommended to unclog them.


All over the northern states, people drive through the back roads to bask in the glory of autumn leaves. From the Acadia National Park in Maine to mountain regions of the Appalachians, Ozarks, Ouachita and over to the Rocky Mountain National Park, the fall trees create a show for residents and visitors. New Mexico's five national forests also sport a lot of fall foliage at varying elevations as do the mountains in Asheville, North Carolina that attract visitors from around the world.
the summer, a tree thirstily pulls water up through the roots. The leaves soak up sunlight. The sun triggers the chlorophyll in the leaves. Green means chlorophyll, which is what makes food for the trees. Chlorophyll is like a sugar rush.
In addition, the water, dew, rain and humidity plus the light of summer capture carbon dioxide from the air and create a phenomenon in the leaves called photosynthesis, which literally means, "Putting together with light." Everything is green and verdant.
In the fall, there is less sunlight and it gets darker earlier. Chlorophyll in the leaves dissipates.
The orange hue comes from something we're familiar with called carotene, which also makes pumpkins and sweet potatoes orange. Carotenes are antioxidants that protect the plant from free radicals, which are compounds that scientists believe may cause cancer in humans.
Reds and purples are the result of a chemical called anthocyanin—glycoside pigments in plant cells that produce blue to red coloring in flowers and plants. Anthocyanin is a naturally developing sunscreen. When broken down into molecules, anthocyanin includes a sugar. This affects the carbohydrates within a plant and the color comes out. Since anthocyanin color changes with pH, the acidity in the soil and plenty of sunlight are necessary for the leaf color, too.
Brown is from tannin, a substance found inherently in almost all plants, in all weather worldwide and particularly in roots, wood, bark and leaves. The brown color of trees such as the oak is made from wastes left in the leaves.
When leaves turn, the photosynthesis stops and the green in the leaf begin to dry up and die. During this process, colors that were already in the leaves such as yellow and gold spring to life. If there is leftover sugar in the leaf, the hue becomes red or purple. Eventually the leaves run out of steam, the juice of color is gone and they turn brown and fall off the trees because the stems lose elasticity and become brittle. If a good wind comes along, the leaf breaks free and spirals in the air, doing a dance with the wind until it flutters to the ground.
A Michigan State University Extension study claims that if trees that have been stressed by drought, or if there has been damage to the trunk from animals or perhaps it contracts a disease that reduces the water intake, these factors have a tendency to turn leaf color sooner or even go dormant for winter before the other more hearty trees.
Emily M. Habinck discovered something in 2003 that put forward a new idea about why trees change colors. In the past, a plant physiologist named William Hoch of Montana State University proposed that the soil had a lot to do with fall colors. Hoch studied the sweet gum and red maple trees and surmised that the red pigments were, yes, a result of anthyocyanins, but if the tree lived in poor nutrient soil, it produced more anthocyanins to protect the leaves longer, recovering as many nutrients as possible before winter set in.
This theory was further proved when Hoch found that if he genetically blocked anthocyanin, their leaves became unusually vulnerable to fall sunlight, sending fewer nutrients to the plant roots for winter storage. Soil analysis advanced the idea and satellite data compared tree color matched to geological maps and soil testing, so Hock's original theory has proved to have more weight.
The folks of Ashville, North Carolina have some tips for going to a popular location such as theirs.
Make reservations early and choose Sunday through Thursday for your stay versus the weekend.
Color starts from the highest elevation on down, so climb that mountain and don't be bothered by fog—it will probably dissipate.
Wear polarized sunglasses to enhance colors.
Take picnics or snacks as the day might last longer than you think and restaurants are rare.
Likewise, fill up with gas and bring a paper map—don't count on GPS alone.
For comfort, pack a sweater or jacket because temperatures often change with elevation or as the sun goes down.
Have you seen the birch? It has white, shiny bark and in the light, shows off like silver. Its leaves typically go from green to gold to brown, and illuminate its jagged edges. Gingko trees have relatives that lived in prehistoric times and we might surmise that the dinosaurs feasted on their fan-shaped leaves. A sassafras tree sports leaves with several different shapes and while some look like spades, others grow into a mitten-shape. The star-shaped sweet gum trees have leaves of magnificent colors in fall—mostly yellow with brilliant red.
The smoke tree is a showoff, the stalks of its flowers thin, fine and so delicate they appear like wisps of smoke from far away. Red oak leaves spread out like beautiful fingers. Honey locust leaves have long veins filled with lots of leaflets that resemble flattened coins. The pin cherry has narrow slender leaves with tiny jagged edges and the linden looks like Egyptian fans that were used to cool the pharaohs. Sassafras leaves resemble hockey gloves and the sourwood become paddles.
Robbins, Ken. Autumn Leaves. New York: Scholastic Press, 1998. Book.
Correlation of Soil Development and Landscape Position with Fall Leaf Colors, Newswise, Geological Society of America (GSA). October 2007. Paper.
Bullar, Lisa. Leaves Fall Down: Learning about Autumn Leaves. Mankato, MN: Picture Window Books, 2011. Book.


With the Tufi Health Centre fully commissioned and the communities within a 2 hour paddle regularly utilising the facility, the May 2018 XPD team headed to the outlying villages of the Tufi District. We had an amazing combination of doctors, midwives and nurses from WA, QLD, NSW and VIC and 7 out of 10 had been on a NR-Health expedition in the past. Joining us from the Tufi Health Centre was Stanley (Registered Nurse ), 2 Village Birth Assistants and 1 Village Health Volunteer that we had trained last September. These volunteers have been working in the Tufi Health Centre since the training and their dedication and level of knowledge blew us away!!
We were treated to a traditional welcome at Tumari Village near Spear Point to the north and after a huge first day and a banana boat ride to a nearby village at Berabona, the team were asleep early in a beautiful wind-house by the sea.
The dive boats picked us up early and we were off to Sinei Village and then to Vovo for the night. It was soon evident that malaria was rampant in these villages due to the prolonged wet season and the value of having 2 doctors on the team became invaluable.
On Wednesday, we had the pleasure of working out of the Tufi Health Centre where we also held a staff clinic for the Tufi Resort who have been amazingly supportive of our work. Without the constant backup of Roya and Brian (managers of the amazing Tufi Dive Resort) we would struggle to arrange the logistics necessary to do our work and their willingness to be super agile to meet our needs is like having a mothership watching your back.
The second half of the week was spent in the far south where we were able to utilise the Guest Houses of Gerawa, Jeb and Awanen. The owners have now become our friends and have everything prepared and ready to cater for our large team exceptionally well.
I cannot speak more highly of the teams that immerse themselves in the lives of these communities and provide healthcare and hope to the people of the Tufi District. The scorecard ...7 Days, 8 villages, 860 patients, Days for Girls packs distributed to 68 school aged female students, 200 birthing kits distributed to Village Birth Assistants (VBAs) and the Tufi Health Centre and 6 education sessions delivered!!!!


In this short video I will show you how to stop hyphenation in InDesign. There are two ways to remove hyphenation. You can remove hyphenation by going to the control panel and deselecting hyphenate. Or you can select the paragraph style option dialogue box and turn of hyphenation by deselecting the hyphenate checkbox. The paragraph style option gives you finer control and enables you to reduce hyphenation rather than remove it entirely.
Please click on one of the share buttons below if you found this video useful.


Deric's MindBlog: Brain and body imaging of the emotional power of poetry.
Brain and body imaging of the emotional power of poetry.
It is a common experience—and well established experimentally—that music can engage us emotionally in a compelling manner. The mechanisms underlying these experiences are receiving increasing scrutiny. However, the extent to which other domains of aesthetic experience can similarly elicit strong emotions is unknown. Using psychophysiology, neuroimaging and behavioral responses, we show that recited poetry can act as a powerful stimulus for eliciting peak emotional responses, including chills and objectively measurable goosebumps that engage the primary reward circuitry. Importantly, while these responses to poetry are largely analogous to those found for music, their neural underpinnings show important differences, specifically with regard to the crucial role of the nucleus accumbens. We also go beyond replicating previous music-related studies by showing that peak aesthetic pleasure can co-occur with physiological markers of negative affect. Finally, the distribution of chills across the trajectory of poems provides insight into compositional principles of poetry.


text:
Q: How to extract and display words from a long list of words from a text string in google sheet I have a google sheet which contains 2 columns in Sheet 1
Column one contains text strings. I want to extract "job titles"  from those text strings in the next column. List of all jobs title is in another sheet name "Data Lookup"
If any exact match job title (lower case or upper case or in any case) is present in "Data Lookup" sheet and in A1:A1795 range then show in sheet 1 and if exact match is not found then find any partial match job title.
For this purpose I made the tried following custom code.
function findtitle(text, list){
  var result = 'Not Found';
  list = list.flat();
  list.forEach( str => {
    if(text.includes(str)){
      result = str;
      return result;
     }
  });
  return result;
}

It is finding only partial match words and sometimes it is not finding any word. while job title is present in Data lookup sheet.
i have attached a sample google sheet also
https://docs.google.com/spreadsheets/d/17AZ2Cuk4gcAiXm_yo3_IK-WeYqO5g7n5HBumCjNknFU/edit?usp=sharing
for example
in sheet 1 cell number A43 contains a text string word " Project manager" and in
Cell no. A470 in Sheet "Data Lookup"  project manager" is present but it is showing only manager.
How to fix this issue.

A: There is a double space in Project manager in Cell A43 content, this is why it is not found, but you would probably have unexpected results in other occasions, because your function returns a first matched position.
Proper solution would be:
/** *
* @customfunction
*/

function findtitle2(text, jobs){
  jobs = jobs.flat();
  const allMatches = jobs.map( job => text.indexOf(job)>=0? job:null).filter(m=>m);

  if(allMatches.length>0){
    // sort by size
    const sortedMatches = allMatches.sort((m1,m2)=>m2.length-m1)
    // return the longest match
    return sortedMatches[0]
  } else{
    return 'Not Found'
  }
}

A: There are a few of problems with your script.

*

*Sometimes matches are not exact, for instance you may have extra spaces, as pointed out by Goran, so those matches are missed

*You only return one title per job description, but they often mention several

*Your function only returns one value, so you have to repeat it multiple times for every job description.

I built the following one.
What it does is:

*

*convert each job title to a regular expression for better matching

*returns multiple job titles per job description

*accepts and returns a range of values

const getJobs = (jobDescriptions, jobs) => {
  const escape = string => string.replace(/[.*+?^${}()|[\]\\]/g, '\\$&');
  const toRe = str => new RegExp(escape(str).replace(/ +/g, ' +'), 'i');
  return jobDescriptions.map(jd => {
    const result = [
      jobs
        .reduce((acc, job) => {
          const re = toRe(job[0]);
          if (re.test(jd)) acc.push(job[0]);
          return [...new Set(acc)];
        }, [])
        .join(', '),
    ];
    return '' !== result[0] ? result : ['Not Found'];
  });
};

I put it in cell C2 in your sheet, you can check out the result.
Notice you also have duplicates in your Data Lookup sheet, I remove them from the output.

redpajama_set_name: RedPajamaStackExchange


Manila, Philippines (July 29, 2017) – UNTV News and Rescue began its broadcast using new Ultra High Frequency (UHF) analog TV relay station in Tagbilaran City in the province of Bohol as part of the network's ongoing upgrade and expansion of its signal presence in the country.
The country's 'Public Service Channel' also upgraded its facilities in Cebu City for clearer reception.
UNTV can now be received on UHF channel 50 in Tagbilaran City in Bohol.
UNTV, through BMPI and MCGI, is building broadcast relay stations to expand signal presence where frequencies are available.
UNTV also completed the modernization of its relay station in Cebu City on UHF Channel 39.
UNTV's analog broadcast in Cebu City.
UNTV Cebu sports a new 10-kilowatt transmitter, transmitter room and 85-foot antenna tower built on elevated location.
More Filipinos can now watch Ang Dating Daan, a popular religious program known for its Bible-based question and answer segment Itanong Mo Kay Soriano.
UNTV upgraded relay station in Cebu.
The relay station enables the re-broadcast of programs emanating from UNTV Channel 37 in the National Capital Region (NCR) through its direct broadcast feed via MEASAT-3a satellite.
UNTV Building in EDSA, Quezon City.
UNTV-37 Manila frequency is under the Progressive Broadcasting Corporation (PBC) of the Henares family while the network's broadcast facilities are owned by its operator Breakthrough and Milestones Productions International (BMPI), an affiliate of international Christian religious organization Members Church of God International (MCGI).
These relay stations are equipped with solid-state transmitters manufactured by a well-known and trusted Japanese brand.
The relay station in Bohol is the latest addition to the growing broadcasting network of the MCGI.
MCGI is also known for Ang Dating Daan (The Old Path), the longest-running religious program in the Philippines which started in 1980.
It is once a dream by ADD's main host and MCGI's Overall Servant (Presiding Minister), international televangelist Bro. Eliseo F. Soriano for the church to have a network of its own.
MCGI Overall Servant and international televangelist Bro. Eli Soriano of Ang Dating Daan.
As the church membership grew exponentially, this dream came into reality today with the help of veteran broadcaster and MCGI's Assistant Overall Servant (Vice Presiding Minister) Bro. Daniel S. Razon.
Razon is the Chairman and CEO of BMPI, UNTV network's exclusive operator and content provider.
MCGI Assistant Overall Servant and UNTV-BMPI Chairman and CEO Bro. Daniel Razon.
In 2016, 25th Kapisanan ng mga Brodkaster ng Pilipinas (KBP) Lifetime Achievement awardee Kuya Daniel announced the roll-out of UNTV relay stations to intensify delivery of the network's public services and broadcast evangelization though television.
Since 2004, UNTV served as permanent home of MCGI and Ang Dating Daan. Aside from traditional analog broadcast, UNTV is using modern alternative platforms such as the social media in broadcasting.


text:
Hilly may refer to:

 a place with hills
 a place with hill country

People

Surname
 Francis Billy Hilly (born 1948), Solomon Islands politician
 Jed Hilly, American musician
 Pat Hilly (1887–1953), American baseball player

Given name
 Hilly Bardwell, wife of Alastair Boyd, 7th Baron Kilmarnock
 Hilly Elkins (1929–2010), American producer
 Hilly Flitcraft (1923–2003), American baseball player
 Hilly Hathaway (born 1969), American baseball player
 Hilly Hicks Sr. (born 1950), American actor
 Hilly Hicks Jr. (born 1970), American playwright and screenwriter
 Hilly Kristal (1931–2007), American musician and club owner
 Hilly Michaels, American musician
 Hilly Rose, American radio personality

Other uses
 Hilly Creek, a creek in Halifax County, Virginia, U.S.

See also

 Hillier (disambiguation)
 Hillies (disambiguation)
 Hillyer (disambiguation)
 Hillyfields (disambiguation), including Hilly Field(s)
 Hill (disambiguation)

redpajama_set_name: RedPajamaWikipedia


text:
Bahrain >
Name: Ministerial Order No. 6 of 2013 Protecting Workers While on Duty from the Hazards of Fire.
Country: Bahrain
Subject(s): Protection against particular hazards
Published on: Al-Jarida al-Rasmiya, 2013-05-16, No. 3104, P. 26 - P. 32
ISN: BHR-2013-R-95258
Bibliography: Al-Jarida al-Rasmiya, 2013-05-16, No. 3104, P. 26 - P. 32
Legislation on-line in Arabic The Information Affairs Authority (IAA), Bahrain, pp. 26-32 PDF in Arabic (consulted on 2014-02-27)
Abstract/Citation: Sets out the requirements for all establishments, buildings and workplaces concerning fire protection. Assigns employers with the responsibility of adopting the necessary precautions for the protection of workers from fire hazards. Regulates the provision of fire extinguishers and fire escapes at places of employment. Sets regulations concerning the number of persons allowed at places of employment as well as for the storage of flammable materials. Regulates the provision of fire alarms.
2012-08-02 (BHR-2012-L-91026)Law No. 36 of 2012 Promulgating the Labour Law in the Private Sector.
1994-05-15 (BHR-1994-R-40021)Decree No. 2 of 1994 to provide for the accession of the State of Bahrain to Arab Labour Convention No. 7 of 1977 and Recommendation No. 1 of 1977 concerning occupational safety and health.
Repealed text(s):
2005-07-18 (BHR-2005-R-73011)Ministerial Order No. 12 of 2005 with respect to protection of workers during work from hazards of fire in establishments.


text:
Out Is Through est une chanson écrite, composée et interprétée par l'artiste canadienne Alanis Morissette pour son sixième album studio, So-Called Chaos (2004), et dont elle est la deuxième piste. La chanson est sortie en single le 19 juillet 2004.

Composition
Out Is Through est un titre composé sur une tonalité en C majeur. Sa signature rythmique repose sur un chiffrage commun de mesure en  et progresse à tempo modéré avec un mouvement métronomique de 88 pulsations par minute. Le spectre vocal d'Alanis Morissette s'étend sur une gamme allant de G3 à B4.

Paroles

Linguistique du titre
Le titre Out Is Through () pourrait se traduire en français par Sortir, c'est passer au travers ou encore Pour s'en sortir, (il faut) passer au travers. L'idée principale est que pour se sortir des difficultés, il faut les affronter, foncer dedans et ainsi les traverser.

Sens général et origine
La notion que l'issue ne se fait qu'en passant au travers se confirme textuellement dans le refrain (dont le titre est la forme tronquée) : ♫The only way out is through..

L'expression reprise par le refrain trouve son origine dans un poème de 1915  intitulé A Servant to Servants de l'auteur américain Robert Frost (1874-1963). On retrouve la mention dans deux vers de ce long poème composé de 177 vers dans un style libre : au vers 56, He says the best way out is always through (« Il affirme que la meilleure issue est encore de passer au travers ») ou bien au vers 58, As that I can see no way out but through- (« Tel que je le constate, il n'y a point issue si ce n'est qu'au travers »)

Clips musicaux
Il existe deux vidéoclips pour ce titre. Sur une des vidéos, réalisée par Seth Jarrett, Alanis Morissette apparaît avec ses musiciens lors d'une représentation de la chanson en 2004 dans T4, émission télévisée britannique pour la jeunesse diffusée le week-end, avec la piste de l'album remplaçant l'audio. La vidéo alternative met en scène une fan, interprétée par Anne Vyalitsyna, qui essaie désespérément de courir aux différentes représentations live d'Alanis Morissette jusqu'à ce qu'elle y parvienne enfin.

Notes et références

Notes

Références

Single publié par Maverick Records
Chanson de 2004
Single musical sorti en 2004
Chanson interprétée par Alanis Morissette


Bed Bases are important for your chiropractic health. Here are four bed base types.
When it comes to bed bases, choosing the right one can be hard when there are so many options. What makes it even more difficult, is deciding what's right for for your specific needs. We have listed the most common types of bed bases and given an explanation on what the benefits are of each.
There are four main bed base types that you will find when searching for the best bed for you. Each of these types can also come in different forms and styles themselves. The most common of the four is the wooden slat bed bases.
There are two main types of wooden slat bases: Sprung and standard.
The sprung slat system uses a series of curved wooden slats that are designed to adjust to your sleeping profile. These are flexible wooden slats allowing for movement and adjustment while maintaining a firm support. The tension of the slats can be adjusted to cater for different levels of firmness required.
In a double or larger type bed base these are made with two separate sets of slats for either side. This allows for one side to adjust without affecting the whole bed, and can be of benefit to avoid partner disturbances in a shared bed as the two systems absorb and adjust to one individuals load and not transferring the movement throughout the bed.
Standard slat beds use flat wooden slats that either span the bed or meet in the middle. These bases provide good firm support and are a simple and cheaper option. Slat beds overall are good for the mattress providing good support and allow for good ventilation to the mattress keeping them cleaner and more hygienic.
The ensemble is the second most common bedding base. Ensemble beds come in different types for different needs. There are sprung and platform ensembles.
Sprung ensembles have a boxed base with spring inners. The springs role is to adjust to the weight of the individual posture and evenly distribute it across the mattress. These are designed for comfort with a soft feel but maintaining support. There are coil spring and pocket spring systems. Pocket springs work individually and not as a group with the entire base. This helps to prevent partner disturbances as there is no ripple effect as each spring acts individually. Coil spring acts as a unit and are all connected therefore movement in one area will transfer throughout the bed.
Platform ensembles have no springs involved and have a box base for a mattress to sit on. This base provides a solid raised base for the bed that provides firmness for the mattress and can have storage under. This does not allow for any flexibility for changes in posture and support other than what the mattress can give.
There is a downfall with the ensemble beds with lack of ventilation for the mattress. This is less hygienic and reduces the life of your mattress.
This bed base is becoming more popular for its aesthetic appeal and its simplicity which brings down the cost. This is a low flat solid wooden base with no springs or slats. This is designed for a firmer feel. This is an ok option but does not provide any ventilation and does not accommodate for any changes other than what the mattress can provide.
Futon bases are either hard wooden bases or firm wire bases. The practicality of the futon as a space saving option does not outweigh the downfalls of the futon. The bases are harder and will not adjust to any changes in posture or pressure. There is no option for choosing your own supporting mattress with this system and can only use the top appropriate for each futon. These are essentially large pillows filled with fluffed cotton that do not adapt to your posture and your body is forced to adapt to the cushion instead. This provides no benefit for your spine and does not allow your musculature to fully relax while sleeping creating tension and related problems.
It is important to weigh up not only the aesthetics and practicality of bed bases, but also the therapeutic benefits. The benefits to your spine will be long lasting and it is a decision that should not be taken lightly.
Our chiropractors at Back to Basics Chiropractic can offer great advice on what are the best option for your individual needs. We also have a large range in therapeutic pillows to support you whilst sleeping.