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  <link>http://blip.tv/vaquero/fortunate-son-credence-clearwater-revival-6068005</link>
  <title>Fortunate Son - Credence Clearwater Revival</title>
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  <blip:puredescription><![CDATA[Scenes from Apocalypse Now by Stanley Kubrick and various documentary clips to include atomic tests, et al. The music by CCR is probably the best known anti-war song from the late sixties, an era remembered for the Anti-Viet Nam war movement and the Civil Rights movement. It is often, however, that despite the world turmoil and the often impending sense of doom, pop music had never been better. The music of that era has survived numerous fads and fashions. It is truly timeless in its message as well as the musical presentation.]]></blip:puredescription>
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<br />

Scenes from Apocalypse Now by Stanley Kubrick and various documentary clips to include atomic tests, et al. The music by CCR is probably the best known anti-war song from the late sixties, an era remembered for the Anti-Viet Nam war movement and the Civil Rights movement. It is often, however, that despite the world turmoil and the often impending sense of doom, pop music had never been better. The music of that era has survived numerous fads and fashions. It is truly timeless in its message as well as the musical presentation.

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  <blip:puredescription><![CDATA[Starring Humphrey Bogart and Ingrid Bergman, Casablanca captured an exotic atmosphere at the beginning of World War II.]]></blip:puredescription>
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Starring Humphrey Bogart and Ingrid Bergman, Casablanca captured an exotic atmosphere at the beginning of World War II.

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  <title>Stanley Kubrick's Dr. Strangelove</title>
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  <blip:puredescription><![CDATA[Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb or better known as simply --Dr. Strangelove, satirizes the nuclear scare that literally defined the &apos;cold war&apos;. Directed, produced, and co-written by Stanley Kubrick, it starred Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, and Slim Pickens as Kong, the bomber pilot who rides the bomb itself to nuclear destruction. The film, released at the height of the cold war, portrazs an unhinged USAF general who orders a first strike nuclear attack on the Soviet Union. The rest of the film is about how the U.S. President, advisors and brass join forces with the Royal Air Force to avert a nuclear apocalypse.]]></blip:puredescription>
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<br />

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb or better known as simply --Dr. Strangelove, satirizes the nuclear scare that literally defined the &apos;cold war&apos;. Directed, produced, and co-written by Stanley Kubrick, it starred Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, and Slim Pickens as Kong, the bomber pilot who rides the bomb itself to nuclear destruction. The film, released at the height of the cold war, portrazs an unhinged USAF general who orders a first strike nuclear attack on the Soviet Union. The rest of the film is about how the U.S. President, advisors and brass join forces with the Royal Air Force to avert a nuclear apocalypse.

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  <blip:puredescription><![CDATA[&apos;Popeye Makes a Movie&apos; dates to 1950. Popeye and Olive prepare to make a movie and the nephews get to watch and learn how movies are made. This movie is a part of the longer &apos;Popeye the Sailor Meets Ali Baba&apos;s Forty Thieves&apos; of 1937 which makes up some 80% of this release. It includes the beginning in which Popeye and Olive are suffering from heat and lack of water in the desert. The nephews are involved at key plot points, primarily by tossing Popeye his spinach when he needs it most.]]></blip:puredescription>
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<br />

&apos;Popeye Makes a Movie&apos; dates to 1950. Popeye and Olive prepare to make a movie and the nephews get to watch and learn how movies are made. This movie is a part of the longer &apos;Popeye the Sailor Meets Ali Baba&apos;s Forty Thieves&apos; of 1937 which makes up some 80% of this release. It includes the beginning in which Popeye and Olive are suffering from heat and lack of water in the desert. The nephews are involved at key plot points, primarily by tossing Popeye his spinach when he needs it most.

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  <title>Road to Ground Zero-Get on Board</title>
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  <blip:puredescription><![CDATA[An original song written and performed by John Niems. The official version of 911 is impossible. The crime of 911 was never properly investigated in accordance with the law. There are numerous fatal flaws that prove beyond any doubt whatsoever that the so-called &apos;official conspiracy theory&apos; of 911 is utterly false and could not possibly have happened. For one thing, it defies the always of causality and physics. The creator of Sherlock Holmes, Conand Doyle, wrote: &quot;When you have eliminated the impossible whatever remains however implausible must be the truth!&quot;]]></blip:puredescription>
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<br />

An original song written and performed by John Niems. The official version of 911 is impossible. The crime of 911 was never properly investigated in accordance with the law. There are numerous fatal flaws that prove beyond any doubt whatsoever that the so-called &apos;official conspiracy theory&apos; of 911 is utterly false and could not possibly have happened. For one thing, it defies the always of causality and physics. The creator of Sherlock Holmes, Conand Doyle, wrote: &quot;When you have eliminated the impossible whatever remains however implausible must be the truth!&quot;

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  <blip:puredescription><![CDATA[Ted Weems was born in Pitcairn, Pennsylvania, learned to play the violin and trombone, and organized a band at Lincoln School in Pittsburgh. The Ted Weems Orchestra dates to 1923 when Weems was still attending the University of Pennsylvania. By 1925, Weems and orchestra had moved his band to Chicago where work was found in hotels and ballrooms. The Weems orchestra was among those playing for the inaugural of PresidentWarren Harding; it toured for the MCA Corporation in ;1923. The band&apos;s first Number one hit was Somebody Stole my Gal for RCA Victor in early 1924. By 1932, national broadcasts with Jack Benny and Fibber McGee and Molly gave the ensemble national exposure and a recognizable identity. Perry Como joined as vocalist is in 1936. But with the onset of World War II, the orchestra disbanded. Weems himself joined the Merchant Marines but formed a new band after the war. It remained active until the early 1950s. Weems moved to Chicago with his band around 1928. The Ted Weems Orchestra had more chart success in 1929 with the novelty song &quot;Piccolo Pete&quot;, and the #1 hit]]></blip:puredescription>
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<br />

Ted Weems was born in Pitcairn, Pennsylvania, learned to play the violin and trombone, and organized a band at Lincoln School in Pittsburgh. The Ted Weems Orchestra dates to 1923 when Weems was still attending the University of Pennsylvania. By 1925, Weems and orchestra had moved his band to Chicago where work was found in hotels and ballrooms. The Weems orchestra was among those playing for the inaugural of PresidentWarren Harding; it toured for the MCA Corporation in ;1923. The band&apos;s first Number one hit was Somebody Stole my Gal for RCA Victor in early 1924. By 1932, national broadcasts with Jack Benny and Fibber McGee and Molly gave the ensemble national exposure and a recognizable identity. Perry Como joined as vocalist is in 1936. But with the onset of World War II, the orchestra disbanded. Weems himself joined the Merchant Marines but formed a new band after the war. It remained active until the early 1950s. Weems moved to Chicago with his band around 1928. The Ted Weems Orchestra had more chart success in 1929 with the novelty song &quot;Piccolo Pete&quot;, and the #1 hit

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  <title>Ed Murrow: Why the Fairness Doctrine Must be Restored</title>
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  <blip:puredescription><![CDATA[The scene is from the motion picture --Goodnight and Good Luck, a title inspired by Edward R. Murrow&apos;s famous &apos;sign off&apos; to his broadcasts. ; The speech that is the subject of this scene and video never mentions the &apos;Fairness Doctrine&apos; by name. But it remains the strongest argument for its restoration.]]></blip:puredescription>
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<br />

The scene is from the motion picture --Goodnight and Good Luck, a title inspired by Edward R. Murrow&apos;s famous &apos;sign off&apos; to his broadcasts. ; The speech that is the subject of this scene and video never mentions the &apos;Fairness Doctrine&apos; by name. But it remains the strongest argument for its restoration.

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  <blip:puredescription><![CDATA[This C and W hit is the best soundtrack for a montage of kick ass martial arts, action sequences, and all &apos;round &apos;kick butt&apos; movies clips including John Carpenter&apos;s contemporary classic: THEY LIVE]]></blip:puredescription>
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<br />

This C and W hit is the best soundtrack for a montage of kick ass martial arts, action sequences, and all &apos;round &apos;kick butt&apos; movies clips including John Carpenter&apos;s contemporary classic: THEY LIVE

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  <media:title>Hank Williams Jr: I'd Love to Knock Hell Out of You</media:title>
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  <link>http://blip.tv/vaquero/mary-shelley-s-frankenstein-with-dr-john-lienhard-university-of-houston-5219034</link>
  <title>Mary Shelley's Frankenstein with Dr. John Lienhard, University of Houston</title>
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  <blip:puredescription><![CDATA[The very word &apos;Frankenstein&apos; has come to mean &apos;monsters of our own creation&apos; but more generally, monsters beyond our control. &apos;Frankenstein&apos; has come to symbolize the Faustian bargain made by man with his own technology. The &apos;50&apos;s Sci-Fi classic, ;Forbidden Planet , echoed Shakespeare&apos;s]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AYK%2Bxj4C.html?p=1" width="480" height="350" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AYK+xj4C" style="display:none"></embed>
<br />

The very word &apos;Frankenstein&apos; has come to mean &apos;monsters of our own creation&apos; but more generally, monsters beyond our control. &apos;Frankenstein&apos; has come to symbolize the Faustian bargain made by man with his own technology. The &apos;50&apos;s Sci-Fi classic, ;Forbidden Planet , echoed Shakespeare&apos;s

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  <category>Documentary</category>
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  <pubDate>Sun, 29 May 2011 17:33:01 +0000</pubDate>
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  <media:title>Mary Shelley's Frankenstein with Dr. John Lienhard, University of Houston</media:title>
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  <title>Nelson Riddle: Route 66</title>
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  <blip:puredescription><![CDATA[Here&apos;s the Wikipedia entry for Nelson Riddle who composed the music for the TV series: ROUTE 66: &quot;In 1962, Riddle orchestrated two albums for Ella Fitzgerald , Ella Swings Brightly with Nelson , and Ella Swings Gently with Nelson , their first work together since 1959&apos;s Ella Fitzgerald Sings the George and Ira Gershwin Songbook . The mid-1960s would also see Fitzgerald and Riddle collaborate on the last of Ella&apos;s &apos;Songbooks&apos;, devoted to the songs of Jerome Kern (Ella Fitzgerald Sings the Jerome Kern Songbook ) and Johnny Mercer (Ella Fitzgerald Sings the Johnny Mercer Songbook ).In 1963, Riddle joined Sinatra&apos;s newly-established label Reprise Records , under the musical direction of Morris Stoloff . Much of his work in the 1960s and 1970s was for film and television, including his hit theme song for Route 66 ; steady work scoring episodes of Batman and other television series, and composing the scores of several motion pictures including the Rat Pack features Robin and the 7 Hoods and the original Ocean&apos;s Eleven .In the latter half of the 1960s, the partnership between Riddle and Frank Sinatra grew more distant as Sinatra began increasingly to turn to Don Costa , Billy May and an assortment of other arrangers for his album projects. Although Riddle would write various arrangements for Sinatra until the late 1970s, Strangers In The Night , released in 1966, was the last full album project the pair completed together. The collection of Riddle-arranged songs was intended to expand on the success of the title track, which had been a number one hit single for Sinatra arranged by Ernie Freeman .During the 1970s, the majority of his work was for film and television, including the score for the 1974 version of The Great Gatsby , which earned Riddle his first Academy Award after some five nominations. In 1973, he served as musical director for the Emmy Award winning The Julie Andrews Hour . Nelson Riddle&apos;s Orchestra also made numerous concert appearances throughout the 1970s, some of which were led and contracted by his good friend, Tommy Shepard .On March 14, 1977, Riddle conducted his last three arrangements for Sinatra. The songs, &quot;Linda,&quot; &quot;Sweet Lorraine,&quot; and &quot;Barbara,&quot; were intended for an album of songs with women&apos;s names. The album was never completed. &quot;Sweet Lorraine&quot; was released in 1990 and the other two on &quot;The Complete Reprise Studio Recordings&quot; in 1996. [1] 1982 saw Riddle work for the last time with Ella Fitzgerald , on her last orchestral Pablo album, The Best Is Yet to Come .&quot;]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AYKxkhkC.html?p=1" width="480" height="350" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AYKxkhkC" style="display:none"></embed>
<br />

Here&apos;s the Wikipedia entry for Nelson Riddle who composed the music for the TV series: ROUTE 66: &quot;In 1962, Riddle orchestrated two albums for Ella Fitzgerald , Ella Swings Brightly with Nelson , and Ella Swings Gently with Nelson , their first work together since 1959&apos;s Ella Fitzgerald Sings the George and Ira Gershwin Songbook . The mid-1960s would also see Fitzgerald and Riddle collaborate on the last of Ella&apos;s &apos;Songbooks&apos;, devoted to the songs of Jerome Kern (Ella Fitzgerald Sings the Jerome Kern Songbook ) and Johnny Mercer (Ella Fitzgerald Sings the Johnny Mercer Songbook ).In 1963, Riddle joined Sinatra&apos;s newly-established label Reprise Records , under the musical direction of Morris Stoloff . Much of his work in the 1960s and 1970s was for film and television, including his hit theme song for Route 66 ; steady work scoring episodes of Batman and other television series, and composing the scores of several motion pictures including the Rat Pack features Robin and the 7 Hoods and the original Ocean&apos;s Eleven .In the latter half of the 1960s, the partnership between Riddle and Frank Sinatra grew more distant as Sinatra began increasingly to turn to Don Costa , Billy May and an assortment of other arrangers for his album projects. Although Riddle would write various arrangements for Sinatra until the late 1970s, Strangers In The Night , released in 1966, was the last full album project the pair completed together. The collection of Riddle-arranged songs was intended to expand on the success of the title track, which had been a number one hit single for Sinatra arranged by Ernie Freeman .During the 1970s, the majority of his work was for film and television, including the score for the 1974 version of The Great Gatsby , which earned Riddle his first Academy Award after some five nominations. In 1973, he served as musical director for the Emmy Award winning The Julie Andrews Hour . Nelson Riddle&apos;s Orchestra also made numerous concert appearances throughout the 1970s, some of which were led and contracted by his good friend, Tommy Shepard .On March 14, 1977, Riddle conducted his last three arrangements for Sinatra. The songs, &quot;Linda,&quot; &quot;Sweet Lorraine,&quot; and &quot;Barbara,&quot; were intended for an album of songs with women&apos;s names. The album was never completed. &quot;Sweet Lorraine&quot; was released in 1990 and the other two on &quot;The Complete Reprise Studio Recordings&quot; in 1996. [1] 1982 saw Riddle work for the last time with Ella Fitzgerald , on her last orchestral Pablo album, The Best Is Yet to Come .&quot;

]]></description>
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  <category>Music and Entertainment</category>
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  <blip:thumbnail_src>Vaquero-ElizabethTaylorInLondon873.jpg</blip:thumbnail_src>
  <blip:puredescription><![CDATA[Elizabeth Taylor in London was broadcast on CBS-TV as a television special on October 6, 1963, directed by Sidney Smith and co-produced by Philip D&apos;Antoni and Norman Baer. The program featured Elizabeth Taylor ; in various locations in and around central London to include]]></blip:puredescription>
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<br />

Elizabeth Taylor in London was broadcast on CBS-TV as a television special on October 6, 1963, directed by Sidney Smith and co-produced by Philip D&apos;Antoni and Norman Baer. The program featured Elizabeth Taylor ; in various locations in and around central London to include

]]></description>
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  <category>Art</category>
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  <title>Cryin' Time: Ray Charles, Barbra Streisand</title>
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  <blip:puredescription><![CDATA[&quot;Crying Time &quot; was written by Buck Owens in 1964 and is often thought of as a Country Classic. ; A &apos;cover&apos; by Ray Charles was a huge hit. The televised duet by Charles and Streisand is pop music at its best.]]></blip:puredescription>
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<br />

&quot;Crying Time &quot; was written by Buck Owens in 1964 and is often thought of as a Country Classic. ; A &apos;cover&apos; by Ray Charles was a huge hit. The televised duet by Charles and Streisand is pop music at its best.

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  <title>Arrowsmith: Eat the Rich</title>
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  <blip:puredescription><![CDATA[More relevant than ever! When I started following the flow of wealth upward, the top 10 percent already owned more than the rest of us combined. Now --the &apos;ruling&apos; one percent owns and/or controls more wealth than is owned by the rest of us combined. Enron was not an aberration. Enron&apos;s crime was not only that of putting the screws to California; Enron&apos;s crime was &apos;getting caught&apos;. The sell out to China by Nixon/Bush was not an aberration; it was, like Enron, a part of the game plan. It is no accident that China props up the buck but only because and when it is in their interests to do so. Lately, China, it is said, is reconsidering its &apos;bargain&apos; with Satan. Monied interests control our daily lives in ways that we have not fully understood. We need dollars to buy not just &apos;luxury items&apos; but essentials --housing, food, transportation. But, as a result of Nixon&apos;s Faustian bargain with China, our dollars are worth less (worthless?). In the meantime, the ruling elites own the media that we watch. That&apos;s worth repeating: the elites --about a half-dozen huge corporations --own the media! Thanks to the administrations of Ronald Reagan and George H.W. Bush, the media was relieved of its responsibility to serve public interests. Thanks to Ronald Reagan, the Fairness Doctrine was trashed, limits on corporate ownership rescinded. Thanks to Ronald Reagan primarily, the corporate media have no other job but to serve up lies and bullshit and tell you what to think! Fox is but the most obvious and repugnant example, but, in fact, no other outlet is, in any way, encouraged to be factual, fair, or responsible. The &apos;public interest&apos; is considered to be &apos;quaint&apos;.]]></blip:puredescription>
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<br />

More relevant than ever! When I started following the flow of wealth upward, the top 10 percent already owned more than the rest of us combined. Now --the &apos;ruling&apos; one percent owns and/or controls more wealth than is owned by the rest of us combined. Enron was not an aberration. Enron&apos;s crime was not only that of putting the screws to California; Enron&apos;s crime was &apos;getting caught&apos;. The sell out to China by Nixon/Bush was not an aberration; it was, like Enron, a part of the game plan. It is no accident that China props up the buck but only because and when it is in their interests to do so. Lately, China, it is said, is reconsidering its &apos;bargain&apos; with Satan. Monied interests control our daily lives in ways that we have not fully understood. We need dollars to buy not just &apos;luxury items&apos; but essentials --housing, food, transportation. But, as a result of Nixon&apos;s Faustian bargain with China, our dollars are worth less (worthless?). In the meantime, the ruling elites own the media that we watch. That&apos;s worth repeating: the elites --about a half-dozen huge corporations --own the media! Thanks to the administrations of Ronald Reagan and George H.W. Bush, the media was relieved of its responsibility to serve public interests. Thanks to Ronald Reagan, the Fairness Doctrine was trashed, limits on corporate ownership rescinded. Thanks to Ronald Reagan primarily, the corporate media have no other job but to serve up lies and bullshit and tell you what to think! Fox is but the most obvious and repugnant example, but, in fact, no other outlet is, in any way, encouraged to be factual, fair, or responsible. The &apos;public interest&apos; is considered to be &apos;quaint&apos;.

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  <blip:puredescription><![CDATA[Of all the great versions of Moon River, including that of Henry&apos;s Mancini&apos; himself, Audrey Hepburn&apos;s may be the most poignant. In the movie Breakfast at Tiffany&apos;s, she strums and plays while sitting on a fire escape.]]></blip:puredescription>
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<br />

Of all the great versions of Moon River, including that of Henry&apos;s Mancini&apos; himself, Audrey Hepburn&apos;s may be the most poignant. In the movie Breakfast at Tiffany&apos;s, she strums and plays while sitting on a fire escape.

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  <blip:puredescription><![CDATA[An homage to Che Guevara]]></blip:puredescription>
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<br />

An homage to Che Guevara

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  <blip:puredescription><![CDATA[A major hit for Roy Orbision]]></blip:puredescription>
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A major hit for Roy Orbision

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  <blip:puredescription><![CDATA[Buffalo Springfield was an American rock group remembered for it&apos;s musical picture of resistance to the war in Viet Nam and other issues, primarily, Civil Rights. The song &apos;For What it&apos;s Worth&apos; was a damning indictment of authoritarian response to dissent. The hit became a springboard for the careers of Neil Young, Stephen Stills, Richie Furay and Jim Messina/ Two of whom played in rock, pop, folk, country and acoustic group Crosby, Stills, Nash and Young later in their career. Buffalo Springfield is best known for the song &quot;For What It&apos;s Worth&quot;.]]></blip:puredescription>
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<br />

Buffalo Springfield was an American rock group remembered for it&apos;s musical picture of resistance to the war in Viet Nam and other issues, primarily, Civil Rights. The song &apos;For What it&apos;s Worth&apos; was a damning indictment of authoritarian response to dissent. The hit became a springboard for the careers of Neil Young, Stephen Stills, Richie Furay and Jim Messina/ Two of whom played in rock, pop, folk, country and acoustic group Crosby, Stills, Nash and Young later in their career. Buffalo Springfield is best known for the song &quot;For What It&apos;s Worth&quot;.

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<br />

&quot;Portrait of Evil&quot; is an original script by Len Hart, produced with local talent with an almost non-existent budget. It did result in some interest from producer/distributors in Hollywood, contingent upon 1) adding a &apos;star&apos; and 2) a re-shoot with Hollywood producers willing to fund either a shoot on film or new HD digital. That was, of course, very encouraging. I am at present at work on a re-write and two additional projects requiring state of the art digital and Hollywood expertise re: special EFX.

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  <blip:puredescription><![CDATA[This 1987 performance at the Ambassador Hotel&apos;s Coconut Grove nightclub in Los Angeles is now legendary, consisting of Orbison by himself and numerous friends who volunteered to perform. Other celebrity admirers were in the audience; they included Billy Idol, Patrick Swayze, Sandra Bernhard, and Kris Kristofferson. Backing up Orbison and his mega-star performers was the TCB Band, which accompanied Elvis Presley from 1969 until his death in 1977: Glen D. Hardin on piano, James Burton on lead guitar, Jerry Scheff on bass, and Ronnie Tutt on drums. Male background vocalists, some of whom also joined in on guitar, were Bruce Springsteen, Tom Waits, Elvis Costello, Jackson Browne, J.D. Souther, and Steven Soles. The female background vocalists were k.d. lang, Jennifer Warnes, and Bonnie Raitt. During the end credits, several of the band members are shown talking about how Orbison influenced them.]]></blip:puredescription>
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<br />

This 1987 performance at the Ambassador Hotel&apos;s Coconut Grove nightclub in Los Angeles is now legendary, consisting of Orbison by himself and numerous friends who volunteered to perform. Other celebrity admirers were in the audience; they included Billy Idol, Patrick Swayze, Sandra Bernhard, and Kris Kristofferson. Backing up Orbison and his mega-star performers was the TCB Band, which accompanied Elvis Presley from 1969 until his death in 1977: Glen D. Hardin on piano, James Burton on lead guitar, Jerry Scheff on bass, and Ronnie Tutt on drums. Male background vocalists, some of whom also joined in on guitar, were Bruce Springsteen, Tom Waits, Elvis Costello, Jackson Browne, J.D. Souther, and Steven Soles. The female background vocalists were k.d. lang, Jennifer Warnes, and Bonnie Raitt. During the end credits, several of the band members are shown talking about how Orbison influenced them.

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<br />

Rogers was born Virginia Katherine McMath in Independence, Missouri, the daughter of William Eddins McMath, an electrical engineer, and his wife Lela Emogene Owens (1891&#8211;1977).[1] Ginger&apos;s parents separated soon after her birth, and she and her mother went to live with her grandparents, Walter and Saphrona (n&#233;e Ball) Owens, in nearby Kansas City. Rogers&apos; parents fought over her custody, with her father even kidnapping her twice. After the parents divorced, Rogers stayed with her grandparents while her mother wrote scripts for two years in Hollywood.Rogers is remembered for many numbers from the &quot;Great American Songbook&quot; of which &apos;We&apos;re in the Money&apos; by Harry Warren and Al Dubin from Gold Diggers of 1933 is a prominent example. Other famous songs associated with Rogers include &quot;Music Makes Me&quot; from Flying Down to Rio (1933), &quot;The Continental&quot; from The Gay Divorcee (1934) and Irving Berlin&apos;s &quot;Let Yourself Go&quot; from Follow the Fleet of 1936. Rogers is also associated with George Gershwin&apos;s classic, &quot;Embraceable You&quot; from Girl Crazy and &quot;They All Laughed&quot; from &quot;Shall We Dance&quot; of 1937.Her duets with Fred Astaire made film history. Together Astaire and Rogers introduced many classics-to-be including Irving Berlin&apos;s &quot;I&apos;m Putting all My Eggs in One Basket&quot; from Follow the Fleet (1936), Jerome Kern and Dorothy Fields&apos;s &quot;Pick Yourself Up&quot; and &quot;A Fine Romance&quot; from Swing Time (1936) and the Gershwins&apos; &quot;Let&apos;s Call the Whole Thing Off&quot; from Shall We Dance (1937).

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  <blip:puredescription><![CDATA[Huge hit for Bobby Gentry and it inspired a motion picture.]]></blip:puredescription>
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Huge hit for Bobby Gentry and it inspired a motion picture.

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  <blip:puredescription><![CDATA[The Eagles&apos; classic &apos;Hotel California&apos; with a live audience and an acoustic recording.]]></blip:puredescription>
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<br />

The Eagles&apos; classic &apos;Hotel California&apos; with a live audience and an acoustic recording.

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  <blip:puredescription><![CDATA[Not much need be written about the Beatles or this Beatles classic. The group name and that of the legendary hit says it all. Enjoy.]]></blip:puredescription>
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Not much need be written about the Beatles or this Beatles classic. The group name and that of the legendary hit says it all. Enjoy.

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  <blip:puredescription><![CDATA[This is my video inspired by and featuring James Hyland &amp; The Joint Chiefs Radio City.The lyrics are:Lancelot &amp; The Lady of ShalottBy James HylandYou look lonely, Lonely to meYou look lonely, I can see, I can seeYa you&apos;re the only one for meYou&apos;re the only one I see that I wanna seeBut you&apos;re cursedBy a verse, and what&apos;s worseYou&apos;re for me, you&apos;re for me Lady of ShalottI saw you leaning looking for meThe river was flowing, it brings you to meIt brings you to meYour dress was flowing delicatelyCandles were glowing. They&apos;d light up a seaJust so she could seeBut you&apos;re cursedBy a verse, and what&apos;s worseYou&apos;re for me, you&apos;re for me Lady of ShalottPeople keep showing, showing to seeWho is the lady? Why can&apos;t we be?Can we be?You look happy, happy to meYou make me happy, too. I guarantee.You bring out the best in meYou bring out the best in meYou bring out the best in me]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AYH6ikkC.html?p=1" width="480" height="300" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AYH6ikkC" style="display:none"></embed>
<br />

This is my video inspired by and featuring James Hyland &amp; The Joint Chiefs Radio City.The lyrics are:Lancelot &amp; The Lady of ShalottBy James HylandYou look lonely, Lonely to meYou look lonely, I can see, I can seeYa you&apos;re the only one for meYou&apos;re the only one I see that I wanna seeBut you&apos;re cursedBy a verse, and what&apos;s worseYou&apos;re for me, you&apos;re for me Lady of ShalottI saw you leaning looking for meThe river was flowing, it brings you to meIt brings you to meYour dress was flowing delicatelyCandles were glowing. They&apos;d light up a seaJust so she could seeBut you&apos;re cursedBy a verse, and what&apos;s worseYou&apos;re for me, you&apos;re for me Lady of ShalottPeople keep showing, showing to seeWho is the lady? Why can&apos;t we be?Can we be?You look happy, happy to meYou make me happy, too. I guarantee.You bring out the best in meYou bring out the best in meYou bring out the best in me

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  <title>Xavier Cugat, Walt Disney and Pink Martini: Aquarela do Brasil</title>
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  <blip:puredescription><![CDATA[This song is most often associated with Xavier Cugat for whom it was a huge hit and featured in a delightful Walt Disney cartoon, an early &apos;music video&apos;. Too often, the Xavier Cugat version, sadly, suffers from many poor audio renditions that are available. The better versions are worth searching for as they reveal the Cugat orchestra to have achieved the very highest standards of musicianship and showmanship. The better recordings display Cugat&apos;s genius as it should be presented.]]></blip:puredescription>
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<br />

This song is most often associated with Xavier Cugat for whom it was a huge hit and featured in a delightful Walt Disney cartoon, an early &apos;music video&apos;. Too often, the Xavier Cugat version, sadly, suffers from many poor audio renditions that are available. The better versions are worth searching for as they reveal the Cugat orchestra to have achieved the very highest standards of musicianship and showmanship. The better recordings display Cugat&apos;s genius as it should be presented.

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  <blip:puredescription><![CDATA[CBS news anchor, Walter Cronkite, who died in 2009 at age 92, played a key role in reporting what is known as the Watergate Scandal. His extensive stories were aired in 1972. As this video indicates, subsequent reports owned much to the Cronkite as well as the to the Washington Poste team of Woodward and Bernstein. Former Washington Post editor, Ben Bradlee, credited Cronkite with having convinced people that &apos;Watergate&apos; was a substantial story, of national importance. &quot;In October 1972, Cronkite devoted two segments, back to back, to the Watergate story. The first was 14 minutes, the second eight. I think that second night was curtailed by CBS chairman William S. Paley because Paley was scared of it. The fact that Cronkite did Watergate at all (let alone at that length) gave the story a kind of blessing, which is exactly what we needed&#8212;and exactly what The Washington Post lacked. It was a political year, and everyone was saying, &quot;Well, it&apos;s just politics, and here&apos;s the Post trying to screw Nixon.&quot; We were the second-biggest newspaper in the country trying to scramble for a good story&#8212;whereas Cronkite was the reigning dean of television journalists. When he did the Watergate story, everyone said, &quot;My God, Cronkite&apos;s with them.&quot; --Ben ; Bradlee, Former Editor Washington Post]]></blip:puredescription>
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<br />

CBS news anchor, Walter Cronkite, who died in 2009 at age 92, played a key role in reporting what is known as the Watergate Scandal. His extensive stories were aired in 1972. As this video indicates, subsequent reports owned much to the Cronkite as well as the to the Washington Poste team of Woodward and Bernstein. Former Washington Post editor, Ben Bradlee, credited Cronkite with having convinced people that &apos;Watergate&apos; was a substantial story, of national importance. &quot;In October 1972, Cronkite devoted two segments, back to back, to the Watergate story. The first was 14 minutes, the second eight. I think that second night was curtailed by CBS chairman William S. Paley because Paley was scared of it. The fact that Cronkite did Watergate at all (let alone at that length) gave the story a kind of blessing, which is exactly what we needed&#8212;and exactly what The Washington Post lacked. It was a political year, and everyone was saying, &quot;Well, it&apos;s just politics, and here&apos;s the Post trying to screw Nixon.&quot; We were the second-biggest newspaper in the country trying to scramble for a good story&#8212;whereas Cronkite was the reigning dean of television journalists. When he did the Watergate story, everyone said, &quot;My God, Cronkite&apos;s with them.&quot; --Ben ; Bradlee, Former Editor Washington Post

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  <blip:puredescription><![CDATA[Big hit for Kubrick in 1964 starring Petter Sellers, George C. Scott, Sterling Hayden, James Earl Jones, and Slim Pickens]]></blip:puredescription>
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<br />

Big hit for Kubrick in 1964 starring Petter Sellers, George C. Scott, Sterling Hayden, James Earl Jones, and Slim Pickens

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  <blip:puredescription><![CDATA[Includes clips and scenes from Casablanca, The Third Man and David Lynch&apos;s &apos;Blue Velvet&apos; ;]]></blip:puredescription>
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    <blip:category>arts&amp;culture</blip:category>
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<br />

Includes clips and scenes from Casablanca, The Third Man and David Lynch&apos;s &apos;Blue Velvet&apos; ;

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  <category>Music and Entertainment</category>
  <category>willie</category>
  <category>nelson</category>
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  <category>lynch</category>
  <category>blues</category>
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  <pubDate>Sat, 14 Aug 2010 17:06:48 +0000</pubDate>
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  <title>Roy Orbison: In Dreams from 'Blue Velvet'</title>
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  <blip:puredescription><![CDATA[David Lynch&apos;s use of Roy Orbison&apos;s &apos;In Dreams&apos; created a sensation in the surrealistic, psychological thriller: BLUE VELVETThe images of Veronica Lake enhance the mood. Veronica Lake was long dead by the time this film was canned but, had the film been done in her day, I think she would have been fabulous in it. Orbison&apos;s music is Lynch&apos;s &apos;patented&apos; anachronism...a surrealistic combination of the sublime (Orbison) and the downright sinister.]]></blip:puredescription>
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<br />

David Lynch&apos;s use of Roy Orbison&apos;s &apos;In Dreams&apos; created a sensation in the surrealistic, psychological thriller: BLUE VELVETThe images of Veronica Lake enhance the mood. Veronica Lake was long dead by the time this film was canned but, had the film been done in her day, I think she would have been fabulous in it. Orbison&apos;s music is Lynch&apos;s &apos;patented&apos; anachronism...a surrealistic combination of the sublime (Orbison) and the downright sinister.

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  <pubDate>Sat, 14 Aug 2010 12:45:26 +0000</pubDate>
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  <blip:puredescription><![CDATA[We have not been told the truth about the assassination of John Fitzgerald Kennedy. But we know who the liars are and we know what it is they are lying about. We also know a great deal about why they lied as well as who is protected by the lies and why. It has also been my experience that only the guilty are sufficiently motivated to lie about a crime. Those who cover up a crime do so because they are guilty. By contrast, the innocent are motivated to tell the truth or to get at the truth. The innocent must insist that truth be told if they are to remain free. It was Conan Doyle&apos;s character Sherlock Holmes who said: &quot;When you have eliminated the impossible, whatever remains, however improbable, must be the truth!&quot;]]></blip:puredescription>
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<br />

We have not been told the truth about the assassination of John Fitzgerald Kennedy. But we know who the liars are and we know what it is they are lying about. We also know a great deal about why they lied as well as who is protected by the lies and why. It has also been my experience that only the guilty are sufficiently motivated to lie about a crime. Those who cover up a crime do so because they are guilty. By contrast, the innocent are motivated to tell the truth or to get at the truth. The innocent must insist that truth be told if they are to remain free. It was Conan Doyle&apos;s character Sherlock Holmes who said: &quot;When you have eliminated the impossible, whatever remains, however improbable, must be the truth!&quot;

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  <category>Art</category>
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  <title>Glenn Miller and the 'Memphis Belle' in England</title>
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  <blip:puredescription><![CDATA[One of America&apos;s most famous bombing aircraft during World War II was the Memphis Belle remembered as much for her &apos;nose art&apos; as her incredible record, among the first aircraft to reach her goal of 25 missions before her crew could go home.By 1943, the Memphis Belle had flown missions over France, Belgium, and Germany and returned to the states June 1943. Much of the story was told by the Oscar winning director --William Wyler with a 41 minute color documentary.&quot;It has been over fifty years since band leader Glenn Miller&apos;s plane disappeared on its way to Paris in 1944. Since that time conspiracy theorists have claimed a number of different theories about the whereabouts of Miller and the nature of his demise. Some stories had Miller surviving and spending his last days in a Paris bordello. Others claimed that he actually survived the trip and later died in an American hospital.&quot; ----Chad Criswell, Glenn Miller Missing Or Shot Down?]]></blip:puredescription>
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  <blip:license>No license (All rights reserved)</blip:license>
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<iframe src="http://blip.tv/play/AYHwjRYC.html?p=1" width="480" height="300" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AYHwjRYC" style="display:none"></embed>
<br />

One of America&apos;s most famous bombing aircraft during World War II was the Memphis Belle remembered as much for her &apos;nose art&apos; as her incredible record, among the first aircraft to reach her goal of 25 missions before her crew could go home.By 1943, the Memphis Belle had flown missions over France, Belgium, and Germany and returned to the states June 1943. Much of the story was told by the Oscar winning director --William Wyler with a 41 minute color documentary.&quot;It has been over fifty years since band leader Glenn Miller&apos;s plane disappeared on its way to Paris in 1944. Since that time conspiracy theorists have claimed a number of different theories about the whereabouts of Miller and the nature of his demise. Some stories had Miller surviving and spending his last days in a Paris bordello. Others claimed that he actually survived the trip and later died in an American hospital.&quot; ----Chad Criswell, Glenn Miller Missing Or Shot Down?

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  <title>The Prohibition Blues</title>
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  <blip:puredescription><![CDATA[With the crash of the stock market in 1920, the American Dream turned nightmare, ushering in an era defined by images of poverty, hunger, unemployment and lines of hungry hopeless lined up at soup kitchens. In farming communities, the Dust Bowl added to the problems of the Great Depression.The &apos;depression era&apos; was lightened and often defined by a soundtrack: jazz and eventually the big bands. The conventional wisdom dates the end of the long depression to the U.S. entry into World War II. There is some truth to that and, in fact, much music associated with the war years is &apos;sweeter&apos; than the often earthy, sexy, bluesy jazz era of flappers, strippers and and growling blues.Pre-war jazz was most surely affected by &apos;Prohibition&apos;, a government crackdown on the alcohol, an experimental attempt to legislate morality. It failed! Liquor flowed in &apos;speakeasies&apos; where was also found strip shows and often easy sex. As it always does, music is both a product and a reflection of the times in which it is made.]]></blip:puredescription>
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<br />

With the crash of the stock market in 1920, the American Dream turned nightmare, ushering in an era defined by images of poverty, hunger, unemployment and lines of hungry hopeless lined up at soup kitchens. In farming communities, the Dust Bowl added to the problems of the Great Depression.The &apos;depression era&apos; was lightened and often defined by a soundtrack: jazz and eventually the big bands. The conventional wisdom dates the end of the long depression to the U.S. entry into World War II. There is some truth to that and, in fact, much music associated with the war years is &apos;sweeter&apos; than the often earthy, sexy, bluesy jazz era of flappers, strippers and and growling blues.Pre-war jazz was most surely affected by &apos;Prohibition&apos;, a government crackdown on the alcohol, an experimental attempt to legislate morality. It failed! Liquor flowed in &apos;speakeasies&apos; where was also found strip shows and often easy sex. As it always does, music is both a product and a reflection of the times in which it is made.

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  <blip:puredescription><![CDATA[Scenes from the vast expanses of West Texas from the Panhandle to Big Bend, from the oil fields to Guadelupe Peak. It&apos;s all set to the &apos;West Texas Waltz&apos;, a &apos;fiddle tune&apos; not unlike those you might have heard in that part of the world in the late 1890s.]]></blip:puredescription>
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<br />

Scenes from the vast expanses of West Texas from the Panhandle to Big Bend, from the oil fields to Guadelupe Peak. It&apos;s all set to the &apos;West Texas Waltz&apos;, a &apos;fiddle tune&apos; not unlike those you might have heard in that part of the world in the late 1890s.

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  <title>Wagner: Elsa's Procession to the Cathedral</title>
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  <blip:puredescription><![CDATA[From 1850, a romantic opera in three acts by Richard Wagner. The origin of the story is Medieval German, specifically that of Parsifal (Persival), a part of the Knight of the Swan tradition.The Opera by Richard Wagner has inspired many works of in various arts, including the fairy tales that had been found so &apos;moving&apos; by King Ludwig II of Bavaria. He is remembered for his &apos;fairy tale&apos; castle Neuschwanstein or &quot;New Swan Stone&quot;. Lohengrin and King Ludwig&apos;s patronage enabled Wagner to build a theatre and complete his epic cycle --The Ring of the Nibelung.]]></blip:puredescription>
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<br />

From 1850, a romantic opera in three acts by Richard Wagner. The origin of the story is Medieval German, specifically that of Parsifal (Persival), a part of the Knight of the Swan tradition.The Opera by Richard Wagner has inspired many works of in various arts, including the fairy tales that had been found so &apos;moving&apos; by King Ludwig II of Bavaria. He is remembered for his &apos;fairy tale&apos; castle Neuschwanstein or &quot;New Swan Stone&quot;. Lohengrin and King Ludwig&apos;s patronage enabled Wagner to build a theatre and complete his epic cycle --The Ring of the Nibelung.

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  <title>Ronnie Millsap: Lost in the Fifties Tonight</title>
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  <blip:puredescription><![CDATA[By the end of 50s the world had --at last --recovered from WWII only to find itself involved in a protracted Cold War, in fact, a rivalry of two ideologies and two global spheres of influence.A dramatic awakening associated with the fifties was the Soviet launch of Sputnik, an event dramatically challenging ideas of U.S. post-war supremacy. ;It was against this geo-political background that President Dwight Eisenhower warned of the growing influence of a &apos;Military-Industrial Complex&apos;.Life in America --often mundane, increasingly suburban --would go on, a mere subplot to the greater global and political struggles. Rock n&apos; Roll, pop, and C&amp;W would become the soundtrack for &apos;young&apos; love affairs. Drive-in motion pictures were never more popular. Only in America could a specialized parking lot provide both an escape and the setting for a romantic interlude. Millsap&apos;s big hit from the 80s triggered memories of both reckless youth and real dangers of nuclear apocalypse.]]></blip:puredescription>
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<br />

By the end of 50s the world had --at last --recovered from WWII only to find itself involved in a protracted Cold War, in fact, a rivalry of two ideologies and two global spheres of influence.A dramatic awakening associated with the fifties was the Soviet launch of Sputnik, an event dramatically challenging ideas of U.S. post-war supremacy. ;It was against this geo-political background that President Dwight Eisenhower warned of the growing influence of a &apos;Military-Industrial Complex&apos;.Life in America --often mundane, increasingly suburban --would go on, a mere subplot to the greater global and political struggles. Rock n&apos; Roll, pop, and C&amp;W would become the soundtrack for &apos;young&apos; love affairs. Drive-in motion pictures were never more popular. Only in America could a specialized parking lot provide both an escape and the setting for a romantic interlude. Millsap&apos;s big hit from the 80s triggered memories of both reckless youth and real dangers of nuclear apocalypse.

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  <blip:puredescription><![CDATA[&quot;Basin Street Blues&quot; written by Spencer Williams is often thought of as a &apos;Dixieland&apos; number. It is, in fact, a part of a strong &apos;blues&apos; tradition the roots of which may be traced to early &apos;shouts&apos; and &apos;work songs&apos; of the slave era. It was a natural for the early bands who made of &apos;Storyville&apos; not merely a red light district but a fertile incubator for a new and emerging American music: Jazz!&apos;Basin Street Blues&apos; was published in 1926 but it was not Louis Armstrong recorded it in 1928 that it became an instant classic. It is said that the lyric -&apos;won&apos;t you come along with me to the Mississippi&apos; was added by Glenn Miller and Jack Teagarden.Basin Street was located, of course, in notorious Storyville, a red light district that was, in fact, established by the city New Orleans as a means of better regulating &apos;vice&apos;. ; Many artists have made of this song a classic --from Bob Wills and his Texas Playboys to Louis Prima who recorded it in 1957. A famous version by Ella Fitzgerald with the Sy Oliver orchestra was released on Decca album called: &quot;Lullabies of Birdland&quot;.Other artists recording it include Jo Stafford, Frankie Laine and Lisa Minnelli. Sam Cooke&apos;s version dates to 1963, a year in which he performed it on both the Tonight Show and the Mike Douglas Show. This video includes scenes from the James Bond film of 1973 --Live and Let Die starring Roger Moore. The scenes are of a &apos;New Orleans&apos; funeral characterized by joyous music after the &apos;dearly beloved&apos; is laid to rest.]]></blip:puredescription>
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<br />

&quot;Basin Street Blues&quot; written by Spencer Williams is often thought of as a &apos;Dixieland&apos; number. It is, in fact, a part of a strong &apos;blues&apos; tradition the roots of which may be traced to early &apos;shouts&apos; and &apos;work songs&apos; of the slave era. It was a natural for the early bands who made of &apos;Storyville&apos; not merely a red light district but a fertile incubator for a new and emerging American music: Jazz!&apos;Basin Street Blues&apos; was published in 1926 but it was not Louis Armstrong recorded it in 1928 that it became an instant classic. It is said that the lyric -&apos;won&apos;t you come along with me to the Mississippi&apos; was added by Glenn Miller and Jack Teagarden.Basin Street was located, of course, in notorious Storyville, a red light district that was, in fact, established by the city New Orleans as a means of better regulating &apos;vice&apos;. ; Many artists have made of this song a classic --from Bob Wills and his Texas Playboys to Louis Prima who recorded it in 1957. A famous version by Ella Fitzgerald with the Sy Oliver orchestra was released on Decca album called: &quot;Lullabies of Birdland&quot;.Other artists recording it include Jo Stafford, Frankie Laine and Lisa Minnelli. Sam Cooke&apos;s version dates to 1963, a year in which he performed it on both the Tonight Show and the Mike Douglas Show. This video includes scenes from the James Bond film of 1973 --Live and Let Die starring Roger Moore. The scenes are of a &apos;New Orleans&apos; funeral characterized by joyous music after the &apos;dearly beloved&apos; is laid to rest.

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  <media:title>Pete Fountain in New Orleans: Basin Sreet Blues</media:title>
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  <blip:puredescription><![CDATA[The soundtrack is music composed for the film &apos;Dambuster&apos; by the distinguished British composer , Eric Coates. This recording of the Dambuster&apos;s theme is by the unrivaled British Brass Band --the Black Dyke Band, formerly called the Black Dyke Mills Band. From Dambusters.org.uk ; &quot;617 Squadron, RAF, &quot;The Dambusters&quot; was a single squadron formed during the Second World War to carry out a single special and dangerous task. That operation &quot;Chastise&quot; has since become a legend in the annals of military history and it possess all the traditionally admired military attributes of originality, surprise and heroism coupled with a very dramatic outcome. Operation Chastise has in many ways overshadowed the later exploits of the men who formed the squadron.Over the last few years some people have questioned the actions of Bomber Command and the actions taken to destroy the industrial and domestic centres of Germany during the Second World War. I myself, have taken a sideline to this question. I do not condone or sanction what Bomber Command did in its attempt to destroy the industry of Germany. I believe that the most dangerous thing on this planet is man, as soon as people start to attack each other, the animal instinct takes over. Each will try to outwit or kill one another singly or in bulk should the chance arise. To this end any aspect of war is bad.People can pass comment on certain aspects of all wars but I do not believe it is right to criticise someone or something that they were not involved in or with. Modern information technology has made vast amounts of statistical and anecdotal evidence available to the historian but what sometimes gets lost in this mass of information is the immediacy and emotion caused by the raw fear of warfare. Normal reactions to events judged sitting in the arm chair by the fire side are not the same as those as when ones life and existence is tangibly at risk.&quot;]]></blip:puredescription>
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<br />

The soundtrack is music composed for the film &apos;Dambuster&apos; by the distinguished British composer , Eric Coates. This recording of the Dambuster&apos;s theme is by the unrivaled British Brass Band --the Black Dyke Band, formerly called the Black Dyke Mills Band. From Dambusters.org.uk ; &quot;617 Squadron, RAF, &quot;The Dambusters&quot; was a single squadron formed during the Second World War to carry out a single special and dangerous task. That operation &quot;Chastise&quot; has since become a legend in the annals of military history and it possess all the traditionally admired military attributes of originality, surprise and heroism coupled with a very dramatic outcome. Operation Chastise has in many ways overshadowed the later exploits of the men who formed the squadron.Over the last few years some people have questioned the actions of Bomber Command and the actions taken to destroy the industrial and domestic centres of Germany during the Second World War. I myself, have taken a sideline to this question. I do not condone or sanction what Bomber Command did in its attempt to destroy the industry of Germany. I believe that the most dangerous thing on this planet is man, as soon as people start to attack each other, the animal instinct takes over. Each will try to outwit or kill one another singly or in bulk should the chance arise. To this end any aspect of war is bad.People can pass comment on certain aspects of all wars but I do not believe it is right to criticise someone or something that they were not involved in or with. Modern information technology has made vast amounts of statistical and anecdotal evidence available to the historian but what sometimes gets lost in this mass of information is the immediacy and emotion caused by the raw fear of warfare. Normal reactions to events judged sitting in the arm chair by the fire side are not the same as those as when ones life and existence is tangibly at risk.&quot;

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  <title>Byonce Knowles and Etta James Together 'At Last'</title>
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  <blip:puredescription><![CDATA[This is a needless controversy. Both Byonce and Etta did great versions of a song that had been a standard since the 1940s. If ANYONE owns that song it is Glenn Miller for whom it was written. Following (in quotes) is from &apos;Pop Watch&apos;, an article entitled: &quot;The Cat Fight You Knew Was Coming&quot; My two cents: GIVE IT A REST! Enjoy the music. &quot;If you love a good celebrity catfight&#8211;and really, who among usdoesn&#8217;t?&#8211;then congratulations, friend! This is shaping up to be a very good week for you. First came the utterlylopsided Faye Dunaway/Hilary Duff tiff, which centered on that bizarro Bonnie &amp; Clyde update and brought both of thoseladies back into the headlines after a long spell of irrelevance. Nowcomes word that 71-year-old soul legend Etta James has turned on noneother than Beyonce Knowles, who so memorably portrayed her in last year&#8217;s overlooked film Cadillac Records. I guess all of those platitudes that Etta showered on Beyonce when the movie came out were uttered through gritted teeth, &#8217;cause at a Seattle concert last week, Etta complained about not being asked to sing her signature song, &quot;At Last,&quot; during President Barack Obama&#8217;s first dance with his wife, Michelle. &quot;You guys know your president, right?&quot; she asked the crowd. &quot;The one with the big ears?&quot; --]]></blip:puredescription>
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<br />

This is a needless controversy. Both Byonce and Etta did great versions of a song that had been a standard since the 1940s. If ANYONE owns that song it is Glenn Miller for whom it was written. Following (in quotes) is from &apos;Pop Watch&apos;, an article entitled: &quot;The Cat Fight You Knew Was Coming&quot; My two cents: GIVE IT A REST! Enjoy the music. &quot;If you love a good celebrity catfight&#8211;and really, who among usdoesn&#8217;t?&#8211;then congratulations, friend! This is shaping up to be a very good week for you. First came the utterlylopsided Faye Dunaway/Hilary Duff tiff, which centered on that bizarro Bonnie &amp; Clyde update and brought both of thoseladies back into the headlines after a long spell of irrelevance. Nowcomes word that 71-year-old soul legend Etta James has turned on noneother than Beyonce Knowles, who so memorably portrayed her in last year&#8217;s overlooked film Cadillac Records. I guess all of those platitudes that Etta showered on Beyonce when the movie came out were uttered through gritted teeth, &#8217;cause at a Seattle concert last week, Etta complained about not being asked to sing her signature song, &quot;At Last,&quot; during President Barack Obama&#8217;s first dance with his wife, Michelle. &quot;You guys know your president, right?&quot; she asked the crowd. &quot;The one with the big ears?&quot; --

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  <blip:puredescription><![CDATA[Released in 1976 --Hotel California was the first Eagles album without founding member Bernie Leadon and the first with Joe Walsh. This acoustic version is from a live performance. It was in the mid to late 80s that an urban legend was born. It was believed that Todos Santos was home to the &apos;Hotel Calfironia made famous by the Eagles. By the 90s, the story had take on cult status, repeated by journalists in the major media. In the 1990&apos;s. The Detroit Free Press published an article in 1996. An urban legend was born when Other writers journalists repeated the story while younger writers cited the original articles as authoritative. some journalists made the trip To Todos Santos but littel &apos;real&apos; research ever resulted. Many wrote what they had wanted to believe or what they could attribute to other sources.]]></blip:puredescription>
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<br />

Released in 1976 --Hotel California was the first Eagles album without founding member Bernie Leadon and the first with Joe Walsh. This acoustic version is from a live performance. It was in the mid to late 80s that an urban legend was born. It was believed that Todos Santos was home to the &apos;Hotel Calfironia made famous by the Eagles. By the 90s, the story had take on cult status, repeated by journalists in the major media. In the 1990&apos;s. The Detroit Free Press published an article in 1996. An urban legend was born when Other writers journalists repeated the story while younger writers cited the original articles as authoritative. some journalists made the trip To Todos Santos but littel &apos;real&apos; research ever resulted. Many wrote what they had wanted to believe or what they could attribute to other sources.

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<br />

The fictional &apos;blue grass family&apos; --the &apos;Darlin&apos;s&apos; --were, in real life, &apos;The Dillards&apos;. As the musicially inclined Darlin&apos; (Darling) family, they made several appearances on the venerable &apos;The Andy Griffith Show&apos;.The Dillards were originally from Salem, Missouri and consisted of Douglas &quot;Doug&quot; Dillard, Rodney &quot;Rod&quot; Dillard (guitar, dobro), Dean Webb, (mandolin), and Mitch Jayne of Hammond, Indiana.The fictional Darling family were presumed to have lived in a mountain shack somewhere near the fictional Mayberry where Andy Taylor, portrayed by Andy Griffith was the sheriff.

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  <blip:puredescription><![CDATA[EAGLES LYRICS&quot;The Last Resort&quot;She came from Providence,the one in Rhode IslandWhere the old world shadows hangheavy in the airShe packed her hopes and dreamslike a refugeeJust as her father came across the seaShe heard about a place people were smilin&apos;They spoke about the red man&apos;s way,and how they loved the landAnd they came from everywhereto the Great DivideSeeking a place to standor a place to hideDown in the crowded bars,out for a good time,Can&apos;t wait to tell you all,what it&apos;s like up thereAnd they called it paradiseI don&apos;t know whySomebody laid the mountains lowwhile the town got highThen the chilly winds blew downAcross the desertthrough the canyons of the coast, tothe MalibuWhere the pretty people play,hungry for powerto light their neon wayand give them things to doSome rich men came and raped the land,Nobody caught &apos;emPut up a bunch of ugly boxes, and Jesus,people bought &apos;emAnd they called it paradiseThe place to beThey watched the hazy sun, sinking in the seaYou can leave it all behindand sail to Lahainajust like the missionaries did, so many years agoThey even brought a neon sign: &quot;Jesus is coming&quot;Brought the white man&apos;s burden downBrought the white man&apos;s reignWho will provide the grand design?What is yours and what is mine?&apos;Cause there is no more new frontierWe have got to make it hereWe satisfy our endless needs andjustify our bloody deeds,in the name of destiny and the nameof GodAnd you can see them there,On Sunday morningThey stand up and sing aboutwhat it&apos;s like up thereThey call it paradiseI don&apos;t know whyYou call someplace paradise,kiss it goodbye]]></blip:puredescription>
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<br />

EAGLES LYRICS&quot;The Last Resort&quot;She came from Providence,the one in Rhode IslandWhere the old world shadows hangheavy in the airShe packed her hopes and dreamslike a refugeeJust as her father came across the seaShe heard about a place people were smilin&apos;They spoke about the red man&apos;s way,and how they loved the landAnd they came from everywhereto the Great DivideSeeking a place to standor a place to hideDown in the crowded bars,out for a good time,Can&apos;t wait to tell you all,what it&apos;s like up thereAnd they called it paradiseI don&apos;t know whySomebody laid the mountains lowwhile the town got highThen the chilly winds blew downAcross the desertthrough the canyons of the coast, tothe MalibuWhere the pretty people play,hungry for powerto light their neon wayand give them things to doSome rich men came and raped the land,Nobody caught &apos;emPut up a bunch of ugly boxes, and Jesus,people bought &apos;emAnd they called it paradiseThe place to beThey watched the hazy sun, sinking in the seaYou can leave it all behindand sail to Lahainajust like the missionaries did, so many years agoThey even brought a neon sign: &quot;Jesus is coming&quot;Brought the white man&apos;s burden downBrought the white man&apos;s reignWho will provide the grand design?What is yours and what is mine?&apos;Cause there is no more new frontierWe have got to make it hereWe satisfy our endless needs andjustify our bloody deeds,in the name of destiny and the nameof GodAnd you can see them there,On Sunday morningThey stand up and sing aboutwhat it&apos;s like up thereThey call it paradiseI don&apos;t know whyYou call someplace paradise,kiss it goodbye

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  <blip:puredescription><![CDATA[Starring Robert Redford, Michael Caine, Sean Connery, Edward Fox, Elliott Gould, in fact. a cast of superstars!]]></blip:puredescription>
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<br />

Starring Robert Redford, Michael Caine, Sean Connery, Edward Fox, Elliott Gould, in fact. a cast of superstars!

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  <blip:puredescription><![CDATA[I was asked: how can an infinite universe be created? In response, I thought of yet another question: what is a &quot;creator&quot; if not a part of whatever universe is created? Immediately, we are plunged into a &apos;universe&apos; of infinite regress, &apos;sets of all sets&apos;, infinity itself! Georg Cantor posited a hierarchy of &quot;infinities&quot;, i.e. some infinities greater than others, a counter-intuitive concept yet logically consistent once you&apos;ve gotten your mind around infinity itself. Most of us feel small upon looking up at the starry sky at night! An infinity of infinities is simply overwhelming, mind blowing, awe inspiring, perhaps a bit intimidating and fearsome. We feel small, finite, mortal! [see: Class Acts: Many Worlds and Infinite Universes at:http://classicacts.blogspot.com/2010/05/many-worlds-and-infinite-universes.html ]]]></blip:puredescription>
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<br />

I was asked: how can an infinite universe be created? In response, I thought of yet another question: what is a &quot;creator&quot; if not a part of whatever universe is created? Immediately, we are plunged into a &apos;universe&apos; of infinite regress, &apos;sets of all sets&apos;, infinity itself! Georg Cantor posited a hierarchy of &quot;infinities&quot;, i.e. some infinities greater than others, a counter-intuitive concept yet logically consistent once you&apos;ve gotten your mind around infinity itself. Most of us feel small upon looking up at the starry sky at night! An infinity of infinities is simply overwhelming, mind blowing, awe inspiring, perhaps a bit intimidating and fearsome. We feel small, finite, mortal! [see: Class Acts: Many Worlds and Infinite Universes at:http://classicacts.blogspot.com/2010/05/many-worlds-and-infinite-universes.html ]

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  <pubDate>Wed, 19 May 2010 15:13:01 +0000</pubDate>
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<br />

Cab Calloway and His Orchestra recorded &quot;Minnie the Moocher&quot; in 1931 It sold over a million copies and is remembered for non-sensical &apos;scat singing&apos; most famously -- &quot;Hi De Hi De Hi De Hi&quot;, etc. It earned Calloway the nick-name &quot;hi de ho&quot; man. As in this performance from the famous film --The Blues Brothers with Dan Akroyd and James Belushi --Calloway invited audience participation in which his &apos;scat&apos; phrase were repeated

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  <blip:puredescription><![CDATA[All That Jazz is a big production number from the 2002 movie &apos;Chicago&apos; starring Cathereine Zeta-Jones and Rene Zellweger. Velma Kelly is the sexy vaudeville star who murders her husband and sister after finding them in bed together. Roxie is the wannabe vaudeville star who kills her lover after finding out he was never going to make her famous. Both spend their nights in Chicago during its &apos;Jazz heyday&apos;. The two main characters have little in common except that they are both murderesses and that both murders involved sexual infidelity. The plot is vintage Holloywood but it works: when Roxie comes along, Velma is &apos;old news&apos;. The pari compete for press, men and attention.]]></blip:puredescription>
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<br />

All That Jazz is a big production number from the 2002 movie &apos;Chicago&apos; starring Cathereine Zeta-Jones and Rene Zellweger. Velma Kelly is the sexy vaudeville star who murders her husband and sister after finding them in bed together. Roxie is the wannabe vaudeville star who kills her lover after finding out he was never going to make her famous. Both spend their nights in Chicago during its &apos;Jazz heyday&apos;. The two main characters have little in common except that they are both murderesses and that both murders involved sexual infidelity. The plot is vintage Holloywood but it works: when Roxie comes along, Velma is &apos;old news&apos;. The pari compete for press, men and attention.

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  <blip:puredescription><![CDATA[A nearly legendary group. One of their biggest hits.]]></blip:puredescription>
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<br />

A nearly legendary group. One of their biggest hits.

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  <blip:puredescription><![CDATA[Influenced by Edward Hopper and &apos;Zen&apos;, Paul has been called &apos;Out of the Ordinary&apos;. That&apos;s the title of a beautiful coffee table book filled with his work, biographical information and his commentary.Paul is a gifted artist and mentor. His portraiture includes Willie Nelson, Tom T. Hall, Byron Nelson, Tiger Woods and many other famous personages.]]></blip:puredescription>
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<br />

Influenced by Edward Hopper and &apos;Zen&apos;, Paul has been called &apos;Out of the Ordinary&apos;. That&apos;s the title of a beautiful coffee table book filled with his work, biographical information and his commentary.Paul is a gifted artist and mentor. His portraiture includes Willie Nelson, Tom T. Hall, Byron Nelson, Tiger Woods and many other famous personages.

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  <blip:puredescription><![CDATA[Early &apos;70s hit movie dealing with the American home-front during World War II. The haunting music is by Michel Legrand.]]></blip:puredescription>
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Early &apos;70s hit movie dealing with the American home-front during World War II. The haunting music is by Michel Legrand.

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  <blip:puredescription><![CDATA[This classic composed by Modest Mussorgsky was animated by the masters at Walt Disney. This re-mix is conducted by Leopold Stokowski.]]></blip:puredescription>
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<br />

This classic composed by Modest Mussorgsky was animated by the masters at Walt Disney. This re-mix is conducted by Leopold Stokowski.

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  <blip:puredescription><![CDATA[Roy Kelton Orbison (April 23, 1936 &#8211; December 6, 1988), nicknamed &quot;The Big O,&quot; was an influential Grammy Award-winning American singer-songwriter, guitarist and a pioneer of rock and roll whose recording career spanned more than four decades. Orbison is best known for the songs, &quot;Ooby Dooby,&quot; &quot;Only the Lonely,&quot; &quot;In Dreams,&quot; &quot;Oh, Pretty Woman,&quot; &quot;Crying,&quot; &quot;Running Scared,&quot; and &quot;You Got It&quot;. He is known for his smooth tenor voice, which could jump an unprecedented three octaves with little trouble. He was also famous for his black sunglasses, without which he was rarely seen on stage . In 1987, he was inducted into the Rock and Roll Hall of Fame, and in 1989, a year after his death, he was posthumously inducted into the Songwriters Hall of Fame.Orbison&apos;s first band was called &apos;The Wink Westerners&apos; but by the time I watched them on KOSA-TV, Channel 7 in Odessa, the band had already changed its name to the &quot;Teen Kings&quot;. [See: Teen Kings Information] I recall meeting Roy once at what can only be called a &apos;block party&apos; in downtown Odessa. There is a good possibility that it was a furniture store opening which was, in those days, a &apos;big deal&apos; as were &apos;telethons&apos; for the March of Dimes. It was Johnny Cash who encouraged Roy to seek out a recording contract with Sam Phillips of Sun Records. Later, Cash would similarly encourage an even younger Odessan --Larry Gatlin, a class mate of mine at Odessa High School. Like Orbison, the Gatlin &apos;Family Singers&apos; were regulars on local telecasts designed to raise money for the March of Dimes. The programs were locally produced and afforded not only exposure but media experience for budding musicians and others (like myself) who would pursue a career in broadcasting. Orbison&apos;s first hit was &quot;Ooby Dooby&quot;, recorded and produced at Norman Petty&apos;s recording studio in Clovis, New Mexico. [See also: Norman Petty Page]Veronica Lake (November 14, 1922[1] &#8211; July 7, 1973) was a popular American film actress and pin-up model who enjoyed both popular and critical acclaim, most notably for her femme fatale roles in film noir with Alan Ladd during the 1940s, as well as her iconic hairstyle.Her success did not last. Following a string of broken marriages and long struggles with mental illness and alcoholism, she died almost destitute.]]></blip:puredescription>
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<br />

Roy Kelton Orbison (April 23, 1936 &#8211; December 6, 1988), nicknamed &quot;The Big O,&quot; was an influential Grammy Award-winning American singer-songwriter, guitarist and a pioneer of rock and roll whose recording career spanned more than four decades. Orbison is best known for the songs, &quot;Ooby Dooby,&quot; &quot;Only the Lonely,&quot; &quot;In Dreams,&quot; &quot;Oh, Pretty Woman,&quot; &quot;Crying,&quot; &quot;Running Scared,&quot; and &quot;You Got It&quot;. He is known for his smooth tenor voice, which could jump an unprecedented three octaves with little trouble. He was also famous for his black sunglasses, without which he was rarely seen on stage . In 1987, he was inducted into the Rock and Roll Hall of Fame, and in 1989, a year after his death, he was posthumously inducted into the Songwriters Hall of Fame.Orbison&apos;s first band was called &apos;The Wink Westerners&apos; but by the time I watched them on KOSA-TV, Channel 7 in Odessa, the band had already changed its name to the &quot;Teen Kings&quot;. [See: Teen Kings Information] I recall meeting Roy once at what can only be called a &apos;block party&apos; in downtown Odessa. There is a good possibility that it was a furniture store opening which was, in those days, a &apos;big deal&apos; as were &apos;telethons&apos; for the March of Dimes. It was Johnny Cash who encouraged Roy to seek out a recording contract with Sam Phillips of Sun Records. Later, Cash would similarly encourage an even younger Odessan --Larry Gatlin, a class mate of mine at Odessa High School. Like Orbison, the Gatlin &apos;Family Singers&apos; were regulars on local telecasts designed to raise money for the March of Dimes. The programs were locally produced and afforded not only exposure but media experience for budding musicians and others (like myself) who would pursue a career in broadcasting. Orbison&apos;s first hit was &quot;Ooby Dooby&quot;, recorded and produced at Norman Petty&apos;s recording studio in Clovis, New Mexico. [See also: Norman Petty Page]Veronica Lake (November 14, 1922[1] &#8211; July 7, 1973) was a popular American film actress and pin-up model who enjoyed both popular and critical acclaim, most notably for her femme fatale roles in film noir with Alan Ladd during the 1940s, as well as her iconic hairstyle.Her success did not last. Following a string of broken marriages and long struggles with mental illness and alcoholism, she died almost destitute.

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  <blip:puredescription><![CDATA[Scenes from Carnival to the music of Pink Matini&apos;s version of the Xavier Cugat original: Brazil. The origins of carnival date back to the ancient Greek spring festival in honor of Dionysus, the god of wine. The Romans adopted the celebration with Bacchanalia (feasts in honor of Bacchus, the Roman equivalent to Dionysus), and Saturnalia, where slaves and their masters would exchange clothes in a day of drunken revelry. Saturnalia was later modified by the Roman Catholic Church into a festival leading up Ash Wednesday. It quickly evolved into a massive celebration of indulgences - one last gasp of music, food, alcohol, and sex before Lent - before the 40 days of personal reflection, abstinence, and fasting until Easter (not exactly what the Church probably had in mind). 40 days of purging sins, preceded by a week filled with virtually every known sin. The word itself comes from Latin, &quot;Carne Vale&quot; or &quot;Farewell to the Flesh&quot;.]]></blip:puredescription>
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<br />

Scenes from Carnival to the music of Pink Matini&apos;s version of the Xavier Cugat original: Brazil. The origins of carnival date back to the ancient Greek spring festival in honor of Dionysus, the god of wine. The Romans adopted the celebration with Bacchanalia (feasts in honor of Bacchus, the Roman equivalent to Dionysus), and Saturnalia, where slaves and their masters would exchange clothes in a day of drunken revelry. Saturnalia was later modified by the Roman Catholic Church into a festival leading up Ash Wednesday. It quickly evolved into a massive celebration of indulgences - one last gasp of music, food, alcohol, and sex before Lent - before the 40 days of personal reflection, abstinence, and fasting until Easter (not exactly what the Church probably had in mind). 40 days of purging sins, preceded by a week filled with virtually every known sin. The word itself comes from Latin, &quot;Carne Vale&quot; or &quot;Farewell to the Flesh&quot;.

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  <blip:puredescription><![CDATA[Footage from the film &quot;The Red Badge of Courage&quot; with Audie Murphy. David McCullough reads Sullivan Balou&apos;s letter written to his wife Sarah just prior to his death in battle during the Civil War. The music is Ashokan&apos;s Farewell composed by Jay Ungar and made famous in Ken Burn&apos;s famous &apos;Civil War&apos; series. .]]></blip:puredescription>
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<br />

Footage from the film &quot;The Red Badge of Courage&quot; with Audie Murphy. David McCullough reads Sullivan Balou&apos;s letter written to his wife Sarah just prior to his death in battle during the Civil War. The music is Ashokan&apos;s Farewell composed by Jay Ungar and made famous in Ken Burn&apos;s famous &apos;Civil War&apos; series. .

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  <blip:puredescription><![CDATA[Godiva (Old English: Godgifu, &quot;god gift&quot;), often referred to as Lady Godiva (fl. 1040-1080) Lady Godiva was the wife of Leofric , Earl of Mercia. According to legend, she rode naked through the streets of Coventry [England] to roll back an oppressive tax imposed by her husband on his tenants. In later versions, Tom watched her ride and was struck blind or dead. &quot;Peeping Tom&quot; has come to mean &apos;voyeur&apos;.]]></blip:puredescription>
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<br />

Godiva (Old English: Godgifu, &quot;god gift&quot;), often referred to as Lady Godiva (fl. 1040-1080) Lady Godiva was the wife of Leofric , Earl of Mercia. According to legend, she rode naked through the streets of Coventry [England] to roll back an oppressive tax imposed by her husband on his tenants. In later versions, Tom watched her ride and was struck blind or dead. &quot;Peeping Tom&quot; has come to mean &apos;voyeur&apos;.

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  <blip:puredescription><![CDATA[Clips, stills, and graphics recalling James Bond film adventures.]]></blip:puredescription>
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Clips, stills, and graphics recalling James Bond film adventures.

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  <blip:puredescription><![CDATA[&quot;Magic Carpet Ride&quot; was the monster hit by Steppenwolf written by John Kay and Rush Moreve. initially released on the album Steppenwoff the Second, it peaked at number 3 in the US and became the band&apos;s second biggest hit, surpassed only by Born to Be Wild.]]></blip:puredescription>
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<br />

&quot;Magic Carpet Ride&quot; was the monster hit by Steppenwolf written by John Kay and Rush Moreve. initially released on the album Steppenwoff the Second, it peaked at number 3 in the US and became the band&apos;s second biggest hit, surpassed only by Born to Be Wild.

]]></description>
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  <title>Edward Hopper: Night Hawks and Mood Indigo</title>
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  <blip:puredescription><![CDATA[Edward Hopper captured urban and rural American life and city scapes. HIs paintings are now among the most enduring and popular images of the 20th century. His paintings were contemporary with the emergence of &apos;film noir&apos; and, interestingly, both capture an edgy side of American cultture. Hopper would have denied this, having said once that he had no other goal but that of capturing the effect of light on the side of a building. Some of the buildings he captured still stand in New York. One of them was the setting of his most iconic image: Night Hawks.The music is Duke Ellington&apos;s classic, Mood Indigo]]></blip:puredescription>
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<br />

Edward Hopper captured urban and rural American life and city scapes. HIs paintings are now among the most enduring and popular images of the 20th century. His paintings were contemporary with the emergence of &apos;film noir&apos; and, interestingly, both capture an edgy side of American cultture. Hopper would have denied this, having said once that he had no other goal but that of capturing the effect of light on the side of a building. Some of the buildings he captured still stand in New York. One of them was the setting of his most iconic image: Night Hawks.The music is Duke Ellington&apos;s classic, Mood Indigo

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  <title>London Symphony Orchestra: Elsa's Procession to the Cathedral</title>
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  <blip:puredescription><![CDATA[One of Wagner&apos;s most beautiful compositions from his opera, Lohengrin.]]></blip:puredescription>
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<br />

One of Wagner&apos;s most beautiful compositions from his opera, Lohengrin.

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  <blip:puredescription><![CDATA[L&apos;Escalade, or F&#234;te de l&apos;Escalade is the annual festival held in December in Geneva, Switzerland. It celebrates the defeat of troops sent by Charles Emmanuel I, Duke of Savoy during the night of 11 December 1602. The Savoyard soldiers attempted to scale the city ramparts. The Duke of Savoy, who had lost his former possession of Geneva, was trying to reclaim it. The battle was severe, but the people of Geneva valiantly defended their town. Examples of bravery were many: one especially remembers M&#232;re Royaume, who climbed onto the ramparts and poured her pot of hot soup over the head of a Savoyard soldier.Ever since that time, the people of Geneva have remembered and celebrated their day of victory. A large, torchbearing procession dressed in period costumes proceeds through the streets of the old city along both banks of the Rhone. Historic and legendary figures like M&#232;re Royaume, armed with her pot, are always present. At several points along the traditional route, the procession stops and a herald on horseback reads the proclamation of victory over the invaders. Arriving in good spirits at St. Peter&apos;s Cathedral, the participants sing patriotic songs. The entire ceremony concludes with generalized merrymaking.]]></blip:puredescription>
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<br />

L&apos;Escalade, or F&#234;te de l&apos;Escalade is the annual festival held in December in Geneva, Switzerland. It celebrates the defeat of troops sent by Charles Emmanuel I, Duke of Savoy during the night of 11 December 1602. The Savoyard soldiers attempted to scale the city ramparts. The Duke of Savoy, who had lost his former possession of Geneva, was trying to reclaim it. The battle was severe, but the people of Geneva valiantly defended their town. Examples of bravery were many: one especially remembers M&#232;re Royaume, who climbed onto the ramparts and poured her pot of hot soup over the head of a Savoyard soldier.Ever since that time, the people of Geneva have remembered and celebrated their day of victory. A large, torchbearing procession dressed in period costumes proceeds through the streets of the old city along both banks of the Rhone. Historic and legendary figures like M&#232;re Royaume, armed with her pot, are always present. At several points along the traditional route, the procession stops and a herald on horseback reads the proclamation of victory over the invaders. Arriving in good spirits at St. Peter&apos;s Cathedral, the participants sing patriotic songs. The entire ceremony concludes with generalized merrymaking.

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This film is said to have been one of the best educational films ever made. It stars Donald Moffat as George Bernard Shaw, Richard Kiley as Julius Caesar and Suzanne Grossman as Cleopatra.

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<br />

One of the best educational films ever made --Shaw vs Shakespeare with Richard Kiley as Julius Caesar.

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  <blip:puredescription><![CDATA[This is part two of five in the series of excerpt from Shaw vs Shakespeare, called the finest educational motion picture every made. It stars Richard Kiley as Julius Caesar and Donald Moffat as George Bernard Shaw.]]></blip:puredescription>
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<br />

This is part two of five in the series of excerpt from Shaw vs Shakespeare, called the finest educational motion picture every made. It stars Richard Kiley as Julius Caesar and Donald Moffat as George Bernard Shaw.

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  <blip:puredescription><![CDATA[This film is the first from the series called &apos;Shaw vs Shakepare&apos;. Some have called it &apos;...the finest educational firms ever made&apos;. The film focuses initially on George Bernard Shaw&#8217;s conviction that Shakespeare play of &quot;Julius Caesar&quot; was superior, the portrayal of the character Julius Caedar was not. Shaw preferred a &apos;stronger character&apos;, a Caesar who might truly have been a conqueror. By contrast, Shakespeare&#8217;s Caesar is pessimistic and indecisive. The series (and this episode) stars Donald Moffat as George Bernard Shaw and Richard Kiley as Caesar. Susan Grossman is Cleopatra. The story of the creation of these films, may be found at: http://www.afana.org/99chrono.htm Scroll down to the date of Thursday, 15 April 1999.]]></blip:puredescription>
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<br />

This film is the first from the series called &apos;Shaw vs Shakepare&apos;. Some have called it &apos;...the finest educational firms ever made&apos;. The film focuses initially on George Bernard Shaw&#8217;s conviction that Shakespeare play of &quot;Julius Caesar&quot; was superior, the portrayal of the character Julius Caedar was not. Shaw preferred a &apos;stronger character&apos;, a Caesar who might truly have been a conqueror. By contrast, Shakespeare&#8217;s Caesar is pessimistic and indecisive. The series (and this episode) stars Donald Moffat as George Bernard Shaw and Richard Kiley as Caesar. Susan Grossman is Cleopatra. The story of the creation of these films, may be found at: http://www.afana.org/99chrono.htm Scroll down to the date of Thursday, 15 April 1999.

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  <blip:puredescription><![CDATA[In 1966, Barbra Streisand made pop music and TV history. Here&apos;s the column Rex Reed of the New York Times wrote the next morning following what may have been Streisand&apos;s most famous television appearance. COLOR BARBRA VERY BRIGHT by Rex ReedNew York Times, March 27, 1966While Streisand sings, the world stops. She is only 23. yet her name is spoken around the home as often as Jello. The money she makes would put a dent in the national debt. Her first TV special was a milestone. Her second should have even greater impact. She turns records into gold, theaters and concert halls into mob scenes and on TV alone, during the next 10 years, she will make $5-million plus. To hear her sing is like getting the message from special delivery. Her success, like most successes, brings pressures with it. For one thing, she hates being interviewed, distrusts all photographers and is as nervous about publicity as she is about her own performances. Reporters covering her second CBS-TV special, &quot;Color Me Barbra.&quot; to be shown this Wednesday night, 9-10 P.M., even had running bets on just how late she would be for each interview. The answer was almost always: very. The damp, gray hotel room in Philadelphia is charged with tension. The reporter&apos;s date was for one o&apos;clock; it is nearly three. Somewhere, in a suite high above, Barbra is pasting sequins on her eyes. She wanted Pablo of Elizabeth Arden, but he takes too long. Barbra hates to sit still that long. In the corner, a kindly CBS press agent pours Scotch from a bottle sent up by room service. People come and go, telephones ring mysteriously. Everyone smiles nervously. The taping is scheduled to begin at the Philadelphia Museum of Art in two hours. &quot;Barbra is very unpredictable; to tape songs for the show, we rented a studio from 7 to 10 last night; I got home at four A.M.,&quot; says the press agent wearily. People drop by to give opinions. &quot;She sings more subtly now,&quot; says her personal publicity girl, a pretty blonde with pierced ears. &quot;She used to sing her guts out; at the end of &apos;Happy Days&apos; she sounded like she was screaming. She&apos;d never do that now. When she was in &apos;Wholesale&apos; she used to beg the press agent to get her interviews so she could get a free meal. Reporters used to stare in horror at the table piling up with hors d&apos;oeuvres, three appetizers, two soups, celery tonic, tomato juice, a main course, and four selections from the dessert tray. Now everything&apos;s going so smoothly she only worries about details, refinements. She knew her work so well in &apos;Funny Girl&apos; she never worried about the singing, but about the dust on the plastic flowers or why the blue light failed on Cue 82. Her closing night she was still giving notes to the orchestra on what they were doing wrong.&quot;Word comes, from on high, that the star is ready for her audience. Three-and-a-half hours late, she plods into the room, falls into a chair with her legs spread out, tears open a basket of fruit, bites into a green banana and says to the reporters, &quot;Okay, you&apos;ve got 20 minutes.&quot; What&apos;s the new show like? &quot;Like the old one. They&apos;re like book ends. The first one was great, ya know? So this one&apos;s gonna be close as it can be. What do I know from TV? I hire the best people in the business, then I let them do everything for me. I don&apos;t take chances. I&apos;m paying the bill, it&apos;s my problem, right? I coulda got some big name stars to clown around just like everybody else does on their specials, but who needs it? I got complete creative control here, so I do it my way, right?&quot; How will the show differ from last year? &quot;Instead of Bergdorfs, the first part&apos;s in a museum,&quot; she says, munching on a bunch of grapes. &quot;I move around in front of the paintings and sometimes I turn into the paintings, get it? The costumes are mostly designed by me, borrowed, rented, or re-made from my old hock-shop wardrobes. The second part&apos;s in a circus, and I sing to all the animals. The last part&apos;s the concert. Just like last year&apos;s. Different songs, same feeling.&quot; Eight people have moved into the room. All of them check their watches and make her very nervous. Some of them answer her questions for her. Barbra does not like the image that comes with being a glamorous star, volunteers one. &quot;She doesn&apos;t like parties; she&apos;s afraid people ask her because she&apos;s a celebrity, not because they like her.&quot; &quot;Yeah, like this party for Princess Margaret, you know? Elliot, my husband, even wore a tuxedo. We were so miserable we cut out for a Ninth Avenue delicatessen, my favorite restaurant, where they still got great greasy french fries and the best rice pudding in town. No raisins, you know what I mean? &quot;Listen, all my life I wanted to be famous. I knew from nothing about music. I never had a Victrola &apos;til I was 18. I used to buy clothes in thrift shops. Now I don&apos;t go there anymore because people bother me. Besides they&apos;ve gone up. I always dreamed of a penthouse, right? So now I&apos;m a big star I got one and it&apos;s not much fun. I used to dream about terraces, now I gotta spend $500 just to convert mine from summer to winter. Let me tell you, it&apos;s just as dirty with soot up there on the 22nd floor as it is down there on the bottom.&quot; At 5 P.M. the museum closes and the cameras are ready. An armada of armed guards line the doors with name tags for everyone official. Disgruntled reporters and unhappy photographers line up in a Renaissance hallway for clearance. &quot;Barbra gets very upset if anyone who isn&apos;t official watches her, says a cameraman. Outside, the Philly branch other fan club peers through the beaded glass windows carrying a sign that reads. &quot;Welcome Barb. Barbra even has a fan club in prison,&quot; offers the press agent. OP-ART GOWN At 7:30 Barbra emerges in a floor-length, op-art gown of hand-sewn sequins in 20 colors and six-inch triangle earrings with bolts of lightning through them like Captain Marvel emblems. Mondrian eyes sharpened with mascara and boyish hairdo slicked back behind her ears, she is ready for the first number. A 25-man production crew, a trained nurse, her personal staff and a few favored members of the press watch as bongo drums blare from portable speakers and Barbra shimmies past walls filled with Cezanne watercolors and Matisse still-lifes shaking on their brackets. The number is repeated a dozen times before choreographer Joe Layton bounces through in white tennis shoes and white turtle-neck sweater crying, &quot;It&apos;s awful. It needs work.&quot; By 9:30 the test pattern is adjusted and the color cameras are ready for the fourth tape of the first song. A cameraman crushes out a forbidden cigarette on a valuable piece of 100-year-old Rumanian oak while a guard isn&apos;t looking. &quot;Let&apos;s go, Barb!&quot; &quot;I gotta get up?&quot; cries the star. Hard looks from Joe Layton. Barbra gets up. &quot;She&apos;s not dumb,&quot; says a CBS official. &quot;She heads two corporations &#8212; one packages her specials, pays her everything, then the profit she makes is the difference between her expenses and what CBS pays her. This includes her salary. It&apos;s a one-woman show, so it would be very weird if she was not the boss.&quot; By 11:15 she comes out in a floor-length black satin maid&apos;s outfit with white over-apron, which she designed herself. Elliot Gould, her husband, arrives, wearing an official label so the guards will let him in. Barbra runs past 12 pillars and up 35 stone stairs singing &quot;Yesterdays.&quot; Then she collapses in a corner eating hot pastrami, sour green tomatoes, kosher pickles and stuffed gefilte fish from paper containers. &quot;My gums hurt,&quot; she cries. The crew throws color cables over the balcony of the museum&apos;s Great Hall, missing by inches a valuable Alexander Calder mobile and a priceless 17th-century Flemish tapestry. A museum official screams. Barbra&apos;s manager, Marty Erlichman, comes over. Marty is a friendly, bear-like fellow who discovered her at the Bon Soir fresh out of Erasmus High School, a smart, skinny, big-nosed girl who had a 93 average and a medal in Spanish. When he met Barbra he was a little-known talent agent working on Broadway. Now he heads his own company. &quot;For nine months I tried to get her a job. Every record company in the business turned her down. &apos;Change the clothes, change the nose, stop singing the cockamamy songs.&apos; Now it&apos;ll start all over when she hits Hollywood to make Funny Girl. They&apos;ll want to make her into Doris Day. But she sells the public Barbra, nothing else. She&apos;s never been bastardized or exploited. The main thing she&apos;s gotta learn is not to trust too much. The public is very fickle. Ten million people love you when you&apos;re an underdog on the way up, but nine and a half million of them hate you when you hit the top.&quot; FANS APPEAR At 2 A.M. a group of teenagers appeared at the museum with a kettle of hot chicken soup. &quot;Just give it to her,&quot; they yell through the locked doors. &quot;Could she just wave?&quot; Barbra is busily chewing sour green apple gum (her current favorite) in a lavender and silver Marie Antoinette costume with lavender wig and purple ostrich plumes. &quot;Get rid of them. They follow me everywhere. Sometimes they get my autograph three or four times in one night. Whatta ya think they do with all those autographs?&quot; The action continues through the next day, with no sleep. Barbra works very hard. Others stop to rest, but her extraordinary energy carries her through. Barbra playing a guillotine scene in the French Revolution. Barbra doing &quot;something based on Nefertiti.&quot; Electricians and reporters curl up on tabletops and behind potted palms, catnapping &quot;If the star gives up, everybody gives up. I gotta keep smiling,&quot; says Barbra. Gradually, the bits and pieces, the long shots and closeups, the takes and retakes that make up a smooth-looking show are assembled. Back in New York, part two was achieved through sheer tenacity. Barbra danced out onto a three-ring circus set. A baby elephant named Champagne roared so loudly that a baby llama nearby did a somersault. Barbra sang &quot;Funny Face&quot; in an orange ringmaster&apos;s costume. The horse reared, the penguins got sick under the hot lights and had to be carted off to a refrigerated area behind the set. The leopard refused to pose. Barbra had to worry not about being trampled to death but when to come in on cue. The show was behind schedule and the overtime was costing the star money. Four electricians chased a pig across the set and damaged part of the backdrop. The only light moment came when Barbra sang to an anteater named Izzy. &quot;He must be Jewish,&quot; she said, as they touched noses. More than 30 hours were spent on the circus segment, which runs only a few minutes on screen. Barbra&apos;s temper exploded. &quot;Too many people not connected with the show.&quot; &quot;Too many people staring at me &quot; The press was removed to the control room. By week&apos;s end there was nothing left to tape but the concert portion of the show. Barbra came out in a pale creamy gown with pearl drop earrings and pale lipstick, standing on a white spiral staircase under blue-turning-lavender lights, switching on the charm for an audience of teased hair girls and screaming teen-age fans&#8212;clowning, joking, kibitzing with her little dog Sadie (&quot;a hooked rug that barks&quot;). The magic shone through. Barbra became the public figure-gamine, appealing. By midnight some 200 hours of hard work were over. The grips packed up the set was struck. &quot;Great show! She&apos;ll make millions on the re-runs,&quot; said a control-room engineer. &quot;Give me Julie Andrews any day,&quot; said an electrician, wiping his forehead. In her dressing room, the star of the show was told she could finally go home to bed and for the first time that week, Barbra Streisand was on time. END]]></blip:puredescription>
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<br />

In 1966, Barbra Streisand made pop music and TV history. Here&apos;s the column Rex Reed of the New York Times wrote the next morning following what may have been Streisand&apos;s most famous television appearance. COLOR BARBRA VERY BRIGHT by Rex ReedNew York Times, March 27, 1966While Streisand sings, the world stops. She is only 23. yet her name is spoken around the home as often as Jello. The money she makes would put a dent in the national debt. Her first TV special was a milestone. Her second should have even greater impact. She turns records into gold, theaters and concert halls into mob scenes and on TV alone, during the next 10 years, she will make $5-million plus. To hear her sing is like getting the message from special delivery. Her success, like most successes, brings pressures with it. For one thing, she hates being interviewed, distrusts all photographers and is as nervous about publicity as she is about her own performances. Reporters covering her second CBS-TV special, &quot;Color Me Barbra.&quot; to be shown this Wednesday night, 9-10 P.M., even had running bets on just how late she would be for each interview. The answer was almost always: very. The damp, gray hotel room in Philadelphia is charged with tension. The reporter&apos;s date was for one o&apos;clock; it is nearly three. Somewhere, in a suite high above, Barbra is pasting sequins on her eyes. She wanted Pablo of Elizabeth Arden, but he takes too long. Barbra hates to sit still that long. In the corner, a kindly CBS press agent pours Scotch from a bottle sent up by room service. People come and go, telephones ring mysteriously. Everyone smiles nervously. The taping is scheduled to begin at the Philadelphia Museum of Art in two hours. &quot;Barbra is very unpredictable; to tape songs for the show, we rented a studio from 7 to 10 last night; I got home at four A.M.,&quot; says the press agent wearily. People drop by to give opinions. &quot;She sings more subtly now,&quot; says her personal publicity girl, a pretty blonde with pierced ears. &quot;She used to sing her guts out; at the end of &apos;Happy Days&apos; she sounded like she was screaming. She&apos;d never do that now. When she was in &apos;Wholesale&apos; she used to beg the press agent to get her interviews so she could get a free meal. Reporters used to stare in horror at the table piling up with hors d&apos;oeuvres, three appetizers, two soups, celery tonic, tomato juice, a main course, and four selections from the dessert tray. Now everything&apos;s going so smoothly she only worries about details, refinements. She knew her work so well in &apos;Funny Girl&apos; she never worried about the singing, but about the dust on the plastic flowers or why the blue light failed on Cue 82. Her closing night she was still giving notes to the orchestra on what they were doing wrong.&quot;Word comes, from on high, that the star is ready for her audience. Three-and-a-half hours late, she plods into the room, falls into a chair with her legs spread out, tears open a basket of fruit, bites into a green banana and says to the reporters, &quot;Okay, you&apos;ve got 20 minutes.&quot; What&apos;s the new show like? &quot;Like the old one. They&apos;re like book ends. The first one was great, ya know? So this one&apos;s gonna be close as it can be. What do I know from TV? I hire the best people in the business, then I let them do everything for me. I don&apos;t take chances. I&apos;m paying the bill, it&apos;s my problem, right? I coulda got some big name stars to clown around just like everybody else does on their specials, but who needs it? I got complete creative control here, so I do it my way, right?&quot; How will the show differ from last year? &quot;Instead of Bergdorfs, the first part&apos;s in a museum,&quot; she says, munching on a bunch of grapes. &quot;I move around in front of the paintings and sometimes I turn into the paintings, get it? The costumes are mostly designed by me, borrowed, rented, or re-made from my old hock-shop wardrobes. The second part&apos;s in a circus, and I sing to all the animals. The last part&apos;s the concert. Just like last year&apos;s. Different songs, same feeling.&quot; Eight people have moved into the room. All of them check their watches and make her very nervous. Some of them answer her questions for her. Barbra does not like the image that comes with being a glamorous star, volunteers one. &quot;She doesn&apos;t like parties; she&apos;s afraid people ask her because she&apos;s a celebrity, not because they like her.&quot; &quot;Yeah, like this party for Princess Margaret, you know? Elliot, my husband, even wore a tuxedo. We were so miserable we cut out for a Ninth Avenue delicatessen, my favorite restaurant, where they still got great greasy french fries and the best rice pudding in town. No raisins, you know what I mean? &quot;Listen, all my life I wanted to be famous. I knew from nothing about music. I never had a Victrola &apos;til I was 18. I used to buy clothes in thrift shops. Now I don&apos;t go there anymore because people bother me. Besides they&apos;ve gone up. I always dreamed of a penthouse, right? So now I&apos;m a big star I got one and it&apos;s not much fun. I used to dream about terraces, now I gotta spend $500 just to convert mine from summer to winter. Let me tell you, it&apos;s just as dirty with soot up there on the 22nd floor as it is down there on the bottom.&quot; At 5 P.M. the museum closes and the cameras are ready. An armada of armed guards line the doors with name tags for everyone official. Disgruntled reporters and unhappy photographers line up in a Renaissance hallway for clearance. &quot;Barbra gets very upset if anyone who isn&apos;t official watches her, says a cameraman. Outside, the Philly branch other fan club peers through the beaded glass windows carrying a sign that reads. &quot;Welcome Barb. Barbra even has a fan club in prison,&quot; offers the press agent. OP-ART GOWN At 7:30 Barbra emerges in a floor-length, op-art gown of hand-sewn sequins in 20 colors and six-inch triangle earrings with bolts of lightning through them like Captain Marvel emblems. Mondrian eyes sharpened with mascara and boyish hairdo slicked back behind her ears, she is ready for the first number. A 25-man production crew, a trained nurse, her personal staff and a few favored members of the press watch as bongo drums blare from portable speakers and Barbra shimmies past walls filled with Cezanne watercolors and Matisse still-lifes shaking on their brackets. The number is repeated a dozen times before choreographer Joe Layton bounces through in white tennis shoes and white turtle-neck sweater crying, &quot;It&apos;s awful. It needs work.&quot; By 9:30 the test pattern is adjusted and the color cameras are ready for the fourth tape of the first song. A cameraman crushes out a forbidden cigarette on a valuable piece of 100-year-old Rumanian oak while a guard isn&apos;t looking. &quot;Let&apos;s go, Barb!&quot; &quot;I gotta get up?&quot; cries the star. Hard looks from Joe Layton. Barbra gets up. &quot;She&apos;s not dumb,&quot; says a CBS official. &quot;She heads two corporations &#8212; one packages her specials, pays her everything, then the profit she makes is the difference between her expenses and what CBS pays her. This includes her salary. It&apos;s a one-woman show, so it would be very weird if she was not the boss.&quot; By 11:15 she comes out in a floor-length black satin maid&apos;s outfit with white over-apron, which she designed herself. Elliot Gould, her husband, arrives, wearing an official label so the guards will let him in. Barbra runs past 12 pillars and up 35 stone stairs singing &quot;Yesterdays.&quot; Then she collapses in a corner eating hot pastrami, sour green tomatoes, kosher pickles and stuffed gefilte fish from paper containers. &quot;My gums hurt,&quot; she cries. The crew throws color cables over the balcony of the museum&apos;s Great Hall, missing by inches a valuable Alexander Calder mobile and a priceless 17th-century Flemish tapestry. A museum official screams. Barbra&apos;s manager, Marty Erlichman, comes over. Marty is a friendly, bear-like fellow who discovered her at the Bon Soir fresh out of Erasmus High School, a smart, skinny, big-nosed girl who had a 93 average and a medal in Spanish. When he met Barbra he was a little-known talent agent working on Broadway. Now he heads his own company. &quot;For nine months I tried to get her a job. Every record company in the business turned her down. &apos;Change the clothes, change the nose, stop singing the cockamamy songs.&apos; Now it&apos;ll start all over when she hits Hollywood to make Funny Girl. They&apos;ll want to make her into Doris Day. But she sells the public Barbra, nothing else. She&apos;s never been bastardized or exploited. The main thing she&apos;s gotta learn is not to trust too much. The public is very fickle. Ten million people love you when you&apos;re an underdog on the way up, but nine and a half million of them hate you when you hit the top.&quot; FANS APPEAR At 2 A.M. a group of teenagers appeared at the museum with a kettle of hot chicken soup. &quot;Just give it to her,&quot; they yell through the locked doors. &quot;Could she just wave?&quot; Barbra is busily chewing sour green apple gum (her current favorite) in a lavender and silver Marie Antoinette costume with lavender wig and purple ostrich plumes. &quot;Get rid of them. They follow me everywhere. Sometimes they get my autograph three or four times in one night. Whatta ya think they do with all those autographs?&quot; The action continues through the next day, with no sleep. Barbra works very hard. Others stop to rest, but her extraordinary energy carries her through. Barbra playing a guillotine scene in the French Revolution. Barbra doing &quot;something based on Nefertiti.&quot; Electricians and reporters curl up on tabletops and behind potted palms, catnapping &quot;If the star gives up, everybody gives up. I gotta keep smiling,&quot; says Barbra. Gradually, the bits and pieces, the long shots and closeups, the takes and retakes that make up a smooth-looking show are assembled. Back in New York, part two was achieved through sheer tenacity. Barbra danced out onto a three-ring circus set. A baby elephant named Champagne roared so loudly that a baby llama nearby did a somersault. Barbra sang &quot;Funny Face&quot; in an orange ringmaster&apos;s costume. The horse reared, the penguins got sick under the hot lights and had to be carted off to a refrigerated area behind the set. The leopard refused to pose. Barbra had to worry not about being trampled to death but when to come in on cue. The show was behind schedule and the overtime was costing the star money. Four electricians chased a pig across the set and damaged part of the backdrop. The only light moment came when Barbra sang to an anteater named Izzy. &quot;He must be Jewish,&quot; she said, as they touched noses. More than 30 hours were spent on the circus segment, which runs only a few minutes on screen. Barbra&apos;s temper exploded. &quot;Too many people not connected with the show.&quot; &quot;Too many people staring at me &quot; The press was removed to the control room. By week&apos;s end there was nothing left to tape but the concert portion of the show. Barbra came out in a pale creamy gown with pearl drop earrings and pale lipstick, standing on a white spiral staircase under blue-turning-lavender lights, switching on the charm for an audience of teased hair girls and screaming teen-age fans&#8212;clowning, joking, kibitzing with her little dog Sadie (&quot;a hooked rug that barks&quot;). The magic shone through. Barbra became the public figure-gamine, appealing. By midnight some 200 hours of hard work were over. The grips packed up the set was struck. &quot;Great show! She&apos;ll make millions on the re-runs,&quot; said a control-room engineer. &quot;Give me Julie Andrews any day,&quot; said an electrician, wiping his forehead. In her dressing room, the star of the show was told she could finally go home to bed and for the first time that week, Barbra Streisand was on time. END

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  <blip:puredescription><![CDATA[Two masters got together on TV and sang one of the half-century&apos;s biggest hits: The Girl From Ipanema. The stars --Ol&apos; Blue Eyes, Frank Sinatra and the younger upstart, Antonio Carlos Jobim forever associated with the huge and unforgettable bossa nova hit. Antonio Carlos Jobim is credited with having invented a musical genre -- the sensual, spiritual bossa nova. The combination of sensual samba rhythms with jazz improvisation proved to be as irrestible as the sunrise seen from Rio. Jobim is thus associated with one of the signature sounds of the 1960s. It inspired a generation of jazz and pop singers and, for better or worse, it proved to be a lasting influence on today&apos;s dominant &quot;smooth jazz&quot; radio format.The LP, &quot;The Girl From Ipanema,&quot; was released shortly after Jobim&apos;s death. It is a complete tribute album in that jazz&apos;s finest performers vocally and instrumentally hug Jobim&apos;s fragile, intricate melodies. It was Stan Getz who helped Jobim introduce bossa nova to America. But after hearing Frank Sinatra&apos;s collaborations with Jobim on &quot;Dindi,&quot; &quot;Corcovado,&quot; and &quot;How Insensitive&quot; (all on their classic 1967 album), these versions by Astrud Gilberto, Sarah Vaughn and even virtuoso guitarist Wes Montgomery compare poorly. Yet Shirley Horn&apos;s spare reading of &quot;Once I Loved&quot; (the newest track, from 1988) is suitably sun-kissed and sanguine after seven minutes. Ella Fitzgerald&apos;s sprightly &quot;Desafinado&quot; bests the Ray Charles Singers&apos; charted version.&quot;The Girl From Ipanema&quot; gently introduces fans of other jazz genres to the heart of this master singer, instrumentalist, and songwriter. But also check out Ella Fitzgerals&apos;s complete Jobim tribute (on Pablo Records) from 1980, Frank Sinatra&apos;s collaborations with Jobim on Reprise and, by all means, the original classic Getz/Gilberto debut from 1964.]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AfrFZAI.html?p=1" width="480" height="291" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AfrFZAI" style="display:none"></embed>
<br />

Two masters got together on TV and sang one of the half-century&apos;s biggest hits: The Girl From Ipanema. The stars --Ol&apos; Blue Eyes, Frank Sinatra and the younger upstart, Antonio Carlos Jobim forever associated with the huge and unforgettable bossa nova hit. Antonio Carlos Jobim is credited with having invented a musical genre -- the sensual, spiritual bossa nova. The combination of sensual samba rhythms with jazz improvisation proved to be as irrestible as the sunrise seen from Rio. Jobim is thus associated with one of the signature sounds of the 1960s. It inspired a generation of jazz and pop singers and, for better or worse, it proved to be a lasting influence on today&apos;s dominant &quot;smooth jazz&quot; radio format.The LP, &quot;The Girl From Ipanema,&quot; was released shortly after Jobim&apos;s death. It is a complete tribute album in that jazz&apos;s finest performers vocally and instrumentally hug Jobim&apos;s fragile, intricate melodies. It was Stan Getz who helped Jobim introduce bossa nova to America. But after hearing Frank Sinatra&apos;s collaborations with Jobim on &quot;Dindi,&quot; &quot;Corcovado,&quot; and &quot;How Insensitive&quot; (all on their classic 1967 album), these versions by Astrud Gilberto, Sarah Vaughn and even virtuoso guitarist Wes Montgomery compare poorly. Yet Shirley Horn&apos;s spare reading of &quot;Once I Loved&quot; (the newest track, from 1988) is suitably sun-kissed and sanguine after seven minutes. Ella Fitzgerald&apos;s sprightly &quot;Desafinado&quot; bests the Ray Charles Singers&apos; charted version.&quot;The Girl From Ipanema&quot; gently introduces fans of other jazz genres to the heart of this master singer, instrumentalist, and songwriter. But also check out Ella Fitzgerals&apos;s complete Jobim tribute (on Pablo Records) from 1980, Frank Sinatra&apos;s collaborations with Jobim on Reprise and, by all means, the original classic Getz/Gilberto debut from 1964.

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  <title>Diana Damrau: Queen of the Night from The Magic Flute</title>
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  <blip:puredescription><![CDATA[Diana Damrau studied with Carmen Hanganu at the Musikhochschule W&#252;rzburg. After graduating. she worked in Salzburg with Hanna Ludwig. She has sung in venues throughout the world --the Vienna State Opera, the Metropolitan Opera New York, Covent Garden, the Bavarian State Opera, Munich and the Salzburg Festival. She was invited to sing the title role in Antonio Salieri&apos;s Europa riconosciuta at the re-opening of La Scala, Milan in 2004, under the baton of Riccardo Muti. The Magic Flute (German Die Zauberfl&#246;te, K. 620), composed in 1791, is an opera in two acts by Wolfgang Amadeus Mozart. The libretto is by Emanuel Schikaneder. The work is a Singspiel, a popular form that included both singing and spoken dialogue. The opera premiered in Vienna September 30, 1791 at the suburban Freihaus-Theater auf der Wieden with Mozart conducting. The role of the Queen of the Night was sung by Mozart&apos;s sister-in-law Josepha Hofer. It was immediately evident that Mozart and Schikaneder had achieved a great success and contempory accounts report the opera drawing immense crowds during hundreds of performances during the 1790s.]]></blip:puredescription>
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<br />

Diana Damrau studied with Carmen Hanganu at the Musikhochschule W&#252;rzburg. After graduating. she worked in Salzburg with Hanna Ludwig. She has sung in venues throughout the world --the Vienna State Opera, the Metropolitan Opera New York, Covent Garden, the Bavarian State Opera, Munich and the Salzburg Festival. She was invited to sing the title role in Antonio Salieri&apos;s Europa riconosciuta at the re-opening of La Scala, Milan in 2004, under the baton of Riccardo Muti. The Magic Flute (German Die Zauberfl&#246;te, K. 620), composed in 1791, is an opera in two acts by Wolfgang Amadeus Mozart. The libretto is by Emanuel Schikaneder. The work is a Singspiel, a popular form that included both singing and spoken dialogue. The opera premiered in Vienna September 30, 1791 at the suburban Freihaus-Theater auf der Wieden with Mozart conducting. The role of the Queen of the Night was sung by Mozart&apos;s sister-in-law Josepha Hofer. It was immediately evident that Mozart and Schikaneder had achieved a great success and contempory accounts report the opera drawing immense crowds during hundreds of performances during the 1790s.

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  <blip:puredescription><![CDATA[My video version of Loreena McKennitts of &quot;The Lady of Shallot&quot; with lyrics from the famous poem by Tennyson. The painting is by Waterhouse and may be seen in the Tate Gallery in London.]]></blip:puredescription>
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<br />

My video version of Loreena McKennitts of &quot;The Lady of Shallot&quot; with lyrics from the famous poem by Tennyson. The painting is by Waterhouse and may be seen in the Tate Gallery in London.

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  <blip:puredescription><![CDATA[Pairing Edward Hopper&apos;s &apos;sunny&apos; paintings with the wonderful music Percy Faith composed for &apos;A Summer Place&apos; reveals another side of Hopper, often seen as bleak, psychological stark despite the wonderful use of &apos;Vermeer&apos; blue and yellow.]]></blip:puredescription>
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<br />

Pairing Edward Hopper&apos;s &apos;sunny&apos; paintings with the wonderful music Percy Faith composed for &apos;A Summer Place&apos; reveals another side of Hopper, often seen as bleak, psychological stark despite the wonderful use of &apos;Vermeer&apos; blue and yellow.

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  <blip:puredescription><![CDATA[&quot;Ashokan Farewell&quot; was composed by Jay Ungar in 1982 and later used as the title theme of the 1990 PBS television miniseries, The Civil War.&quot;Ashokan Farewell&quot; is a waltz in D Major which Unger said resulted from his desire to write a &apos;Scottish lament&apos;. The piece typically begins with a violin solo later joined by the guitar. Before its use as in the PBS Series, &apos;The Civil War&apos;, it was included in the album, &quot;Waltz of the Wind.&quot; The musicians included Ungar and his wife, Molly Mason, who gave the tune its name. It has served as a goodnight or farewell waltz at the annual Ashokan Fiddle &amp; Dance Camps that Ungar and Mason run at the lakefront Ashokan Field Campus of the State University of New York at New Paltz. The Civil War is a documentary film by Ken Burns about the American Civil War. PBS aired the series for five consecutive nights in September 27, 1990. At the time, some forty million viewers watched. It remains one of the most popular programs ever broadcast on PBS. , As a documentary of 11 hours, &apos;The Civil War&apos; drew heavily upon more than 16,000 archival photographs, paintings, and newspaper images of the period. Much of the the cinematopgraphy was contemporary. The narration by David McCullogh was enhanced with anecdotes and insights from historians Shelby Foote, Barbara J. Fields, Ed Bearss, and Stephen B. Oates. Gifted actors provided voice characterizations: Sam Waterston as Abraham Lincoln, Jason Robards as Ulysses S. Grant, Garrison Keillor as Walt Whitman, and Morgan Freeman as Frederick Douglass. A re-mastered film was released on its twelfth anniversary of its release.Filmmaker Ken Burns heard &quot;Ashokan Farewell&quot; in 1984 and &quot;was moved by it&quot;, using it in two films, most prominently &apos;The Civil War&apos; and his 1985 documentary --Huey Long. But it was certainly &apos;The Civil War&apos; which brought the tune national attention. It was played 25 times during the eleven hours of the series. It was popularly but erroneously believed that the tune was a traditional tune of the Civil War era. In fact, it is the only contemporary composition in the series. Every other piece of music is authentic 19th Century.]]></blip:puredescription>
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<br />

&quot;Ashokan Farewell&quot; was composed by Jay Ungar in 1982 and later used as the title theme of the 1990 PBS television miniseries, The Civil War.&quot;Ashokan Farewell&quot; is a waltz in D Major which Unger said resulted from his desire to write a &apos;Scottish lament&apos;. The piece typically begins with a violin solo later joined by the guitar. Before its use as in the PBS Series, &apos;The Civil War&apos;, it was included in the album, &quot;Waltz of the Wind.&quot; The musicians included Ungar and his wife, Molly Mason, who gave the tune its name. It has served as a goodnight or farewell waltz at the annual Ashokan Fiddle &amp; Dance Camps that Ungar and Mason run at the lakefront Ashokan Field Campus of the State University of New York at New Paltz. The Civil War is a documentary film by Ken Burns about the American Civil War. PBS aired the series for five consecutive nights in September 27, 1990. At the time, some forty million viewers watched. It remains one of the most popular programs ever broadcast on PBS. , As a documentary of 11 hours, &apos;The Civil War&apos; drew heavily upon more than 16,000 archival photographs, paintings, and newspaper images of the period. Much of the the cinematopgraphy was contemporary. The narration by David McCullogh was enhanced with anecdotes and insights from historians Shelby Foote, Barbara J. Fields, Ed Bearss, and Stephen B. Oates. Gifted actors provided voice characterizations: Sam Waterston as Abraham Lincoln, Jason Robards as Ulysses S. Grant, Garrison Keillor as Walt Whitman, and Morgan Freeman as Frederick Douglass. A re-mastered film was released on its twelfth anniversary of its release.Filmmaker Ken Burns heard &quot;Ashokan Farewell&quot; in 1984 and &quot;was moved by it&quot;, using it in two films, most prominently &apos;The Civil War&apos; and his 1985 documentary --Huey Long. But it was certainly &apos;The Civil War&apos; which brought the tune national attention. It was played 25 times during the eleven hours of the series. It was popularly but erroneously believed that the tune was a traditional tune of the Civil War era. In fact, it is the only contemporary composition in the series. Every other piece of music is authentic 19th Century.

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  <blip:puredescription><![CDATA[John William Coltrane (September 23, 1926 in Hamlet, North Carolina &#8211; July 17, 1967) was an American jazz saxophonist and composer.Though he was active before 1955, his prime years were between 1955 and 1967, during which time he reshaped modern jazz and influenced successive generations of other musicians. The music recorded during this time period ranges from some of the most influential hard bop of the 50s into increasingly atonal explorations which eventually end up in the free jazz of his late period.--John Coltrane, Last FM The John Coltrane Reference. Details about the just-released Coltrane chronology/discography. Biography. A far too brief sketch of the details of Coltrane&apos;s life. Discography. An abbreviated version of the last half of The Recordings of John Coltrane: A Discography, with all the updates. The balance of the discography (and indices) will make it online someday, I hope... News. News items from far and wide, of some relevance to the legacy of John Coltrane. Coltrane FirstHand. A neat section which grew out of contributions to the John Coltrane List, which preserves individual recollections of Coltrane in performance. Frequently Asked Questions. A group of responses to some questions which seems to reoccur regularly. Live at the Village Vanguard. When the box set first came out in 1997 I put together this page with details on the set. I&apos;ve kept it online for the information it contains about those exceptional performances.--John Coltrane]]></blip:puredescription>
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<br />

John William Coltrane (September 23, 1926 in Hamlet, North Carolina &#8211; July 17, 1967) was an American jazz saxophonist and composer.Though he was active before 1955, his prime years were between 1955 and 1967, during which time he reshaped modern jazz and influenced successive generations of other musicians. The music recorded during this time period ranges from some of the most influential hard bop of the 50s into increasingly atonal explorations which eventually end up in the free jazz of his late period.--John Coltrane, Last FM The John Coltrane Reference. Details about the just-released Coltrane chronology/discography. Biography. A far too brief sketch of the details of Coltrane&apos;s life. Discography. An abbreviated version of the last half of The Recordings of John Coltrane: A Discography, with all the updates. The balance of the discography (and indices) will make it online someday, I hope... News. News items from far and wide, of some relevance to the legacy of John Coltrane. Coltrane FirstHand. A neat section which grew out of contributions to the John Coltrane List, which preserves individual recollections of Coltrane in performance. Frequently Asked Questions. A group of responses to some questions which seems to reoccur regularly. Live at the Village Vanguard. When the box set first came out in 1997 I put together this page with details on the set. I&apos;ve kept it online for the information it contains about those exceptional performances.--John Coltrane

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  <blip:puredescription><![CDATA[Back in 1960, few could have known that an improbable musical called &quot;The Fantasticks&quot; was destined to become the world&apos;s longest running musical --on or off broadway. Like many things &quot;New York&quot;, the &apos;Fantasticks&apos; might have fallen victim to 911 but, in fact, it&apos;s closing had been announced on September 6, 2001. Like all closings theatrical, a general decline in box office sales and attendance is blamed. In a run of some 42 years, the &quot;Fantasticks&quot; established an enviable record of 17,162 performances. The musical is known for the songs &quot;Try to Remember&quot; and &quot;Soon It&apos;s Gonna Rain&quot; and is often called a &quot;mock version&quot; of Romeo and Juliet&quot;. The two families do not really feud as is the case in Shakespeare. In the &apos;Fantasticks&apos;, two fathers feign a feud, encouraging young love with a bit of &apos;reverse psychology&apos;. Syracuse Stage&apos;s production is composed of a treasury of talent. Amster&apos;s actors master his choreography during the &quot;Abduction Ballet&quot; scene, wherein El Gallo and his two cronies kidnap Luisa and feign defeat at Matt&apos;s hands. Emmy award-winner Norris commands attention as Henry, &quot;The Old Actor,&quot; whenever he speaks. Studwell&apos;s baritone voice booms as El Gallo during the famous number &quot;Try to Remember&quot; and cooperates with Matt&apos;s equally capable singing during their duet, &quot;I Can See It.&quot; Marrero costumes the cast in excellent, eclectic garb. To name a few, El Gallo sports a swooshing cape, the fathers wear comfy-looking overalls and gardening gloves, Mortimer dresses as a pirate, and the Mute in her horizontal-stripe outfit looks like she came directly from an avenue in Paris. Bradley&apos;s inspired set design also seems influenced by artistic references; in the beginning, El Gallo enters in front of a cloudy backdrop with a bowler hat and a green apple covering his face, much like the Magritte painting &quot;The Son of Man.&quot; Later, when Luisa and Matt meet in the woods, The Mute &quot;pulls&quot; down another large backdrop of cubist-ish depictions of leaves. The wooden stage itself, though, remains true to the original Fantasticks - it looks flat and spare but is full of hidden openings for actors to scoot in and out of and to hold innovative props like musical instruments for the Mute to discreetly discover and sound off. --Mark Tedeschi, Syracuse stage&apos;s production of long time favoriteThe Fantasticks is a sentimental favorite with me. As a high-schooler, I played &quot;Mortimer&quot;, the man who dies. It was a local, amateur production in an improbable part of Texas. But we played to packed houses every night. My character, that of a grandiloquent old Shakespearean, was not intuitive, not a case of &apos;type-casting&apos; to be sure. Nevertheless, I managed to do a &apos;hammy&apos; death scene for lots of guffaws and an ovation.]]></blip:puredescription>
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<br />

Back in 1960, few could have known that an improbable musical called &quot;The Fantasticks&quot; was destined to become the world&apos;s longest running musical --on or off broadway. Like many things &quot;New York&quot;, the &apos;Fantasticks&apos; might have fallen victim to 911 but, in fact, it&apos;s closing had been announced on September 6, 2001. Like all closings theatrical, a general decline in box office sales and attendance is blamed. In a run of some 42 years, the &quot;Fantasticks&quot; established an enviable record of 17,162 performances. The musical is known for the songs &quot;Try to Remember&quot; and &quot;Soon It&apos;s Gonna Rain&quot; and is often called a &quot;mock version&quot; of Romeo and Juliet&quot;. The two families do not really feud as is the case in Shakespeare. In the &apos;Fantasticks&apos;, two fathers feign a feud, encouraging young love with a bit of &apos;reverse psychology&apos;. Syracuse Stage&apos;s production is composed of a treasury of talent. Amster&apos;s actors master his choreography during the &quot;Abduction Ballet&quot; scene, wherein El Gallo and his two cronies kidnap Luisa and feign defeat at Matt&apos;s hands. Emmy award-winner Norris commands attention as Henry, &quot;The Old Actor,&quot; whenever he speaks. Studwell&apos;s baritone voice booms as El Gallo during the famous number &quot;Try to Remember&quot; and cooperates with Matt&apos;s equally capable singing during their duet, &quot;I Can See It.&quot; Marrero costumes the cast in excellent, eclectic garb. To name a few, El Gallo sports a swooshing cape, the fathers wear comfy-looking overalls and gardening gloves, Mortimer dresses as a pirate, and the Mute in her horizontal-stripe outfit looks like she came directly from an avenue in Paris. Bradley&apos;s inspired set design also seems influenced by artistic references; in the beginning, El Gallo enters in front of a cloudy backdrop with a bowler hat and a green apple covering his face, much like the Magritte painting &quot;The Son of Man.&quot; Later, when Luisa and Matt meet in the woods, The Mute &quot;pulls&quot; down another large backdrop of cubist-ish depictions of leaves. The wooden stage itself, though, remains true to the original Fantasticks - it looks flat and spare but is full of hidden openings for actors to scoot in and out of and to hold innovative props like musical instruments for the Mute to discreetly discover and sound off. --Mark Tedeschi, Syracuse stage&apos;s production of long time favoriteThe Fantasticks is a sentimental favorite with me. As a high-schooler, I played &quot;Mortimer&quot;, the man who dies. It was a local, amateur production in an improbable part of Texas. But we played to packed houses every night. My character, that of a grandiloquent old Shakespearean, was not intuitive, not a case of &apos;type-casting&apos; to be sure. Nevertheless, I managed to do a &apos;hammy&apos; death scene for lots of guffaws and an ovation.

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  <blip:puredescription><![CDATA[Route 66 was a hit series on American television at a time when quality television was not uncommon. The series centered around the adventures of two young men who traveled across America, most via the famous Route 66 across the American west all the way to the Pacific at Los Angeles.The CBS series was weekly from 1960 to 1964. It starred Martin Milner as Tod Stiles and, for two and a half seasons, George Maharis as Buz Murdock.Maharis was ill for much of the third season, during which time Tod was shown traveling on his own. Tod met Lincoln Case, played by Glenn Corbett, late in the third season, and traveled with him until the end of the fourth and final season.The series is remembered for its iconic Corvette convertible. Another memorable legacy of the series was the distinctive instrumental theme song composed and performed by Nelson Riddle. It was a big pop hit as well as a major &apos;turntable&apos; hit on many MOR stations.]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AdzhUgI.html?p=1" width="480" height="375" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AdzhUgI" style="display:none"></embed>
<br />

Route 66 was a hit series on American television at a time when quality television was not uncommon. The series centered around the adventures of two young men who traveled across America, most via the famous Route 66 across the American west all the way to the Pacific at Los Angeles.The CBS series was weekly from 1960 to 1964. It starred Martin Milner as Tod Stiles and, for two and a half seasons, George Maharis as Buz Murdock.Maharis was ill for much of the third season, during which time Tod was shown traveling on his own. Tod met Lincoln Case, played by Glenn Corbett, late in the third season, and traveled with him until the end of the fourth and final season.The series is remembered for its iconic Corvette convertible. Another memorable legacy of the series was the distinctive instrumental theme song composed and performed by Nelson Riddle. It was a big pop hit as well as a major &apos;turntable&apos; hit on many MOR stations.

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  <blip:puredescription><![CDATA[Invasion of the Body Snatchers is a 1956 science fiction film based on the novel The Body Snatchers by Jack Finney (originally serialized in Colliers Magazine in 1954). It stars Kevin McCarthy, Dana Wynter, King Donovan, and Carolyn Jones. The screenplay was adapted from Finney&apos;s novel by Daniel Mainwaring, along with an uncredited Richard Collins, and was directed by Don Siegel.Set in the fictional town of Santa Mira, California (actually shot in Sierra Madre), the plot centers on Dr. Miles Bennell (Kevin McCarthy), a local doctor, who finds a rash of patients accusing their loved ones of being impostors. Another patient is a former sweetheart of his; recent divorcee Becky Driscoll (Dana Wynter), who tells him that her cousin, Wilma, has this same strange fear about Uncle Ira. Assured at first by the town psychiatrist Dr. Dan Kaufman (Larry Gates), that the cases are nothing but &quot;epidemic mass hysteria&quot;, Bennell soon discovers, with the help of his friend Jack Belicec (King Donovan), that the townspeople are in fact being replaced by simulations grown from plantlike pods; perfect physical duplicates who kill and dispose of their human victims. The Pod People are indistinguishable from normal people, except for their utter lack of emotion. The pod people work together to secretly spread more pods &#8212; which grew from &quot;seeds drifting through space for years&quot; &#8212; in order to replace the entire human race. The film climaxes with Bennell and Driscoll attempting to escape the pod people, intending to warn the rest of humanity. They hide; Driscoll falls asleep and is subverted. With the pod people close behind, a seemingly crazed Bennell runs onto the highway frantically screaming of the alien force which has overrun Santa Mira to the passing motorists and (in a moment that could almost be considered a breaking of the 4th wall) looks into the camera and yells, &quot;They&apos;re here already! You&apos;re next!&quot;Anyone who can watch &apos;The Invasion of the Body Snatchers&apos; and fail to see the GOP is most probably a &apos;pod person&apos; themselves. Always shrill, the right wing is hysterical. They&apos;re afraid that Obama will succeed as EVERY GOP &apos;President&apos; since Ronald Reagan had been miserable, dismal failures. THEY&apos;RE HERE!!!!!]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AdbGDAI.html?p=1" width="480" height="375" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AdbGDAI" style="display:none"></embed>
<br />

Invasion of the Body Snatchers is a 1956 science fiction film based on the novel The Body Snatchers by Jack Finney (originally serialized in Colliers Magazine in 1954). It stars Kevin McCarthy, Dana Wynter, King Donovan, and Carolyn Jones. The screenplay was adapted from Finney&apos;s novel by Daniel Mainwaring, along with an uncredited Richard Collins, and was directed by Don Siegel.Set in the fictional town of Santa Mira, California (actually shot in Sierra Madre), the plot centers on Dr. Miles Bennell (Kevin McCarthy), a local doctor, who finds a rash of patients accusing their loved ones of being impostors. Another patient is a former sweetheart of his; recent divorcee Becky Driscoll (Dana Wynter), who tells him that her cousin, Wilma, has this same strange fear about Uncle Ira. Assured at first by the town psychiatrist Dr. Dan Kaufman (Larry Gates), that the cases are nothing but &quot;epidemic mass hysteria&quot;, Bennell soon discovers, with the help of his friend Jack Belicec (King Donovan), that the townspeople are in fact being replaced by simulations grown from plantlike pods; perfect physical duplicates who kill and dispose of their human victims. The Pod People are indistinguishable from normal people, except for their utter lack of emotion. The pod people work together to secretly spread more pods &#8212; which grew from &quot;seeds drifting through space for years&quot; &#8212; in order to replace the entire human race. The film climaxes with Bennell and Driscoll attempting to escape the pod people, intending to warn the rest of humanity. They hide; Driscoll falls asleep and is subverted. With the pod people close behind, a seemingly crazed Bennell runs onto the highway frantically screaming of the alien force which has overrun Santa Mira to the passing motorists and (in a moment that could almost be considered a breaking of the 4th wall) looks into the camera and yells, &quot;They&apos;re here already! You&apos;re next!&quot;Anyone who can watch &apos;The Invasion of the Body Snatchers&apos; and fail to see the GOP is most probably a &apos;pod person&apos; themselves. Always shrill, the right wing is hysterical. They&apos;re afraid that Obama will succeed as EVERY GOP &apos;President&apos; since Ronald Reagan had been miserable, dismal failures. THEY&apos;RE HERE!!!!!

]]></description>
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  <link>http://blip.tv/vaquero/vincent-1346607</link>
  <title>Vincent</title>
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  <blip:puredescription><![CDATA[I was introduced to the art of Vincent van Gogh at the movies, specifically the incredible performance of Kirk Douglas as Vincent in Vincente Minnelli&apos;s film version of &quot;Lust for Life&quot;, the novel by Irving Stone. Vincent&apos;s life is well-known not only for the film but also his often poignant letters to his brother Theo. Vincent was Born in Groot-Zundert, Holland. He was the son of a pastor and grew up in a cultured, religious atmosphere. His decision to become an artist was complicated by two unhappy romances, his lack of self-confidence, and his unsuccessful, short careers as bookstore clerk and art salesman. His career as a &apos;preacher&apos; in the Borinage, a grim coal mining district in Belgium, ended in his abrupt dismissal for &apos;being overzealous&apos;. He remained in Belgium to study art. His works of this period are oftern crude and somber, a style bestd exemplified by his &apos;masterpiece&apos; of the period: &apos;The Potato Eaters&apos;. Joining his brother in Paris, Vincent met Pissaro, Monet, Seurat and Gauguin. At first, his brush strokes were short ala the impressionists but lengthened as his own style developed. He had hoped to establish a school of art in Arles where he was joined by Gauguin. The results were disastrous. The infamous episode in which he is said to have cut off part of his ear may have resulted from either an epileptic fit, a quarrel or both. From that point, Vincent suffered periodic madness. While under &apos;treatment&apos; by Dr. Gachet, Vincent shot himself --as he had written --&quot;for the good of all.&quot; Vincent produced his finest work in a period of only three years and sold only one painting in his life. Now --his paintings are priceless and his letters to Theo are preserved as literature.]]></blip:puredescription>
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<br />

I was introduced to the art of Vincent van Gogh at the movies, specifically the incredible performance of Kirk Douglas as Vincent in Vincente Minnelli&apos;s film version of &quot;Lust for Life&quot;, the novel by Irving Stone. Vincent&apos;s life is well-known not only for the film but also his often poignant letters to his brother Theo. Vincent was Born in Groot-Zundert, Holland. He was the son of a pastor and grew up in a cultured, religious atmosphere. His decision to become an artist was complicated by two unhappy romances, his lack of self-confidence, and his unsuccessful, short careers as bookstore clerk and art salesman. His career as a &apos;preacher&apos; in the Borinage, a grim coal mining district in Belgium, ended in his abrupt dismissal for &apos;being overzealous&apos;. He remained in Belgium to study art. His works of this period are oftern crude and somber, a style bestd exemplified by his &apos;masterpiece&apos; of the period: &apos;The Potato Eaters&apos;. Joining his brother in Paris, Vincent met Pissaro, Monet, Seurat and Gauguin. At first, his brush strokes were short ala the impressionists but lengthened as his own style developed. He had hoped to establish a school of art in Arles where he was joined by Gauguin. The results were disastrous. The infamous episode in which he is said to have cut off part of his ear may have resulted from either an epileptic fit, a quarrel or both. From that point, Vincent suffered periodic madness. While under &apos;treatment&apos; by Dr. Gachet, Vincent shot himself --as he had written --&quot;for the good of all.&quot; Vincent produced his finest work in a period of only three years and sold only one painting in his life. Now --his paintings are priceless and his letters to Theo are preserved as literature.

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  <blip:puredescription><![CDATA[The American painter, Edward Hopper, is among the few artists who truly captured the soul of an era. HIs paintings --of lonely lighthouses, nude women staring into space from nearly empty rooms, brick store fronts the color of dried blood --capture, as few other artists have captured, both the spirit and the alienation of an age. It could be a still-frame from an Alfred Hitchcock movie &#8211;a stately lighthouse towering above eyelevel. Were not the blues so beautiful and rich it would be bleak.A window lit interior would be reminiscent of Vermeer but for the missing tapestries. There are no virginals, no Sixteenth Century maps. Just a young woman staring blankly out the open window at nothing at all. Hopper&apos;s most famous painting is Night Hawks of 1942 --a depiction of a near empty diner in the wee, small hours of the morning. It is a tour-de-force of American &quot;film noir&quot;. The man in the fedora could be Sam Spade; his female companion --a leggy client. It is fitting that a parody of this painting is almost as famous as the original. In it, the diner is peopled by Humphrey Bogart, Marilyn Monroe, and James Dean. Like these personalities both Hopper and his satirists have captured the essence of American alienation --people in public, together, but alone, and at night. If the street outside is not wet, it should be and will be, soon; if not tonight, some night! Hopper is relevant today in the same way that Casablanca --also a product of the war year 1942 is relevant. Both capture the frustration of people in an uncaring world. The problems of two people don&apos;t amount to a hill of beans in a crazy, mixed-up world on the brink of WWIII or another great depression. Here&#8217;s lookin&#8217; at you kid. Hopper himself claims no such intentions. His purpose --he says --was merely to capture the play of light and shade. That he succeeded so brilliantly is undeniable. However, Hopper himself acknowledged viewers&#8217; interpretations even if he did not agree with them. Of one of his paintings, he wrote:&quot;The picture is an attempt to paint sunlight as white, with almost or no yellow pigment in the white. Any psychologic [Sic] idea will have to be supplied by the viewer.&quot; Unlike other American artists, Hopper had never intended to develop an &#8220;American&#8221; style but did so in spite of himself. His goal was more modest. &apos;I guess I&apos;m not very human. All I really want to do is paint light on the side of a house.&apos;&quot;He succeeded admirably. His painting of 1925, House by the Railroad, is a study of sunlight on the side of a house, to be sure, but it is much more besides. The low vantage point, like that of his famous lighthouse, is as edgy as the Bates. We are curious but not enough to want to go inside. Like his silent, lonely human observers, the fa&#231;ade that stares out &#8211;at you!Hopper&#8217;s compositions are minimalist. But it would be uncharacteristic of Hopper to have done so out of belief in a doctrine like &quot;less is more&quot;. No! Hopper was just being Hopper when in 1951, he returned to the open window to the sea theme. This time he left out the staring woman.Stare at a Hopper long enough and you will find yourself in Hopper&#8217;s universe beside the young woman staring out the open window, among the anonymous souls together and alone in the diner, like the stately lighthouse which regards a vast but empty ocean. It was Friedrich Nietzche who said that if you stare into the abyss long enough, it will stare back at you. Is that what it means to be alone?]]></blip:puredescription>
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<br />

The American painter, Edward Hopper, is among the few artists who truly captured the soul of an era. HIs paintings --of lonely lighthouses, nude women staring into space from nearly empty rooms, brick store fronts the color of dried blood --capture, as few other artists have captured, both the spirit and the alienation of an age. It could be a still-frame from an Alfred Hitchcock movie &#8211;a stately lighthouse towering above eyelevel. Were not the blues so beautiful and rich it would be bleak.A window lit interior would be reminiscent of Vermeer but for the missing tapestries. There are no virginals, no Sixteenth Century maps. Just a young woman staring blankly out the open window at nothing at all. Hopper&apos;s most famous painting is Night Hawks of 1942 --a depiction of a near empty diner in the wee, small hours of the morning. It is a tour-de-force of American &quot;film noir&quot;. The man in the fedora could be Sam Spade; his female companion --a leggy client. It is fitting that a parody of this painting is almost as famous as the original. In it, the diner is peopled by Humphrey Bogart, Marilyn Monroe, and James Dean. Like these personalities both Hopper and his satirists have captured the essence of American alienation --people in public, together, but alone, and at night. If the street outside is not wet, it should be and will be, soon; if not tonight, some night! Hopper is relevant today in the same way that Casablanca --also a product of the war year 1942 is relevant. Both capture the frustration of people in an uncaring world. The problems of two people don&apos;t amount to a hill of beans in a crazy, mixed-up world on the brink of WWIII or another great depression. Here&#8217;s lookin&#8217; at you kid. Hopper himself claims no such intentions. His purpose --he says --was merely to capture the play of light and shade. That he succeeded so brilliantly is undeniable. However, Hopper himself acknowledged viewers&#8217; interpretations even if he did not agree with them. Of one of his paintings, he wrote:&quot;The picture is an attempt to paint sunlight as white, with almost or no yellow pigment in the white. Any psychologic [Sic] idea will have to be supplied by the viewer.&quot; Unlike other American artists, Hopper had never intended to develop an &#8220;American&#8221; style but did so in spite of himself. His goal was more modest. &apos;I guess I&apos;m not very human. All I really want to do is paint light on the side of a house.&apos;&quot;He succeeded admirably. His painting of 1925, House by the Railroad, is a study of sunlight on the side of a house, to be sure, but it is much more besides. The low vantage point, like that of his famous lighthouse, is as edgy as the Bates. We are curious but not enough to want to go inside. Like his silent, lonely human observers, the fa&#231;ade that stares out &#8211;at you!Hopper&#8217;s compositions are minimalist. But it would be uncharacteristic of Hopper to have done so out of belief in a doctrine like &quot;less is more&quot;. No! Hopper was just being Hopper when in 1951, he returned to the open window to the sea theme. This time he left out the staring woman.Stare at a Hopper long enough and you will find yourself in Hopper&#8217;s universe beside the young woman staring out the open window, among the anonymous souls together and alone in the diner, like the stately lighthouse which regards a vast but empty ocean. It was Friedrich Nietzche who said that if you stare into the abyss long enough, it will stare back at you. Is that what it means to be alone?

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  <title>Darrow, Darwin, and Dayton</title>
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  <blip:puredescription><![CDATA[What Palin actually said was &quot;Yes, I have seen images of dinosaur fossils with human footprints in them!&quot;, a statement consistent with her attempts to get &apos;creationists&apos; put on school boards. By definition, a &apos;creationist&apos; believes that human beings were contemporary with dinosaurs. The first piece of evidence that Sarah Palin thinks man and dinosaur walked the earth together has finally emerged.I don&apos;t know &quot;valley activist&quot; Philip Munger,&quot; but I do know Salon&apos;s David Talbot, so I&apos;m inclined to belief at the very least that the reporting is accurate when Talbot quotes Mr. Munger as follows: Another valley activist, Philip Munger, says that Palin also helped push the evangelical drive to take over the Mat-Su Borough school board. &quot;She wanted to get people who believed in creationism on the board,&quot; said Munger, a music composer and teacher. &quot;I bumped into her once after my band played at a graduation ceremony at the Assembly of God. I said, &apos;Sarah, how can you believe in creationism -- your father&apos;s a science teacher.&apos; And she said, &apos;We don&apos;t have to agree on everything.&apos;&quot;I pushed her on the earth&apos;s creation, whether it was really less than 7,000 years old and whether dinosaurs and humans walked the earth at the same time. And she said yes, she&apos;d seen images somewhere of dinosaur fossils with human footprints in them.&quot;Sometimes you just wish God, assuming He does exist, would come down and say: &quot;You people are crazy. The idea that a nation of humans is considering electing you to high office frightens and insults Me.&quot;Micahel Tomaskys&apos;s Blog, Guardian UK--A &apos;creationist&apos; believes that human beings were contemporary with dinosaurs because &apos;creation&apos; took place just 6,000 years ago. Palin has long espoused &apos;creationism&apos;, a belief that Genesis is a literal history. If so, all creation took place over a period of seven days about 6,000 years ago, thus: the creationist believes that humans and dinosaurs co-existed. And not just in Jurassic park or Alley Oop comic strips.Soon after Sarah Palin was elected mayor of the foothill town of Wasilla, Alaska, she startled a local music teacher by insisting in casual conversation that men and dinosaurs coexisted on an Earth created 6,000 years ago -- about 65 million years after scientists say most dinosaurs became extinct -- the teacher said.After conducting a college band and watching Palin deliver a commencement address to a small group of home-schooled students in June 1997, Wasilla resident Philip Munger said, he asked the young mayor about her religious beliefs.Palin told him that &quot;dinosaurs and humans walked the Earth at the same time,&quot; Munger said. When he asked her about prehistoric fossils and tracks dating back millions of years, Palin said &quot;she had seen pictures of human footprints inside the tracks,&quot; recalled Munger, who teaches music at the University of Alaska in Anchorage and has regularly criticized Palin in recent years on his liberal political blog, called Progressive Alaska.--Pam&apos;s House BlendThe &apos;footprints&apos; that were said to be human were not. That determination was made back by 1989. Claims that human tracks had been fossilized in pre-Tertiary rocks from other localities are &apos;not considered credible by ... mainstream scientists&apos; or &apos;major creationist groups&apos;. [See: The Paluxy Dinosaur/&apos;Man Track&apos; Controversy, Glen J, Kuban] It is fairly easy to dismiss the notion that the earth is but 6,000 years old. With nothing more elaborate than a sextant and the geometry known to Eratosthenes, it is possible to calculate the distance to stars much further than 6,000 light years from earth. [See: Goddard Spaceflight Center: Finding Distances to Stars] If the universe had been created in a mere seven days about 6,000 years ago, how is it possible that stars are visible to us?Our solar system is located on one of the spiral arms of a galaxy known to us as the Milky Way. In 1923 Edwin Hubble, for whom the space telescope is named, proved that the spectacular Andromeda galaxy was, in fact, the nearest galaxy to Earth at some 2 million light years distant. The Magellanic Clouds, irregular &quot;dwarf galaxies&quot;, are closer to Earth -- 165,000 light years and 195,000 light years respectively.Even though Andromeda is our nearest &apos;galactic&apos; neighbor it is also the most distant object that can still be seen without binoculars or an astronomical telescope. Because it is our nearest galactic neighbor, Andromeda had gotten a lot of attention over the last 100 years. Andromeda is relevant to the pseudo science of &apos;creationism&apos;. The fact that Andromeda can be seen in any way disproves the creationist belief that the universe (the &apos;firmament&apos;, as it is sometimes called) and the Earth within it were all created within a period of seven days about 6,000 years ago. Light reaching us from Andromeda can be proven to have begun its journey Earthward 2 million years ago. Six thousand years is astronomically insignificant. Even 2 million years is a short journey for a universe whose age and its size are linked inextricably in an Einsteinian way.Consider the known and proven distance to Andromeda --some 2 million light years. That means when we look up into the night sky and see Andromeda, we see it as it was two million years ago. We see the Magellanic Clouds as they were some 195 thousand years ago. If the Earth were but six thousand years old, the number of stars visible to Earth could counted on our fingers. It comes down to this: if we can look up at the sky at night and see Andromeda, &apos;creationists&apos; are wrong! Guess what! We can SEE Andromeda.]]></blip:puredescription>
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<br />

What Palin actually said was &quot;Yes, I have seen images of dinosaur fossils with human footprints in them!&quot;, a statement consistent with her attempts to get &apos;creationists&apos; put on school boards. By definition, a &apos;creationist&apos; believes that human beings were contemporary with dinosaurs. The first piece of evidence that Sarah Palin thinks man and dinosaur walked the earth together has finally emerged.I don&apos;t know &quot;valley activist&quot; Philip Munger,&quot; but I do know Salon&apos;s David Talbot, so I&apos;m inclined to belief at the very least that the reporting is accurate when Talbot quotes Mr. Munger as follows: Another valley activist, Philip Munger, says that Palin also helped push the evangelical drive to take over the Mat-Su Borough school board. &quot;She wanted to get people who believed in creationism on the board,&quot; said Munger, a music composer and teacher. &quot;I bumped into her once after my band played at a graduation ceremony at the Assembly of God. I said, &apos;Sarah, how can you believe in creationism -- your father&apos;s a science teacher.&apos; And she said, &apos;We don&apos;t have to agree on everything.&apos;&quot;I pushed her on the earth&apos;s creation, whether it was really less than 7,000 years old and whether dinosaurs and humans walked the earth at the same time. And she said yes, she&apos;d seen images somewhere of dinosaur fossils with human footprints in them.&quot;Sometimes you just wish God, assuming He does exist, would come down and say: &quot;You people are crazy. The idea that a nation of humans is considering electing you to high office frightens and insults Me.&quot;Micahel Tomaskys&apos;s Blog, Guardian UK--A &apos;creationist&apos; believes that human beings were contemporary with dinosaurs because &apos;creation&apos; took place just 6,000 years ago. Palin has long espoused &apos;creationism&apos;, a belief that Genesis is a literal history. If so, all creation took place over a period of seven days about 6,000 years ago, thus: the creationist believes that humans and dinosaurs co-existed. And not just in Jurassic park or Alley Oop comic strips.Soon after Sarah Palin was elected mayor of the foothill town of Wasilla, Alaska, she startled a local music teacher by insisting in casual conversation that men and dinosaurs coexisted on an Earth created 6,000 years ago -- about 65 million years after scientists say most dinosaurs became extinct -- the teacher said.After conducting a college band and watching Palin deliver a commencement address to a small group of home-schooled students in June 1997, Wasilla resident Philip Munger said, he asked the young mayor about her religious beliefs.Palin told him that &quot;dinosaurs and humans walked the Earth at the same time,&quot; Munger said. When he asked her about prehistoric fossils and tracks dating back millions of years, Palin said &quot;she had seen pictures of human footprints inside the tracks,&quot; recalled Munger, who teaches music at the University of Alaska in Anchorage and has regularly criticized Palin in recent years on his liberal political blog, called Progressive Alaska.--Pam&apos;s House BlendThe &apos;footprints&apos; that were said to be human were not. That determination was made back by 1989. Claims that human tracks had been fossilized in pre-Tertiary rocks from other localities are &apos;not considered credible by ... mainstream scientists&apos; or &apos;major creationist groups&apos;. [See: The Paluxy Dinosaur/&apos;Man Track&apos; Controversy, Glen J, Kuban] It is fairly easy to dismiss the notion that the earth is but 6,000 years old. With nothing more elaborate than a sextant and the geometry known to Eratosthenes, it is possible to calculate the distance to stars much further than 6,000 light years from earth. [See: Goddard Spaceflight Center: Finding Distances to Stars] If the universe had been created in a mere seven days about 6,000 years ago, how is it possible that stars are visible to us?Our solar system is located on one of the spiral arms of a galaxy known to us as the Milky Way. In 1923 Edwin Hubble, for whom the space telescope is named, proved that the spectacular Andromeda galaxy was, in fact, the nearest galaxy to Earth at some 2 million light years distant. The Magellanic Clouds, irregular &quot;dwarf galaxies&quot;, are closer to Earth -- 165,000 light years and 195,000 light years respectively.Even though Andromeda is our nearest &apos;galactic&apos; neighbor it is also the most distant object that can still be seen without binoculars or an astronomical telescope. Because it is our nearest galactic neighbor, Andromeda had gotten a lot of attention over the last 100 years. Andromeda is relevant to the pseudo science of &apos;creationism&apos;. The fact that Andromeda can be seen in any way disproves the creationist belief that the universe (the &apos;firmament&apos;, as it is sometimes called) and the Earth within it were all created within a period of seven days about 6,000 years ago. Light reaching us from Andromeda can be proven to have begun its journey Earthward 2 million years ago. Six thousand years is astronomically insignificant. Even 2 million years is a short journey for a universe whose age and its size are linked inextricably in an Einsteinian way.Consider the known and proven distance to Andromeda --some 2 million light years. That means when we look up into the night sky and see Andromeda, we see it as it was two million years ago. We see the Magellanic Clouds as they were some 195 thousand years ago. If the Earth were but six thousand years old, the number of stars visible to Earth could counted on our fingers. It comes down to this: if we can look up at the sky at night and see Andromeda, &apos;creationists&apos; are wrong! Guess what! We can SEE Andromeda.

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  <blip:puredescription><![CDATA[John Singer Sargent (January 12, 1856 &#8211; April 14, 1925) was the most successful portrait painter of his era,[1][2] During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. More...]]></blip:puredescription>
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John Singer Sargent (January 12, 1856 &#8211; April 14, 1925) was the most successful portrait painter of his era,[1][2] During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. More...

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  <blip:puredescription><![CDATA[Given the path our nation has taken over the last eight years, we must now reassess where we have been and whether we wish to remain there. The divisions are not merely &apos;racial&apos; now. One American is pitted against another based upon privilege and power. It is time again to consider &apos;what we need in the United States&apos;.Now, as then, we want justice for all human beings that &apos;reside in our land&apos;. For almost 10 years, in which we have waged war and mass murder upon populations having nothing to do with 911. We must, therefore, restore the principles of &apos;justice&apos; about which RFK spoke so profoundly, simply, from the heart and without notes, speech writers, press agents or spin doctors. Over the last eight years, justice has been subverted from within and from the top. Our enemies are not from without. The &apos;enemies&apos; are of our own invention, created that we might be subdued from within.We simply may not presume to impose by force a fiat that is without basis in law, justice, or compassion. Our own unfeeling government waged war upon us as well as against the people of Viet Nam. Did we learn nothing in the violent decade of the sixties when, in fact, we waged war upon ourselves?Did we learn nothing from the civil rights movement? Did we learn nothing from the deaths of John F. Kennedy, Martin Luther King, Robert Kennedy and many others to numerous to name? Martin Luther King, Jr. (January 15, 1929 &#8211; April 4, 1968) was an American clergyman, activist and prominent leader in the American civil rights movement. His main legacy was to secure progress on civil rights in the United States and he is frequently referenced as a human rights icon today.A Baptist minister, King became a civil rights activist early in his career. He led the Montgomery Bus Boycott (1955&#8211;6) and helped found the Southern Christian Leadership Conference (1957), serving as its first president. His efforts led to the 1963 March on Washington for Jobs and Freedom, where King delivered his &#8220;I Have a Dream&#8221; speech. There, he raised public consciousness of the civil rights movement and established himself as one of the greatest orators in U.S. history. ---WikiRobert Francis &quot;Bobby&quot; Kennedy (November 20, 1925 &#8211; June 6, 1968), also called RFK, was the United States Attorney General from 1961 to 1964 and a US Senator from New York from 1965 until his assassination in 1968. He was one of U.S. President John F. Kennedy&apos;s younger brothers, and also one of his most trusted advisers and worked closely with the president during the Cuban Missile Crisis. He also made a significant contribution to the African-American Civil Rights Movement.After the John F. Kennedy assassination in late 1963, Kennedy continued as Attorney General under President Johnson for nine months. He resigned in September 1964 and was elected to the United States Senate from New York that November. He broke with Johnson over the Vietnam War, among other issues.After Eugene McCarthy nearly defeated Johnson in the New Hampshire Primary in early 1968, Kennedy announced his own campaign for president, seeking the nomination of the Democratic Party. Kennedy defeated McCarthy in the critical California primary but was shot shortly after midnight of June 5, 1968, dying on June 6. On June 9, President Johnson assigned security staff to all Presidental candidates and declared an official day of national mourning in response to the public grief following Kennedy&apos;s death.--Wiki]]></blip:puredescription>
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<br />

Given the path our nation has taken over the last eight years, we must now reassess where we have been and whether we wish to remain there. The divisions are not merely &apos;racial&apos; now. One American is pitted against another based upon privilege and power. It is time again to consider &apos;what we need in the United States&apos;.Now, as then, we want justice for all human beings that &apos;reside in our land&apos;. For almost 10 years, in which we have waged war and mass murder upon populations having nothing to do with 911. We must, therefore, restore the principles of &apos;justice&apos; about which RFK spoke so profoundly, simply, from the heart and without notes, speech writers, press agents or spin doctors. Over the last eight years, justice has been subverted from within and from the top. Our enemies are not from without. The &apos;enemies&apos; are of our own invention, created that we might be subdued from within.We simply may not presume to impose by force a fiat that is without basis in law, justice, or compassion. Our own unfeeling government waged war upon us as well as against the people of Viet Nam. Did we learn nothing in the violent decade of the sixties when, in fact, we waged war upon ourselves?Did we learn nothing from the civil rights movement? Did we learn nothing from the deaths of John F. Kennedy, Martin Luther King, Robert Kennedy and many others to numerous to name? Martin Luther King, Jr. (January 15, 1929 &#8211; April 4, 1968) was an American clergyman, activist and prominent leader in the American civil rights movement. His main legacy was to secure progress on civil rights in the United States and he is frequently referenced as a human rights icon today.A Baptist minister, King became a civil rights activist early in his career. He led the Montgomery Bus Boycott (1955&#8211;6) and helped found the Southern Christian Leadership Conference (1957), serving as its first president. His efforts led to the 1963 March on Washington for Jobs and Freedom, where King delivered his &#8220;I Have a Dream&#8221; speech. There, he raised public consciousness of the civil rights movement and established himself as one of the greatest orators in U.S. history. ---WikiRobert Francis &quot;Bobby&quot; Kennedy (November 20, 1925 &#8211; June 6, 1968), also called RFK, was the United States Attorney General from 1961 to 1964 and a US Senator from New York from 1965 until his assassination in 1968. He was one of U.S. President John F. Kennedy&apos;s younger brothers, and also one of his most trusted advisers and worked closely with the president during the Cuban Missile Crisis. He also made a significant contribution to the African-American Civil Rights Movement.After the John F. Kennedy assassination in late 1963, Kennedy continued as Attorney General under President Johnson for nine months. He resigned in September 1964 and was elected to the United States Senate from New York that November. He broke with Johnson over the Vietnam War, among other issues.After Eugene McCarthy nearly defeated Johnson in the New Hampshire Primary in early 1968, Kennedy announced his own campaign for president, seeking the nomination of the Democratic Party. Kennedy defeated McCarthy in the critical California primary but was shot shortly after midnight of June 5, 1968, dying on June 6. On June 9, President Johnson assigned security staff to all Presidental candidates and declared an official day of national mourning in response to the public grief following Kennedy&apos;s death.--Wiki

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  <blip:puredescription><![CDATA[The Wiki entry for Spaghetti WesternsMore often called Italo-Westerns in Europe, Spaghetti Western is a nickname for a broad sub-genre of Western film that emerged in the mid-1960s, so named because most were produced by Italian studios, usually in coproduction with a Spanish partner. The typical team was made up of an Italian director, Spanish technical staff and a cast of Italian and Spanish actors sometimes surrounding a falling Hollywood star.The films were primarily shot in the Andalusia region of Spain, and in particular the Tabernas Desert of Almer&#237;a, because it resembles the American Southwest. (A few were shot on Sardinia.) Because of the desert setting and the readily available southern Spanish extras, a usual theme in Spaghetti Westerns is the Mexican Revolution, Mexican bandits, and the border region shared by Mexico and the U.S.]]></blip:puredescription>
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<br />

The Wiki entry for Spaghetti WesternsMore often called Italo-Westerns in Europe, Spaghetti Western is a nickname for a broad sub-genre of Western film that emerged in the mid-1960s, so named because most were produced by Italian studios, usually in coproduction with a Spanish partner. The typical team was made up of an Italian director, Spanish technical staff and a cast of Italian and Spanish actors sometimes surrounding a falling Hollywood star.The films were primarily shot in the Andalusia region of Spain, and in particular the Tabernas Desert of Almer&#237;a, because it resembles the American Southwest. (A few were shot on Sardinia.) Because of the desert setting and the readily available southern Spanish extras, a usual theme in Spaghetti Westerns is the Mexican Revolution, Mexican bandits, and the border region shared by Mexico and the U.S.

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<br />

HST is short-hand for the Hubble Space Telescope or just &apos;Hubble&apos;. Since 1990, this orbiting telescope, small by modern observatory standards, has photographed the cosmos from above atmospheric distortions, light pollution, and diffusion that plagues earth bound observatories. Not since Sir William Hershel unleashed the power of a telescope boasting a mirror diameter of some 70 inches have our horizons been so extended. It is the clarity, color, and detail combined that inspires our awe, as if we were, ourselves, peering through the orbiting telescope into the vastness of space and time. To say that the Hubble has expanded our vision and enlarged our image of a vast universe is understatement. Our view of the universe is changed.

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  <blip:puredescription><![CDATA[French film critics--notably Frank Nino in 1946 --had a word for many American films that were not only in black and white but also moody and &apos;downbeat&apos;, characterized by dark themes of crime, recrimination, betrayal, compromise and regret. The term was: film noir, literally &apos;black films&apos;. American crime and detective films were easily categorized in this manner. They include: The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), Laura (1944) and the Orson Welles classic of 1958, A Touch of Evil.]]></blip:puredescription>
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<br />

French film critics--notably Frank Nino in 1946 --had a word for many American films that were not only in black and white but also moody and &apos;downbeat&apos;, characterized by dark themes of crime, recrimination, betrayal, compromise and regret. The term was: film noir, literally &apos;black films&apos;. American crime and detective films were easily categorized in this manner. They include: The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), Laura (1944) and the Orson Welles classic of 1958, A Touch of Evil.

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  <blip:puredescription><![CDATA[The very word &apos;Frankenstein&apos; has come to mean &apos;monsters of our own creation&apos; but more generally, monsters beyond our control. &apos;Frankenstein&apos; has come to symbolize the Faustian bargain made by man with his own technology. The &apos;50&apos;s Sci-Fi classic, Forbidden Planet, echoed Shakespeare&apos;s The Tempest which, likewise, dealt with the same theme. [See: Monsters From the ID]The world is now threatened with several forms of extinction: a slower demise from the disregard with which we have treated our environment, and the quick but not painless end from nuclear annihilation. Both monsters threaten to destroy us utterly. Both are own creations. Both are the by-products of the Faustian bargain mankind has made with the universe. Both are &apos;Frankensteins&apos; of our creation.]]></blip:puredescription>
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<br />

The very word &apos;Frankenstein&apos; has come to mean &apos;monsters of our own creation&apos; but more generally, monsters beyond our control. &apos;Frankenstein&apos; has come to symbolize the Faustian bargain made by man with his own technology. The &apos;50&apos;s Sci-Fi classic, Forbidden Planet, echoed Shakespeare&apos;s The Tempest which, likewise, dealt with the same theme. [See: Monsters From the ID]The world is now threatened with several forms of extinction: a slower demise from the disregard with which we have treated our environment, and the quick but not painless end from nuclear annihilation. Both monsters threaten to destroy us utterly. Both are own creations. Both are the by-products of the Faustian bargain mankind has made with the universe. Both are &apos;Frankensteins&apos; of our creation.

]]></description>
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  <blip:puredescription><![CDATA[I was approached by a group who wanted to produce a movie. The problem was this: these potential producers had no script and very little money to finance anything but a near no-buget movie. I would write one myself. &apos;Portrait of Evil&apos; as shot guerilla style on a &apos;micro-budget.]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AcigNgI.html?p=1" width="480" height="375" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AcigNgI" style="display:none"></embed>
<br />

I was approached by a group who wanted to produce a movie. The problem was this: these potential producers had no script and very little money to finance anything but a near no-buget movie. I would write one myself. &apos;Portrait of Evil&apos; as shot guerilla style on a &apos;micro-budget.

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  <blip:puredescription><![CDATA[This is my video of Diana Krall&apos;s version of Burt Bacharach&apos;s great hit song for the earlier moive: &apos;Casino Royale&apos;. It was originally intended to be an instrumental but Hal David&apos;s lyrics have given it a new dimension. Bacharach revealed that his melody was inspired by watching Ursula Andress in an early cut of the film. Millions may have been similarly inspired --but lacked Bacharach&apos;s ability to write timeless music.]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AcifHwI.html?p=1" width="480" height="390" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AcifHwI" style="display:none"></embed>
<br />

This is my video of Diana Krall&apos;s version of Burt Bacharach&apos;s great hit song for the earlier moive: &apos;Casino Royale&apos;. It was originally intended to be an instrumental but Hal David&apos;s lyrics have given it a new dimension. Bacharach revealed that his melody was inspired by watching Ursula Andress in an early cut of the film. Millions may have been similarly inspired --but lacked Bacharach&apos;s ability to write timeless music.

]]></description>
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  <link>http://blip.tv/vaquero/the-raven-1182027</link>
  <title>The Raven</title>
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  <blip:puredescription><![CDATA[Edgar Allen Poe&apos;s &apos;The Raven&apos; interpreted by Christopher Walken, illustrations by Gustav Dore, video production, design, and illustrations by Len Hart]]></blip:puredescription>
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<iframe src="http://blip.tv/play/AciTLwI.html?p=1" width="480" height="390" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#AciTLwI" style="display:none"></embed>
<br />

Edgar Allen Poe&apos;s &apos;The Raven&apos; interpreted by Christopher Walken, illustrations by Gustav Dore, video production, design, and illustrations by Len Hart

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  <pubDate>Fri, 15 Aug 2008 20:42:43 +0000</pubDate>
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