Hoochie Coochie Man:
I Just Want to Make Love to You:
Forty Days and Forty Nights:
Trouble No More:
Got My Mojo Working:
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There are many children who have been told, "Never mind. You are the clever one", and who have never got over it.
Ah, he thought, the truth bursting on him suddenly, nobody grows up. Everyone carries around all the selves that they have ever been, intact, waiting to be reactivated in moments of pain, of fear, of danger. Everything is retrievable, every shock, every hurt. But perhaps it becomes a duty to abandon the stock of time that one carries within oneself, to discard it in favour of the present, so that one’s embrace may be turned outwards to the world in which one has made one’s home.
With unruffled serenity, as if she had all the time in the world and no fear of losing the reader's attention, Brookner carefully, lingeringly, and searchingly explores the becalmed, cushioned, melancholy world of these two well-off bourgeois families. Yet here is wonderful economy in her leisureliness: Within a mere 248 pages, she has compressed a lifetime of subtle changes, four lifetimes, really, from dimly remembered childhood to encroaching old age.
When Inspector Montalbano falls for the charms of beautiful gallery owner Marian, his long-time relationship with Livia comes under threat. Meanwhile, he is also troubled by a strange dream as three crimes demand his attention: the assault and robbery of a wealthy merchant's young wife, shady art deals, and a search for arms traffickers that leads him deep into the countryside, where the investigation takes a tragic turn.Kirkus Reviews says this one "has a more melancholy tone than his previous cases ... but also boasts a nifty, twisty mystery at its core." Publishers Weekly concludes a positive review with this: "Fueled by frequent infusions of food, Montalbano comes up with clever solutions to the strange goings-on, even as he’s less than adept at dealing with the women in his life."
1. The Shape of Water
2. The Terra-Cotta Dog
3. The Snack Thief
4. Voice of the Violin
5. Excursion to Tindari
6. The Smell of Night
7. Rounding the Mark
8. The Patience of the Spider
9. The Paper Moon
10. August Heat
11. The Wings of the Sphinx
12. The Track of Sand
13. The Potter's Field
14. The Age of Doubt
15. Dance of the Seagull
16. Treasure Hunt
17. Angelica's Smile
18. A Game of Mirrors
The worst thing about “Birth of a Nation” is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it’s that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous).The New York Post says it's "still the most racist movie ever". Filmsite.org has information explaining the importance of the film and also a detailed plot description. NPR explores the movie's legacy.
In December 1999, the Directors Guild of America announces that D.W. Griffith will be retired as the namesake of its prestigious award for career achievement in moviemaking because he helped promote what they call "intolerable racial stereotypes." Although Guild members acknowledge his achievements, the vote to rename the award is unanimous.The Washington Post says, "“The Birth of a Nation” takes its place alongside the Nazis’ “Triumph of the Will” and “Jew Suss” as among the most despicable propaganda pictures of all time. Its stereotypes have reverberated for a century." Time calls it "still great, still shameful". Historynet tells something of Griffiths' background and how he came to make the film.
Birth is too alive to be shunted aside as a relic or as a reminder of how little (or how much) we’ve accomplished in race relations. It can be both these things, but Griffith, a complex, creative, and intensely motivated man, was much more than a regionalist hate monger. The full, diverse range of his films proves this, as does the diversity of intent and expression in The Birth of a Nation itself.
|Source: Keith Allison Flikr|
Ron Howard's film of this mission is directed with a single-mindedness and attention to detail that makes it riveting. He doesn't make the mistake of adding cornball little subplots to popularize the material; he knows he has a great story, and he tells it in a docudrama that feels like it was filmed on location in outer space.Empire Online gives it 5 out of 5 stars and calls it "a blast". Rotten Tomatoes has a 95% critics score.
When a body is found floating in a canal, strangely disfigured and with multiple stab wounds, Commissario Brunetti is called to investigate and is convinced he recognizes the man from somewhere. However, with no identification except for the distinctive shoes the man was wearing, and no reports of people missing from the Venice area, the case cannot progress.The Guardian says, "The 21st Commissario Brunetti mystery finds the series' characters and setting as vital as ever." The New York Journal of Books points out the social commentary. Kirkus Reviews has a positive review.
Brunetti soon realizes why he remembers the dead man, and asks Signorina Elettra if she can help him find footage of a farmers' protest the previous autumn. But what was his involvement with the protest, and what does it have to do with his murder? Acting on the fragile lead,
Brunetti and Inspector Vianello set out to uncover the man's identity. Their investigation eventually takes them to a slaughterhouse on the mainland, where they discover the origin of the crime, and the world of blackmail and corruption that surrounds it.
#1 Death at La Fenice (1992)
#2 Death in a Strange Country (1993)
#3 Dressed for Death (1994)
#4 Death and Judgment (1995)
#18 About Face (2009)
#19 A Question of Belief
#20 Drawing Conclusions
A good comedy western that is always fun and never boring. Uses a lot of the best Spaghetti Western cliches which never tire in the capable hands of George Hilton and Giuliano Carnimeo. Funny, violent, strong plot, great characters, and rather well made. A Spaghetti classic that is not to be missed.Fistful of Pasta isn't a fan of comedy westerns but says, "if you're looking for an hour and a half of watchable silliness, it's not a bad one". DVD Talk concludes, "This is a good effort that fans of Carnimeo and Hilton will appreciate."
Despite its flaws, “Wonder Woman” is beautiful, kindhearted, and buoyant in ways that make me eager to see it again. Jenkins and her collaborators have done what I thought was previously impossible: created a Wonder Woman film that is inspiring, blistering, and compassionate, in ways that honor what has made this character an icon.Rotten Tomatoes has a critics score of 92%.
The Real Beauty: The Artistic World of Eugenia Errázuriz, organized by The Dixon Gallery and Gardens, is the first American museum exhibition centered on the life of this remarkable figure in the history of modern art and design. Addressing the larger subject of the role of South Americans in turn-of-the-century Europe, the exhibition will feature works of art centered around Eugenia's relatives and friends, especially the Subercaseaux, who shared her passion for the arts. In the early 1800s, Eugenia Huici Arguedas de Errázuriz arrived in Europe with her husband, amateur painter José Tomás Errázuriz. Very quickly, the newlywed Errázurizes began making their rounds across Europe, becoming, along with their relatives Amalia and Ramón Subercaseaux, favorites among the cosmopolitan group of artists in turn-of-the-century Europe.Here's a one-minute preview from a Dixon gallery curator:
In the fall of 2017, Susan and John Horseman generously donated twenty-eight works of art by twenty-five American and European artists to the Dixon Gallery and Gardens permanent collection. Dixon Board Chair C. Penn Owen III notes, “The Horseman Gift stands among the most important and impressive acts of collection building in our history.”Here's a video highlighting one of the paintings:
Julie Pierotti, the Dixon’s Martha R. Robinson Curator, states, “Susan and John Horseman have made a truly transformative gift to the Dixon. This extraordinary collection adds an important perspective and depth to our existing collection—it doubles the number of works by American artists in the Dixon collection; and it more than doubles our collection of works by women artists, allowing us to tell more complete stories about the art of the late nineteenth and early twentieth century. We couldn’t be more grateful to the Horsemans for this generous gift.”
One of the peaks of “poetic realism”, the 1930s film school known for its combination of leftwing attitudes, visual and verbal lyricism and a pessimistic view of lower-class characters snared by a cruel fate, Le jour se lève (Daybreak) qualifies as what the French call un film maudit, a movie with a curse upon it. It opened on the eve of the second world war, was banned during the occupation and remade in 1947 by RKO, who attempted to destroy all existing copies. In the 1950s the belligerent critics of Cahiers du cinéma, soon to be film-makers in the new wave, attempted to destroy the reputation of its director, Marcel Carné, accusing him of heavy-handedness and attributing all that is successful in Le jour se lève to his long-time collaborator, the poet Jacques Prévert. Fortunately they failed
“Halloa! Below there!”You can read it online here and listen to it here. It was adapted for television in 1976:
When he heard a voice thus calling to him, he was standing at the door of his box, with a flag in his hand, furled round its short pole. One would have thought, considering the nature of the ground, that he could not have doubted from what quarter the voice came; but instead of looking up to where I stood on the top of the steep cutting nearly over his head, he turned himself about, and looked down the Line. There was something remarkable in his manner of doing so, though I could not have said for my life what. But I know it was remarkable enough to attract my notice, even though his figure was foreshortened and shadowed, down in the deep trench, and mine was high above him, so steeped in the glow of an angry sunset, that I had shaded my eyes with my hand before I saw him at all.
From looking down the Line, he turned himself about again, and, raising his eyes, saw my figure high above him.
“Is there any path by which I can come down and speak to you?”
He looked up at me without replying, and I looked down at him without pressing him too soon with a repetition of my idle question. Just then there came a vague vibration in the earth and air, quickly changing into a violent pulsation, and an oncoming rush that caused me to start back, as though it had force to draw me down. When such vapour as rose to my height from this rapid train had passed me, and was skimming away over the landscape, I looked down again, and saw him refurling the flag he had shown while the train went by.
I repeated my inquiry. After a pause, during which he seemed to regard me with fixed attention, he motioned with his rolled-up flag towards a point on my level, some two or three hundred yards distant. I called down to him, “All right!” and made for that point. There, by dint of looking closely about me, I found a rough zigzag descending path notched out, which I followed.
The cutting was extremely deep, and unusually precipitate. It was made through a clammy stone, that became oozier and wetter as I went down. For these reasons, I found the way long enough to give me time to recall a singular air of reluctance or compulsion with which he had pointed out the path.
When I came down low enough upon the zigzag descent to see him again, I saw that he was standing between the rails on the way by which the train had lately passed, in an attitude as if he were waiting for me to appear. He had his left hand at his chin, and that left elbow rested on his right hand, crossed over his breast. His attitude was one of such expectation and watchfulness that I stopped a moment, wondering at it.
I resumed my downward way, and stepping out upon the level of the railroad, and drawing nearer to him, saw that he was a dark sallow man, with a dark beard and rather heavy eyebrows. His post was in as solitary and dismal a place as ever I saw. On either side, a dripping-wet wall of jagged stone, excluding all view but a strip of sky; the perspective one way only a crooked prolongation of this great dungeon; the shorter perspective in the other direction terminating in a gloomy red light, and the gloomier entrance to a black tunnel, in whose massive architecture there was a barbarous, depressing, and forbidding air. So little sunlight ever found its way to this spot, that it had an earthy, deadly smell; and so much cold wind rushed through it, that it struck chill to me, as if I had left the natural world.
|photo from Biography.com|
Laura Nyro, one of the most important female singer/songwriters of the '60s and '70s, died Tuesday at her Danbury, Conn., home at the age of 49 due to complications from ovarian cancer. Best known for such classics as "Wedding Bell Blues," "Stoned Soul Picnic," "And When I Die," "Stoney End" and "Eli's Comin,'" Nyro influenced peers and generations to come with her poetic lyrics, emotional vocal style and free-form compositions that drew on gospel and soul.Singer, songwriter, pianist, she is a joy to listen to and a personal favorite. Enjoy:
The name is Archie,
Archie Goodwin. I work for Nero Wolfe as secretary, bodyguard, office manager, assistant detective -and fall-guy. When the world's greatest chefs invited Wolfe to a cooking conclave in West Virginia, he managed to heave his bulk out of his oversized arm chair and leave his orchids and his office to attend the gourmet gathering. It was worth the trip, until one of the chefs got a knife in his back....
Too Many Cooks
At least three master chefs had sworn to kill Laszio -and with sufficient personal reason. Had one of them turned butcher and carved him up?
There were too many motives, too few clues, and not enough time to solve one of the most bizarre puzzles in Nero Wolfe's entire career.
an unheralded film noir classic of the style's second wave. It's a grim crime tale inspired by real police work and was one of the more impressive thrillers of 1948. Anthony Mann has often been cited as an uncredited co-director.Time Out calls it a "taut thriller". TCM has information. Rotten Tomatoes has a critics score of 83%.
|Woman in a Deck Chair by the Window, 1913, by Lovis Corinth|
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.You can read it online here. You can listen to it here:
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
6 large eggsHard-boil the eggs, let them cool, peel them, then cut them in half lengthwise.
2 tablespoons mayonnaise
2 teaspoons mustard
Salt and pepper
Paprika, for garnishing
optional sweet pickle relish, to taste