#david o doherty

[horneboy]

not every day u meet paul williams, sam campbell and david o doherty hey!!??

[john-robins]

Elis And John Challenged To Finish David O' Doherty's Lyrics

[suchananewsblog]

‘Our Flag Means Death’ Is the Ultimate Friends-to-Lovers Valentine’s Day Stream

There’s a special place in rom-com heaven for friends-to-lovers stories. Isn’t that what we all secretly want out of life: to not only love our partners but to like them as well? No two characters exemplify this particular trope better than Ed (Taika Waititi) and Stede (Rhys Darby) in Our Flag Means Death. When you think of TV friends becoming lovers, the usual suspects come to mind: Jim and Pam…

[celtic-cd-releases]

https://www.facebook.com/valerie.casey.5

https://valeriecasey.bandcamp.com/

[alterna2mag]

Nuestro top 4 de documentales del reciente In-Edit Festival

Un a��o más acudimos a la cita ineludible del otoño que es para nosotros In-Edit Festival. El certamen celebró del 26 de octubre al 5 de noviembre en Barcelona su XXI edición.

Estos han sido los documentales premiados:

Mejor documental musical internacional: Peter Doherty: Stranger In My Own Skin, de Katia De Vidas. Mención especial: Music For Black Pigeons, de Andreas Koefoed i Jørgen Leth. Mejor documental musical nacional: Revolutionary Quartet: l’enigma Gerhard, de Xavier Bosch i Josep Badell. Mención especial: Riqueni, de Paco Bech. Mejor cortometraje documental musical nacional: Dol i fa sol, de Maria Besora i Pep Garrido. Premio del Público Razzmatazz: Sempre Dharma, de Aleix Barba Perarnau.

Con el espectacular cartel de esta edición, no es de extrañar que hubiera varios sold-outs. Entre las más destacadas proyecciones, destacaban las protagonizadas por Syd Barret, The Zombies, Willy DeVille, Cyndi Lauper, Subotnik, J Dilla, Marc Bolan, C Tangana, Pete Doherty, el colectivo Hipgnosis y muchos más.

A continuación, nuestro TOP 4 de este año, sobre The Birthday Party, Earth, David Johansen y Fatboy Slim:

Teníamos muchas ganas de ver Mutiny in Heaven: The Birthday Party, de Ian White. Y las expectativas se cumplieron con creces. Unos jovencísimos Nick Cave y Mick Harvey, junto a sus compañeros Rowland S. Howard, Phill Calvert y Tracy Pew, eran una pandilla de inadaptados que trasladaron toda su rabia al escenario, despuntando rápidamente en su oriunda Australia. "La primera fila no es para los debiluchos", decía Nick Cave en uno de los shows de la banda. Razón no le faltaba. Sus directos eran explosivos y caóticos. Con fragmentos de entrevistas de los protagonistas, White construye un relato repleto de momentos irrepetibles. En Londres no acababan de cuajar y terminaron en Berlín. No sin antes liarla en sus giras por Estados Unidos o Europa. Droga, mucha droga, rivalidades y mil y un desencuentros son explicados con todo detalle, incluyendo unas animaciones muy logradas.

La razón por la que Even Hell Has Its Heroes. The Music of Earth, está en este top, además de porque nos encanta la banda, es por el elegante enfoque con el que el director, Clyde Petersen, encadena los testimonios de todos los músicos que en algún momento han pasado por la formación. Las grabaciones de diferentes emplazamientos del estado de Washington, como Olympia, Seattle o Aberdeen, el aspecto 1.33:1 del encuadre y la textura analógica de las imágenes trasladan al espectador al epicentro de la escena en la que surgió Earth en los primeros años 90. Dylan Carson ha estado respaldado de gran talento durante todos estos años. Hablan no solo los músicos, sino también los técnicos de sonido o discográficas que trabajaron con él. El fantasma de Kurt Cobain, amigo de Carson, está latente. El duelo por su pérdida y la historia difundida en su momento por algunos medios de que fue Dylan quien le consiguió el arma homicida, pesan como losas, como también su intermitente adicción a la heroína. Otro detalle interesante son las diferentes formas de rodar a los músicos que intervienen. Se presentan con sus instrumentos como una alegoría, o bien aparecen en su entorno cotidiano. Lo bueno es que el periplo de la banda todavía hoy continúa.

Un documental de Martin Scorsese no pasa desapercibido. El emblemático director, junto a David Tedeschi, es responsable de Personality Crisis: One Night Only. David Johansen, vocalista y único superviviente de los New York Dolls originales, ofrece un recital en el Café Carlyle de Nueva York en enero de 2020, la noche de su cumpleaños. Entre canción y canción se explica la historia de la banda. Johansen es un excelente contador de anécdotas. Un showman con muchas tablas que ameniza la velada para unos asistentes de lujo, entre los que se encuentran amigos y personalidades coetáneas como la mismísima Blondie. El setlist es exquisito, así como la selección de imágenes de archivo y fragmentos de entrevistas con Johansen en diferentes épocas.

Completa nuestra lista Fatboy Slim: Right Here, Right Now, de Jak Hutchcraft. El 13 de julio de 2002, Fatboy Slim y Midfield General presentaron en vivo el álbum Big Beach Boutique II en una mega rave gratuita en la playa de Brighton. Llegaron a congregar a 250.000 personas, cuando se esperaba que fueran unas 60.000. En este documental se narra lo acontecido aquel día, no sin antes dar buena cuenta de la trayectoria del legendario DJ y productor musical británico.

[sledujteindianajonesczsk]

SLEDUJTE~ Indiana Jones a nástroj osudu (2023) Celý Film Online [CZ-SK] a Zdarma

Sledovat celý film Indiana Jones a nástroj osudu (2023) Online je aktuálně nejoblíbenějším filmem na vyhledávacím webu Google. Filmy, které jsou dnes velmi vyhledávané milovníky filmů, filmy, které je zábavné sledovat o víkendech s rodinou, přáteli a přítelkyněmi. Chcete-li se zbavit nudy, která se vám stane po únavě z práce.

Indiana Jones a nástroj osudu (2023) — Film Online Sledujte Indiana Jones a nástroj osudu (2023) filmy online. Můžete sledovat Indiana Jones a nástroj osudu film online v HD Quality!

: ► Klikněte zde pro shlédnutí filmu Indiana Jones a nástroj osudu- Online zdarma v HD

| DVD (Blu-ray) | 4K UHD | HD-2080p | HD-720p | SD-480p | MP4 |

Sledovat online : Indiana Jones a nástroj osudu (2023)

Stažení : Indiana Jones a nástroj osudu (2023)

Další název: Indiana Jones a nástroj osudu Žánr: Dobrodružný, Akční, Fantasy, Země: Spojené státy americké Premiéra v ČR: 2023-06-28 Délka: 155 min. hraje: Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, Ethann Isidore, Mads Mikkelsen, Karen Allen, Shaunette Renée Wilson, Thomas Kretschmann, Olivier Richters, Martin McDougall, Alaa Safi, Francis Chapman, Alfonso Rosario Mandia, Chase Brown, Nasser Memarzia, Amedeo Bianchimano, Anna Francolini, Gabby Wong, Adolfo Margiotta, Niccolo Cancellieri, Antonio Iorio, Manuel Klein, Holly Lawton, Guy Paul, Harriet Slater, Alton Fitzgerald White, Ian Porter, Daniel Anderson, Cory Peterson, Charles Hagerty, Ali Saleh, Amara Khan, Jill Winternitz, Billy Postlethwaite, Clara Greco, Joe Gallina, Nicholas Bendall, Thulani Storm, Edoardo Strano, Angelo Spagnoletti, Hicham Ouaraqa, Adil Louchgui, David Mills, Rhyanna Alexander-Davis, Gary Fannin, Gunnar Cauthery, Aron von Andrian, Nikola Trifunovic, Henry Garrett, Elena Saurel, Mike Massa, Anthony Ingruber, Christian Sacha Mehja-Stokes, Angus Yellowlees, Matthew Staite, Corrado Invernizzi, Joerg Stadler, Thorston Manderlay, Basil Eidenbenz, Johann Heske, Joshua Broadstone, Bruce Lester-Johnson, Martin Sherman, Allon Sylvain, William Meredith, Kate Doherty, Duran Fulton Brown, Eliza Mae Kyffin, Mauro Cardinali, Mark Killeen, Bharat Doshi, Aïssam Bouali, Douglas Robson, Mohammed R. Kamel, Bryony Miller, Tiwa Lade, Brodie Husband, Hannah Onslow, Simon Kunz, Walter Cronkite, Obsah filmu Indiana Jones a nástroj osudu: V hlavní roli se představí Harrison Ford jako legendární hrdina a archeolog, režie se ujal James Mangold. Spolu s Fordem ve filmu hrají Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Shaunette Renee Wilson, Thomas Kretschmann, Toby Jones, Boyd Holbrook, Oliver Richters, Isidore a Mads Mikkelsen. Film režíruje James Mangold a produkují ho Kathleen Kennedy, Frank Marshall a Simon Emanuel, výkonnými producenty jsou Steven Spielberg a George Lucas. Kroky ke stažení filmů * Můžete navštívit webové stránky prostřednictvím odkazů, které jsme poskytli následovně: povodeň * Navštivte stránky, které již doporučujeme a vyhledejte film, který chcete sledovat a stahovat. Pro zjednodušení můžete použít funkci vyhledávání. * Po nalezení filmu, který se vám líbí, klikněte na kartu Hry. Pokračujte v stahování hrozby „Indiana Jones a nástroj osudu“ a stáhněte film do požadované kvality. Viz obrázek, aby bylo jasnější. Klíčová slova Indiana Jones a nástroj osudu celý film zdarma ke shlédnutí, Indiana Jones a nástroj osudu cz dabing online ke shlednuti, Indiana Jones a nástroj osudu Filmy Česky a Zdarma, Indiana Jones a nástroj osudu online ke shlednuti, Indiana Jones a nástroj osudu Informace o filmu, Indiana Jones a nástroj osudu online cely film, Indiana Jones a nástroj osudu Sleduju Online, Indiana Jones a nástroj osudu online bombuj, Indiana Jones a nástroj osudu online, Indiana Jones a nástroj osudu online film cz, Indiana Jones a nástroj osudu Bombuj, Indiana Jones a nástroj osudu bombuj cz,

[alex-lea-holder]

[celebritygossip007]

Since entertainment is one of the most carefully regulated industries, it is no surprise that some of the most influential people in the world are forced to work with each other. But not everyone can be happy working with their colleagues, especially when they are former friends. Here are 5 celebrities who can't seem to get along.

Enjoyed this video? Hit the like button and subscribe to our channel for more videos like this! Thanks for watching!

[horneboy]

so cute so silly

bonus

[cultfaction]

Cult Faction Podcast Ep. 69: Mallrats

Cult Faction Podcast Ep. 69: Mallrats

This week the spotlight falls on Kevin Smith’s Mallrats! Join us as we discuss the movie and all the other things we have been watching… https://cultfaction.com/wp-content/uploads/2022/08/Episode-69.mp3

[perennialessays]

Week 2

From Origins to the Future: The Hero and the Epic Quest.

This week and the next we shall engage in one of the traditional approaches to comparative practice, following various re-appearances of a myth / hero / genre through successive literary periods and in different countries. The example we shall use is the figure of Odysseus / Ulysses in epic writing and film from Homer to the turn of the 21st century. We shall consider how this figure has changed, and focus on specific episodes of Homer’s original epic poem.

Homer, The Odyssey (read in particular Book 1 and the episode of the Cyclops (in Book 9);

Dante, Inferno (read canto 26, Ulysses);

James Joyce, Ulysses (read the ‘Cyclops’ episode (the 12th, pp. 280-330 in Johnson))

Stanley Kubrick, 2001: A Space Odyssey (1968) (Film: Please watch this in advance of the seminar)

Some secondary reading on Homer’s Odyssey & the figure of Odysseus/Ulysses

Boitani, Piero, The Shadow of Ulysses: Figures of a Myth, tr. Anita West (Oxford: Clarendon Press, 1994). [Has an excellent chapter on Dante's Ulysses]

Doherty, Lillian E., "The Snares of the Odyssey: A Feminist Narratological Reading", in Texts, Ideas, and the Classics: Scholarship, Theory, and Classical Literature, ed. by S. J. Harrison (Oxford: Oxford University Press, 2001), pp. 117-133. Foley, John M. (ed.), A Companion to Ancient Epic (Oxford: Blackwell, 2005)

Fowler, Robert (ed.), The Cambridge Companion to Homer (Cambridge: Cambridge UP, 2004).

Graziosi, Barbara, end Emily Greenwood (eds.), Homer in the Twentieth-Century: Between World Literature and the Western Canon (Oxford: Oxford University Press, 2007).

Jong, Irene de,  A Narratological Commentary on the Odyssey (Cambridge: Cambridge University Press 2001)

Hall, Edith, The Return of Ulysses: A Cultural History of Homer’s Odyssey (London and New York: I.B. Tauris, 2008).

Lane Fox, Robin, Travelling Heroes: Greeks and their Myths in the Epic Age of Homer (London: Allen Lane, 2008)

Manguel, Alberto, Homer’s The Iliad and The Odyssey A Biography (London: Atlantic Books, 2007).

Murnaghan, Sheila, Disguise and Recognition in the Odyssey (Princeton: Princeton University Press, 1987).

Stanford, W. B. The Ulysses Theme: A Study in the Adaptability of a Traditional Hero (Ann Arbor: University of Michigan Press, 1963).

Some secondary reading on Kubrick

Bizony, Piers,  2001: Filming the Future  (London: Aurum, 1994)

Chion, Michel, Kubrick's Cinema Odyssey. Trans. Claudia Gorbman (London: BFI, 2001)

Ciment, Michel, Kubrick. Trans. Gilbert Adair (New York: Holt, Rinehart, and Winston, 1983)

Cocks, Geoffrey, James Diedrick, and Glenn Perusek (eds.), Depth of Field: Stanley Kubrick, Film and the Uses of History (Madison, WI: University of Wisconsin Press, 2006)

Falsetto, Mario, Stanley Kubrick: A Narrative and Stylistic Analysis (Westport, Conn; London: Praeger, 1994)

Falsetto, Mario (ed.), Perspectives on Stanley Kubrick (New York: G.K. Hall; London: Prentice Hall, 1996)

Herr, Michael, Kubrick (New York: Grove Press, 2000)

Kolker, Robert (ed.), Stanley Kubrick's 2001: A Space Odyssey: New Essays (Oxford: Oxford University Press, 2006)

Nelson, Thomas Allen, Kubrick: Inside a Film Artist's Maze (Bloomington: Indiana University Press, 1982)

Naremore, James, On Kubrick (London: British Film Institute, 2007)

Rasmussen, Randy, Stanley Kubrick: Seven Films Analyzed (London: McFarland, 2001)

Wheat, Leonard F., Kubrick's 2001: A Triple Allegory (Lanham, MD, and London: Scarecrow Press, 2000)

Some secondary reading on the epic

Bates, Catherine (ed.), The Cambridge Companion to the Epic (Cambridge: Cambridge University Press, 2010)

Beissinger, Margaret, Jane Tylus, and Susanne Wofford (eds.) Epic Traditions in the Contemporary World: The Poetics of Community (Berkeley: University of California Press, 1999)

Clarke, M. J., B. G. F. Currie, and R. O. A. M. Lyne (eds.), Epic Interactions: Perspectives on Homer, Virgil, and the Epic Tradition (Oxford: Oxford University Press, 2006)

Danow, David K., Transformation as the Principle of Literary Creation from the Homeric Epic to the Joycean Novel (Lewiston, NY: Edwin Mellen Press, 2004)

Elley, Derek, The Epic Film: Myth and History (London: Routledge & Kegan Paul, 1984)

Foley, John Miles (ed.), A Companion to Ancient Epic (Oxford: Wiley-Blackwell, 2009)

Hardie, Philip, The Epic Successors of Virgil: A Study in the Dynamics of a Tradition (Cambridge: Cambridge University Press, 1993)

Hainsworth, J. B., The Idea of Epic (Berkeley: University of California Press, 1991)

Hurst, Isobel, Victorian Women Writers and the Classics: The Feminine of Homer (Oxford and New York: Oxford University Press, 2006)

King, Katherine Callen, Ancient Epic (Chichester: John Wiley & Sons, 2009)

Konstan, David and Kurt A. Raaflaub, eds., Epic and History (Chichester: Wiley-Blackwell, 2010)

Merchant, Paul: The Epic (London: Methuen, 1971)

Miller, Dean A., The Epic Hero (Baltimore and London: Johns Hopkins University Press, 2000)

Johns-Putta, Adeline, The History of the Epic (Basingstoke and New York: Palgrave Macmillan, 2006)

Newman, John Kevin, The Classical Epic Tradition (Madison: University of Wisconsin Press, 1986)

Quint, David, Epic and Empire: Politics and Generic Form from Virgil to Milton (Princeton, N.J: Princeton University Press, 1993).

Roisman, Hanna M., and Joseph Roisman (eds.), Essays on Homeric Epic (Waterville, ME: Colby College, 2002)

Toohey, Peter, Reading Epic: An Introduction to the Ancient Narratives (London : Routledge, 1992)

Tucker, Herbert F., Epic: Britain's Heroic Muse 1790-1910 (Oxford and New York: Oxford University Press, 2008)

Winnifrith, Tom, Penelope Murray and K.W. Gransden, eds., Aspects of the Epic (London: Macmillan, 1983)

Some secondary reading on Ulysses

Guidebooks: (These classic ‘guidebooks’ can supplement the annotations in your edition of Ulysses.) 

Don Gifford, Ulysses Annotated (Berkeley: University of California Press, 1988) Weldon Thornton, Allusions in Ulysses: An Annotated List (Chapel Hill: University of North Carolina Press, 1968) Harry Blamires, The New Bloomsday Book (London: Routledge, 1996) 

Some suggested criticism on Ulysses 

(This is a small selection of Joycean criticism, from useful collections of essays (Attridge, Latham, Hart and Hayman), to critics who read language and narrative very closely (Kenner, Senn), to works on the Homeric in Ulysses (Flack, Kenner, Seidel), to a few examples of studies which read Joyce through theoretical, historical, comparative, and postcolonial approaches.)

Derek Attridge, ed., The Cambridge Companion to James Joyce (Cambridge: Cambridge University Press, 1990) — ed., James Joyce’s ‘Ulysses’: A Casebook (Oxford: Oxford University Press, 2004) Scarlett Baron, ‘Strandentwining Cable’: Joyce, Flaubert, and Intertextuality (Oxford: Oxford University Press, 2012) Frank Budgen, James Joyce and The Making of ‘Ulysses’ (Bloomington: Indiana University Press, 1961) Vincent J. Cheng, Joyce, Race and Empire (Cambridge: Cambridge University Press, 1995) Leah Culligan Flack, Modernism and Homer: The Odysseys of H.D., James Joyce, Osip Mandelstam, and Ezra Pound (Cambridge: Cambridge University Press, 2015) Clive Hart and David Hayman, eds., James Joyce’s ‘Ulysses’: Critical Essays (Berkeley: University of California Press, 1974) Hugh Kenner, Joyce’s Voices (Berkeley, Los Angeles, and London: University of California Press, 1978) — ‘Ulysses’ (London: George Allen and Unwin, 1980) Sean Latham, ed., The Cambridge Companion to ‘Ulysses’ (New York: Cambridge University Press, 2014) Karen Lawrence, The Odyssey of Style in ‘Ulysses’ (Princeton: Princeton University Press, 1981) Andrew J. Mitchell and Sam Slote, eds., Derrida and Joyce: Texts and Contexts, ed. (Albany: State University of New York Press, 2013) Katherine Mullin, James Joyce, Sexuality and Social Purity (Cambridge: Cambridge University Press, 2003) Michael Seidel, Epic Geography: James Joyce’s ‘Ulysses’ (Princeton and Guilford: Princeton University Press, 1976) Fritz Senn, Inductive Scrutinies: Focus on Joyce, ed. Christine O’Neill (Dublin: Lilliput, 1995) — Joyce’s Dislocutions: Essays on Reading as Translation, ed. John Paul Riquelme (Baltimore and London: Johns Hopkins University Press, 1984) 

Online searchable concordance of Ulysses (e.g. if you can’t remember where the renowned Irish hero ‘Napoleon Bonaparte’ is mentioned, type it into a ‘string search’ and untick ‘whole word’) http://joyceconcordance.andreamoro.net/

Ulysses Synopsis

Ulysses: A Synopsis “Telemachia” 1 - “Telemachus” (Oxford World’s Classics, ed. J. Johnson, pp. 3-23 / Penguin, ed. D. Kiberd, pp. 1-28)- The chapter opens with Buck Mulligan celebrating a parodic mass in which Stephen Dedalus becomes an acolyte in spite of himself. Stephen is a melancholy artist obsessed with guilt since the death of his mother; his taciturn nature is contrasted with Mulligan’s clownish joviality. The Englishman Haines, their guest in the Martello Tower, combines seriousness with an enthusiasm for Gaelic culture; the three characters illustrate three possible positions in relation to Ireland, which is symbolised by the old peasant woman who brings in the milk: the dispossessed Son (Stephen), the treacherous usurper (Mulligan); the representant of English imperialism (Haines) who - through his dream of the panther, traditionally a symbol of Christ - is also associated by Stephen with the imperialism of the Roman Catholic Church. Stephen chooses errancy and exile: he gives over his key and will not come back. 2- “Nestor” (OWC 24-36 / Penguin 28-45)- Stephen teaches history and English Literature to a class of well-off schoolchildren who are disconcerted by his caustic humour and riddles. He confronts Mr Deasy (Nestor in Homer’s Odyssey) on Irish history and economics. The old headmaster cherishes his inaccurate reminiscences and promotes thrift, whereas Stephen squanders away the little money he has. Stephen views history as a nightmare. Despite the antagonism, Stephen agrees to help Mr Deasy is his fight against the foot and mouth disease which affects Irish cattle by helping him to publish a letter in the press. 3 - “Proteus” (37-50/45-64)- Stephen’s philosophical and aesthetic meditations lead him to question the reality of the outside world. Through a complex philosophical argument which hesitates between Aristotle and Berkeley, he redefines for himself the nature of visual and auditory perception. His literary recollections blend with the painful evocation of his past, especially the unsuccessful exile in Paris from which a telegram announcing his mother’s death recalled him. The sterility of Stephen’s “creations” in this chapter (which include urinating and depositing a snot on a ledge of rock [cf. Bloom’s own excremental “creation” in “Calypso”]) is pitted against the remarkable metamorphic poetic prose of the narrative and of Stephen’s stream of consciousness. Odyssey 4 - “Calypso” (53-67/64-85)- Leopold Bloom, who will increasingly become the major protagonist, is introduced in his home at 7 Eccles Street and is first seen preparing breakfast for himself and his wife Molly, who is still in bed. He goes out in search of a pork kidney at a Jewish butcher’s, where he picks up a leaflet advertising plantations in Palestine (inaugurating the theme of the lost, promised land, and of the “recall”). He brings Molly her mail, which includes a letter from Boylan, her future lover later in the day, announcing his visit. He explains to Molly the meaning of metempsychosis; the chapter ends with his defecation in the outhouse, mingled with his remarks on cheap literature. 5 - “The Lotus Eaters”(68-83/85-107) - Bloom has left his house for what will become the epic wanderings of an untypical literary hero, on an ordinary Dublin day - 16 June 1904. He first goes to fetch the reply, sent post restante, from his unknown penfriend Martha Clifford, to whom he sends amorous letters signed “Henry Flower”. He runs into several acquaintances on the way, unwittingly “throws away” a tip for the horse races (the source of a later misunderstanding), and eventually goes to the public baths. Throughout the chapter, drugs of all kinds (perfumes, tobacco, medicine, eroticism, religion, etc.) express a voluptuous narcissistic abandonment to the world of the senses. 6 - “Hades” (84-111/107-147)- Bloom goes to Paddy Dignam’s funeral together with Simon Dedalus (Stephen’s father) and other characters already seen in Dubliners. The conversation soon takes on a malevolent anti-Semitic tone which puts Bloom ill at ease. He thinks of death, remembering both his father’s suicide and the death of his son when he was only eleven days old. Bloom catches his first sign of Stephen (who does not see him). 7 - “Aeolus” (112-143/147-189)- Broken down into a series of newspaper articles complete with headings, this episode brings together, in different scenes and locations of the newspaper office, Bloom, Stephen, various “windbags” including Myles Crawford, the king of windy and hollow journalistic rhetoric. The orators outdo one another in eloquence and the parable of the captive Jews provides the Irish with a mythical model. Stephen narrates a story illustrative of the paralysis of his fellow Dubliners which nobody pays attention to, while Bloom the ad canvasser gets severely ticked off by Myles Crawford. 8 - “Lestrygonians” (144-175/190-234)- The “food chapter”: Bloom is obsessed with food (it is between 1pm and 2pm) and alimentary thoughts, and tastes and smells of all kinds percolate through into the language and style of the episode (the rhythm of the chapter is dictated by the “peristaltic” [digestive] movement of the organism). Put off by the monstrous devouring mouths in the restaurant and obsessed by the impending encounter between Molly and Boylan, he finally orders a Gorgonzola sandwich and a glass of Burgundy wine at Davy Byrne’s pub. 9 - “Scylla and Charybdis” (176-209/235-280)- In the National Library, Stephen spins out his Aristotelian theory of artistic creation which boils down to a sublimated autobiography; his paradoxes on Shakespeare’s life and works fail to convince his Platonist audience. In the complex reasoning of the young artist, Shakespeare becomes like a god who begets himself through his works. Bloom puts in an appearance; Mulligan meets up with Stephen and offers a more burlesque conclusion to the philological / theological debate. 10 - “Wandering Rocks” (210-244/280-328)- This chapter is a pause in the narrative of Stephen’s and Bloom’s day, and it has no precise correspondence in Homer’s Odyssey. This central and “pedestrian” chapter is made up of 19 episodes which offer vignettes and snapshots of the various characters and cross-sections of the Irish capital and society, including Church (Father Conmee) and State (the Viceroy’s cavalcade); the chapter breaks down the so far focalised point of view. Stephen and Bloom appear only briefly and are not mentioned among the witnesses of the Viceroy’s cavalcade through the city. 11 - “Sirens” (245-279/328-376)- The language of this chapter aspires to the condition of music and forges linguistic equivalents to trills, staccatos, counterpoints, etc. The venue is the Ormond Bar, run by two flashy barmaids or “sirens”; while the tenors are busy competing against each other in a virile singing contest, Bloom listens and replies to Martha. Having eluded the seductive snares of music, he exits, leaving behind an ironic fart. 12 - “Cyclops” (280-330/376-449)- A satire against the bellicose patriotism and anti-Semitism of the Citizen, the “Cyclops” who eventually attacks Bloom physically, the chapter oscillates between the Citizen’s rhetorical bombast and sarcastic deflations which leave unscathed neither the British Empire nor Irish nationalism, while the anonymous narrator - a sardonic barfly and debt collector - offers a brilliant instance of Dubliners’ garrulity. The narrative is periodically interrupted by parodic asides in other voices and styles. Bloom the wandering Jew, who had come to Barney Kiernan’s pub to arrange to offer some money to Paddy Dignam’s widow, finds himself involved in an argument about nationalism and attempts to expound his conception of humanity, love and homeland. At the end, his escape from the Citizen’s assault is turned into a grandiloquent apotheosis. 13 - “Nausicaa” (331-365/449-499)- Bloom rests on the Sandymount rocks (Stephen in “Proteus” had also walked along Sandymount beach) and gazes at young girls in their bloom. One of them, Gerty MacDowell, teases him into an erection by an increasingly daring exhibitionistic pose; the distant eroticism ends with Bloom’s masturbation, climaxing with fireworks. The narrating voice is that of a writer of the romantic pulp fiction then fed to women - the kind of books read by Gerty, who accordingly sees in Bloom a mysterious “dark stranger”. When the point of view shifts to Bloom, we see Gerty depart limping; Bloom dozes off in postmasturbatory gratitude. The accelerated crescendo of the first “tumescent” part is followed by the exhausted sobriety of the second, “detumescent” half. 14 - “Oxen of the Sun” (366-407/499-561)- Bloom’s and Stephen’s paths cross once more in the lying-in hospital, amidst roistering medics. The chapter takes us through a roughly chronologised pastiche of the different styles of the English language until the turn of the century, deceptively mimicking the evolution of the foetus until its birth. The painful delivery of Mina Purefoy takes on a universal value and, although the talk ominously focuses on sterility and contraception, a thunderclap and a rain shower at the moment of birth symbolise the triumph of fertility. 15 - “Circe” (408-565/561-703)- Blooms monitors from a distance Stephen’s drunken escapade to the red-light district, and follows him into the hallucinatory atmosphere of Bella Cohen’s brothel (Circe’s den in the Homeric parallel). The characters experience metamorphoses in a wild oneiric dramatisation of their fantasies, obsessions and senses of guilt. Stephen gets involved in a broil with two English soldiers and is knocked out cold; Bloom rescues him and transforms him into the ambiguous vision of his dead son Rudy. “Nostos” [=homecoming] 16 - “Eumaeus” (569-618/704-766)- Bloom leads Stephen to the cabman’s shelter, and the shared physical exhaustion (it is past midnight) and the unreliable narrator turn the chapter into an amusing, if often tedious, collection of deliberately jaded linguistic stereotypes, full of misunderstandings and approximations. 17 - “Ithaca” (619-689/766-871)- This impersonal catechism narrates the last actions of the novel: Bloom takes Stephen to 7 Eccles Street and offers him hot chocolate, they exchange views of Irish and Jewish culture, Stephen refuses Bloom’s offer of a bed for the night, they urinate together under the stars, and Stephen finally departs into the night. Bloom, back in the house, finds traces of Molly’s visitor earlier in the day, goes to bed, where he finds other traces of the visitor’s earlier presence, gives Molly an expurgated account of his day, and finally falls asleep, his head to her feet. The dialogic play between questions and answers universalises all the themes, sorts out human knowledge into vast catalogues, and finally transform the couple in bed into astral bodies. 18 - “Penelope” (690-732/871-933)- Molly’s thoughts flow freely along eight unpunctuated, meandering sentences. She begins with a reaction to Bloom’s request that she make breakfast in the morning, continuous with a celebration of her afternoon with Boylan, proceeds to review her marriage, her girlhood on Gibraltar, her infatuations and dreams of future romances, and finally returns to Bloom, seemingly reinstated into her imaginary life; this is one of the meanings of her numerous final “yesses”, also an affirmation of life itself.

Additional suggestions on Joyce's Ulysses/ Odysseus

Some of the texts through which Joyce reads and receives the figure of Odysseus/ Ulysses

Bérard, Victor, Les Phéniciens et l'Odyssée [originally published in 1902-03, there are no English translations that I know of; but you can find a lot about it, and Joyce's use of it in the book by Seidel, listed below; Bérard held the view that the Odyssey was "written" by a Greek poet, but recorded the travels of Phoenician sailors - the Phoenicians were a semitic people, which is relevant when you think that Leopold Bloom (Joyce's Ulysses figure) is a Jew]

Butler, Samuel, The Authoress of the Odyssey: Where and when she wrote, who she was, the use she made of the Iliad, and how the poem grew under her hands [originally published in 1897; Butler also transalted the Iliad and the Odyssey. There are various editions, including a cheap Kindle version; and it is in the library. Butler suggests that the Odyssey takes place in the island of Sicily, around the port city of Trapani, and that it is narrated by princess Nausicaa. The relevance to Joyce's book, which set on an island in and around the port city of Dublin, and whose final words are narrated by a woman, is evident.]

Lamb, Charles, The Adventures of Ulysses [originally published in 1808, there are various editions in print, and a free Kindle version. The book really is about the adventures and was meant as a book for boys, not as a full tranlation or account of the entire Odyssey. Joyce read this as child and wrote an essay at school about it!]

See also:

Seidel, Michael, Epic Geography: James Joyce's Ulysses (Princeton, N.J.: Princeton University Press, 1976) [not a book consulted by Joyce - of course! - but it looks at parallels between the geography of the Odyssey and of Ulysses and the movements of the characters, and relies extensively on Bérard's Les Phéniciens et l'Odyssée]

[princessanneftw]

How Princess Anne became the shining light of the beleaguered monarchy

Once seen as haughty and aloof, today her old-school approach has never been more in demand

By Camilla Tominey, Associate Editor of the Telegraph.

Visitors to the Princess Royal’s house, Gatcombe Park, are often surprised to be greeted with antique-display cases groaning with ornaments, bookshelves overflowing with hardbacks and piles of magazines dating back to the 1970s. According to one friend, the 18th-century Grade II-listed Gloucestershire stately has a ‘homely’ feel, thanks to the frugal Princess’s reluctance to throw anything out.

‘It’s quite a nice thing really,’ they said. ‘There’s barely a place you can sit down in her house. Every time the staff go in there they try to take something away.’ A surprising revelation, perhaps, about the Royal family’s resident stickler, whose decadesold ‘updo’ and penchant for wearing white gloves on royal engagements suggest a somewhat starchier outlook. But as the Queen’s only daughter prepares to celebrate her 70th birthday this month, it seems that appearances can be rather deceiving.

Now more valuable than ever to an institution not only trying to reposition itself in the wake of a global pandemic, but still smarting from the fallout of Megxit and the Duke of York’s association with Jeffrey Epstein, Anne’s old-school approach has never been more in demand. Despite describing herself as ‘the boring old fuddy-duddy at the back’, who keeps reminding the younger royals not to forgo ‘the basics’, the Princess Royal, who has always put duty first, is finally getting the recognition she deserves.

Her appearance in June alongside the 94-year-old monarch for Her Majesty’s first ever video call shows how much the Queen is coming to rely on the Princess. And the public response to her appearing to snub Donald Trump during a Nato leaders��� reception at Buckingham Palace last December suggests the nation is finally warming to her modus operandi.

Where once Anne was regarded as haughty and standoffish, she is now hailed as one of the great English eccentrics whose unparalleled royal work ethic, carrying out more than 500 engagements a year, has rightly earned her national treasure status.

And having allowed a film crew to shadow her for the past year, the Princess, who is usually reluctant to blow her own trumpet, has never appeared more at ease with herself. She was persuaded to take part in last week’s ITV documentary Princess Royal: Anne at 70 because its makers, Oxford Films, had successfully produced Our Queen and Our Queen at 90 about her mother. Shadowing Anne on her dusk-to-dawn engagements – and featuring interviews with her children Peter, 42, and Zara, 39 – the documentary revealed just how much the Princess is cut from the Queen’s ‘keep calm and carry on’ cloth.

Having been regarded as a bit of a royal renegade as a teenager – and chosen to forgo titles for her own children, despite her own HRH pedigree as a ‘spare to the heir’ – Anne’s life story is a contradiction of both protocol taskmaster and occasional rule-breaker. As one insider who knows the Princess well put it: ‘She can turn from laughing and joking one minute to being an absolute stickler for the rules the next. She’s extremely dutiful and would hate to be regarded as being on the wrong side of protocol. You’d never dream of asking her a political question and she’s not at all gossipy.’

Erin Doherty’s portrayal of Anne in The Crown, as the deadpan princess with the permanently raised eyebrow, certainly sums up her teenage years when the Queen and the Duke of Edinburgh were apparently so concerned about their daughter’s lack of direction, they asked the late Dame Vera Lynn for advice. Prince Philip, who famously joked of his daughter, ‘If it doesn’t fart or eat hay then she isn’t interested,’ allegedly confided in the Forces’ sweetheart: ‘We are concerned about Anne at the moment, trying to get her to make up her mind about what she wants to do.’

According to her school friend, Sandra de Laszlo, who boarded with Anne at Benenden: ‘She was a very normal teenager – sensible and fun.’ Leaving school with six O levels and two A levels in 1968, Anne had already resolved to follow in her parents’ duteous footsteps. Less than a year later, she made her official debut on 1 March – St David’s Day – when she handed out leeks to the Welsh Guards at Pirbright Camp in Surrey. It was to be the start of one of the most industrious royal careers in modern memory – with more than 20,000 engagements clocked up since.

Soon after she started work, she began dating – and in 1970, Anne’s first boyfriend was Andrew Parker Bowles, the dashing young adjutant of the Blues and Royals, who went on to marry Camilla Shand – later to become her sister-in-law, the Duchess of Cornwall. The Princess and the brigadier – described as her ‘horsey husband’ – remain close and accompany each other to Royal Ascot and other race meetings every year.

Anne is also on good terms with her first husband, Captain Mark Phillips. A Sandhurst graduate with an equestrian streak, like Parker Bowles, Phillips met the Princess at a party for horse lovers in 1968 and reconnected at the Munich Olympics four years later, when he won team Olympic gold in the three-day eventing. They married in 1973. He was at the then 23-year-old Anne’s side a year later when she was threatened at gunpoint in an attempted kidnapping. The couple were returning to Buckingham Palace following a charity event when their limousine was forced to stop on the Mall by another car. When the driver, Ian Ball, jumped out and began shooting, Anne’s bodyguard, Inspector James Beaton, was injured, along with her chauffeur Alex Callender, and journalist Brian McConnell and Michael Hills, a police constable, who happened upon the scene.

But the attempt to hold Anne to ransom for at least £2 million is even more memorable thanks to the impervious Princess’s refusal to obey Ball’s order to get out of the car, replying with a trademark: ‘Not bloody likely!’ Eventually, she exited the other side of the limousine, as had her lady-in-waiting, Rowena Brassey (who is still with her to this day). A passing pedestrian, a former boxer named Ron Russell, punched Ball in the back of the head and led Anne away from the scene. Anne later told officers: ‘It was all so infuriating; I kept saying I didn’t want to get out of the car, and I was not going to get out of the car,’ according to files later released by the National Archives. ‘I nearly lost my temper with him, but I knew that if I did, I should hit him and he would shoot me.’

She was similarly sanguine about becoming the first member of the Royal family to have a criminal conviction after one of her dogs, a three-year-old English bull terrier called Dotty, attacked two children in Windsor Great Park in 2002. Pleading guilty to being in charge of a dog that was out of control in a public area, she insisted on no special treatment and took the £500 fine and £500 compensation on the chin.

The incident followed a number of brushes with the law for motoring offences, with Anne having twice been caught speeding on the M1 in the 1970s. She was also fined £100 and banned for one month in 1990 for two speeding offences and fined another £400 in 2000. On both occasions she pleaded guilty immediately, insisting she was late for an engagement.

As she said in the documentary, mistakes do happen when there is no ‘training’ for the job of being royal. ‘It’s just learning by experience. But hardly ever does anything go quite according to plan. You have to learn that.’ It wasn’t as if she didn’t feel the pressure of being the sovereign’s second-born, either – once describing the fly-on-the-wall Royal Family film, which followed the Windsors for a year in the late 1960s, as ‘a rotten idea’.

‘The attention that had been brought on one ever since one was a child, you just didn’t want any more. The last thing you needed was greater access.’

Famed for telling reporters to ‘naff orf ’, much of Anne’s mistrust of the media appears to stem from its rather uncomfortable coverage of Phillips fathering a love child, Felicity, with New Zealand art teacher Heather Tonkin in 1985. The Princess didn’t emerge unblemished either, having been revealed by The Sun to have received love letters from Tim Laurence, then the Queen’s equerry, in 1989, when she was separated – although still married to Phillips.

Anne and Mark finally divorced in 1992 and the Princess remarried eight months later, choosing Crathie Kirk in Scotland, as the Church of England did not at that time allow divorced persons whose former spouses were still living to remarry in its churches. The Prince of Wales had nicknamed Phillips ‘Fog’ on the grounds that he was ‘thick and wet’; but with his Royal Navy pedigree and impeccable manners, ‘quiet man’ Laurence fitted into the Royal family perfectly. One friend described the vice admiral as ‘a thoroughly decent man who never forgets a face’, before adding that ‘some may regard him as a little bit boring, but he’s a much safer bet than Mark ever was.’

Ever the pragmatist, Anne allowed Phillips to remain living on the Gatcombe estate, even after he married Sandy Pflueger, an American Olympic dressage rider, with whom he has a daughter, Stephanie, 22. As one equestrian insider put it: ‘The horsey set has always been very incestuous. Yes, Mark was serially unfaithful but there’s a lot of that going on – Anne just turned a blind eye.’

Now divorced from Pflueger, Phillips, 71, has vacated Aston Farm on the 730-acre estate, to make way for Zara, her rugbyplayer husband Mike Tindall, 41, and their daughters Mia, six, and Lena, two.

Peter also lives on the estate with his estranged wife Autumn, 42, and their daughters Savannah, nine, and Isla, eight. The couple are still living together despite announcing their divorce in January – an unexpected development that has left the Princess ‘sad and disappointed’, according to insiders.

One source said: ‘One thing about the Royal family is they are incredibly close. They are the most dysfunctional family there is, but the Princess and her children and grandchildren are as tight as anything.’

As ever, horse riding remains the tie that binds, with Anne – a former European eventing champion, BBC Sports Personality of the Year and competitor at the 1976 Montreal Olympics – passing on her enthusiasm for the sport to Zara. In recent years, Peter has taken over the running of the Festival of British Eventing at Gatcombe.

By her own admission, breaking with royal tradition by insisting that her children were called Mr and Miss ‘probably’ made life ‘easier for them’. ‘I think most people would argue that there are downsides to having titles,’ Anne said recently. Having initially been brought up, Downton Abbey-style, on the ‘nursery floor’, with her parents often away for months on end on royal tours, it was Anne who insisted she go to a ‘proper’ school – the first daughter of a monarch to do so – rather than be home-taught.

Both Peter and Zara were sent to Port Regis, a co-educational prep school in Dorset, before following in their uncle Charles’s footsteps to board at Gordonstoun in Scotland. Unlike the heir to the throne, who described it as ‘Colditz in kilts’, they thrived in the outdoorsiness of it all, excelled at sport and both ended up at Exeter University – Peter to study sports science and Zara, physiotherapy – despite university having eluded both their parents.

Zara also surpassed her mother’s equestrian achievements by winning the Eventing World Championships in 2006 and a silver medal at the 2012 Olympics – all while Anne was watching proudly from the sidelines.

One friend recalls how the Princess would think nothing of queuing up for the Portaloos at competitions like any other parent, much to the horror of Zara, who would tell her: ‘Mum, you can’t do that!’

Inconspicuous in her trademark Barbour jacket, tweed hat and sunglasses, Anne would regularly be stopped at events on her own estate by police not realising who she was. ‘I remember it happening a couple of times,’ said one source. ‘She was very good about it – she said: “Don’t worry, you weren’t to know.”’

After Zara collected individual and team gold medals at the 2005 European Eventing Championship in Blenheim, Anne invited the entire team, grooms and all, back to Gatcombe to celebrate, serving up ‘sandwiches and scampi in a basket’, in the courtyard. Very much a hands-on mother and grandmother, the Princess has a number of long-serving aides – but no large entourage. Along with Rowena Brassey (now Feilden), Lady Carew Pole has also been the Princess’s lady-in-waiting since 1970.

Unfussy Anne still insists on doing her own make-up and hair – which hasn’t been let down publicly in decades. Although according to one source who once witnessed the rare sight of her unclipping her bun and redoing it during an equestrian event: ‘It really is quite something. It’s still as long as it was when she was in her 20s.’

Part of Anne’s agelessness is down to genes. ‘She always says she doesn’t have very good role models for slowing down,’ Peter told the documentary. As Countryfile presenter John Craven found out when he dared to ask if Anne still rode, only to be rebuked: ‘Her Majesty is still riding, so come on!’ But as well as inheriting her mother’s DNA she shares HM’s strict adherence to style codes – and her aversion to profligacy.

Guests at the 2008 wedding of Lady Rose Windsor, the daughter of the Duke of Gloucester, were astonished when Anne arrived in the outfit she had worn to her brother’s wedding to Lady Diana Spencer, 27 years earlier. The size-10 Maureen Baker floral-print frock still fitted perfectly.

Quite what Anne must have made of Diana and Fergie’s wardrobe expenditure in the 1980s has never been disclosed – although it has long been reported that the Princess never thought too highly of either sister-in-law, regarding Diana particularly as ‘hogging the limelight’.

There were even reports that she viewed the pair as ‘lessening the stature’ of the Royal family, describing them behind the scenes as ‘those girls’. As royal biographer Penny Junor put it: ‘There was Diana on the one hand, who was incredibly touchy-feely, who hugged children, who put children on her lap, who even kissed people in public. And there was Anne, not touching anyone, not playing up to the cameras at all.’

As far removed from the suburban housewife as you can get, when Anne was once spotted mending fences at Gatcombe, she apparently retorted: ‘Somebody’s got to do it!’ ‘She’s never shirked anything in her life,’ said a friend. ‘She’s a real grafter.’

Weekends will invariably be spent with her four grandchildren. Revealing a surprising knowledge of popular culture – despite her dislike of indoor pursuits – the Princess revealed her familiarity with Catherine Tate’s stroppy schoolgirl character Lauren when she commented that Mia’s attitude to equestrianism was, ‘Am I bovvered?’

‘She’s superb with the kids,’ said a friend. ‘She’ll often be in the stables with the grandchildren. She’s got a tremendous sense of humour and is very likeable and kind. She loves Mike [Tindall, Zara’s husband]. He makes them all laugh.

The friend also pointed to Anne’s ‘surprisingly fruity’ sense of humour, adding: ‘And the Princess can swear all right. I’ve heard her use some quite colourful language.’

If the Queen instilled in Anne a love of horses then it was her father who encouraged her other great passion in life: sailing. Anne would regularly accompany the former Royal Navy commander to Cowes Week, and it is a testament to Philip’s infectious love of seafaring that Anne and Tim have kept their yacht Ballochbuie on Loch Craignish in Argyll, since 2012. The couple enjoy nothing more than cruising around the Inner Hebrides, where Anne indulges her passion of visiting lighthouses. She is patron of the Northern Lighthouse Board and is understood to have ‘bagged’ more than half of the UK’s 206.

But it hasn’t always been so easy combining work and pleasure. Anne was put to the diplomatic test when she became the first member of the Royal family to visit the USSR, at the invitation of the then-leader Gorbachev in 1990. In typical style, the Princess didn’t shirk the responsibility – and stayed for two whole weeks. Visits to war zones including Sierra Leone, Mozambique and Bosnia have been similarly taxing – with Anne once insisting after a particularly gruelling tour of Africa: ‘I don’t come here looking for trouble. I come to see if I can help.’

Her association with Save the Children, which dates back to 1970, has seen her slum it on camp beds and visit disease-ravaged Mozambique refugee camps. Once urged by photographers to hug an emaciated child, she refused, saying, ‘I don’t do stunts.’ And in response to a comment on her supposed lack of the maternal instinct, she said: ‘You don’t have to like children particularly to want to give them a decent chance in life.’

Yet her reputation as one of the most diligent royals ever has also been honed by her dedication to little-known domestic causes, like the Wetwheels Foundation, which provides ‘barrier-free boating’ for the disabled. One of more than 300 charities the Princess is involved with, its founder Geoff Holt, a paraplegic who was the first disabled person to sail solo around Britain in 2007, and then across the Atlantic in 2010, has known Anne for over 30 years. ‘I’ve got photos of us going back decades. I’ve got older and older and she’s stayed the same,’ he joked.

‘She’s got to be one of the most hard-working people I know. I’ve never known anything like it – the amount of engagements she packs in. She doesn’t do sycophancy, though.

Michele Jennings, chief executive of Hearing Dogs for the Deaf, of which the Princess has been patron since 1992, also tells staff ‘not to fawn’ when the Princess visits. ‘She hates that,’ she said. ‘We’re a pretty down-to-earth charity and when she comes she’ll have dogs jumping at her shins and crawling all over her, but she doesn’t mind one bit. There’s no awkwardness.’

Another source revealed how during one royal visit, Anne had joked about missing out on all the posh canapés – royals are discouraged from eating in public. ‘I’ll just have to put up with Great Western’s finest,’ she quipped, referring to her train journey home.

Although a ‘daddy’s girl’ growing up, since the Queen Mother and Princess Margaret died in 2002, Anne has become ever more devoted to her mother. Having helped to counsel the Queen through many royal crises over the years, the Princess has been HM’s first port of call when discussing recent tumultuous royal events. Although one can only guess what stalwart Anne makes of Harry and Meghan’s behaviour, she has made no secret of her opposition to royals trying to modernise the institution, seemingly referring to the Sussexes when she remarked recently: ‘I don’t think this younger generation probably understands what I was doing in the past and it’s often true, isn’t it? You don’t necessarily look at the previous generation and say, “Oh, you did that?” Or, “You went there?” Nowadays, they’re much more looking for, “Oh, let’s do it a new way.” I’m already at the stage [of ], please do not reinvent that particular wheel. We’ve been there, done that. Some of these things don’t work. You may need to go back to basics.’

When she turned 60, the Queen elevated Anne to the Order of the Thistle and there was a joint birthday party with Andrew, who was 50 that year. But Covid-19 – not to mention Andrew’s fall from grace – mean this year’s celebrations will be more muted. Indeed, she is not thought to have had much contact with her brother, with whom she shares a love of country pursuits, but little else.

With the Queen having been self-isolating at Windsor Castle since March, it is thought Anne will be reunited with her parents at Balmoral this summer, where she and Tim will once again take in Scotland’s sights by sea.

At a time when the monarchy finds itself somewhat cast adrift, it is the indefatigable Princess Royal who is proving to be its trustiest anchor. As she prepares to turn 70, showing no sign of slowing down after half a century of engagements, lighthouse-lover Anne has become the Royal family’s beacon of good, old-fashioned public service.

[1-800-slater]

TOP FIVE CHRISTIAN SLATER MOVIES!

(determined by casting, performance, script, cinematography, set design, prop design, character design, character appeal, soundtrack, plot, etc.)

TRUE ROMANCE (1993)

overview: R, action/crime, 2h 1m

description by ella: an elvis presley fanatic named clarence worley (christian slater) falls suddenly in love with a peachy romantic call-girl named alabama whitman. (patricia arquette). to prove to her his willingness to protect her, he goes to take back her belongings from her former pimp. after a violent change of plans, clarence leaves the club with the pimp’s blood on his hands and a mistaken suitcase filled with cociane, not clothes. they decide to live a glorious on-the-run life by selling the coke, with the help of friends. but, will clarence and alabama’s movie lifestyle have a happy ending, especially with the mob on their tail?

directed by: tony scott

script by: quentin tarantino

music by: hans zimmer and others

starring: christian slater, patricia arquette, michael rappaport, dennis hopper, christopher walken, brad pitt, & gary oldman.

why it’s #1: with a movie directed by tony scott and a script by the legendary quentin tarantino, nothing can go wrong. clarence worley and alabama whitman are some of the most interesting characters to ever be in a bonnie/clyde scenario. the movie is always moving, but the cliches of a crime/action movie are thrown out of the window when it comes to true romance. the cinematography and overall design is very unique, is quite beautiful. pretty much one of the sexiest, if not the sexiest, movie, ever.

PUMP UP THE VOLUME (1990)

overview: R, drama/comedy, 1h 45m

description by ella: a outcast with a way of words, mark hunter (christian slater), finds his voice in a pirate radio show, going by the name happy harry hard-on. every night a 10 o’ clock, he empowers the teens of arizona to be who they are, be crazy as shit, and live their life, no matter how ridiculous and crazy, all while nineties hard rock plays and his hormones rattle. but when he’s discovered by nora diniro (samantha mathis), everything falls apart. suddenly the government and the school are after him for his out-of-line behavior on the air, and he’s falling in love for the first time. jeez, somebody give mark hunter a break!

directed by: allan moyle

script by: allan moyle

music by: concrete blond, pixies, peter murphy, urban dance squad, etc.

starring: christian slater, samantha mathis, annie ross, cheryl pollak, andy romano, billy morrisette, & ellen greene.

why it’s #2: pump up the volume is one of the most controversial and eye-opening movies of it’s era. with mark hunter (christian slater) boiling over with truth about society and how it beats down it’s youth, it’s bound to be fantastic. the set design is gorgeous and really matches the aesthetic of the 1990s. the plot is easy to follow, but wild and interesting, and really is a good watch. plus, who doesn’t want to see christian slater and samantha mathis drooling over eachother?

HEATHERS (1988)

overview: R, dark comedy, 1h 43m

description by ella: a teen girl lost in societal standards, veronica sawyer (winona ryder) falls for a rejected and dejected jason dean (christian slater), with a taste for a clean slate. it seemed perfect at first, her prince coming to her rescue on his motorcycle. but, after a line of murders with her knight in armor, veronica finds herself pushed off the edge. before she can stop the madness, she must stop jason dean.

directed by: michael lehmann

script by: daniel waters

music by: david newman

starring: winona ryder, christian slater, shannon doherty, kim walker, lisanne frank, patrick labyorteaux, lance fenton, & carrie lynn.

why it’s #3: the set design of this movie is absolutely gorgeous, with each piece seemingly handcrafted to fit. the script is one of the best of it’s kind, as it’s unique catchphrases and dialogue assigned to each character is brilliant. the plot is so fun to watch unfold, and you’ll find yourself torn between rooting for veronica sawyer or jason dean.

UNTAMED HEART (1993)

overview: P-13, romance/drama, 1h 42m

description by ella: caroline, a bubbly waitress,(maresi tomei) falls victim to the tender trap of love after a series of breakups. with the help of her best friend cindy (rosie perez) she finally feels herself again. but, comes along thugs from her past, who follow her home and attempt to rape her. a shy busboy named adam (christian slater) who is hopelessly in love with caroline, comes to her rescue. as their romance blooms, caroline falls even deeper in love with adam than she ever imagined.

directed by: tony bill

script by: tom sierchio

music by: cliff eidelman

starring: maresi tomei, christian slater, rosie perez, kyle secor, willie garson, & lotis key.

why it’s #4: untamed heart is one of the most tragic yet heartwarming romance stories ever told. maresi tomei and christian slater play their roles with ease, and their romance is believable and awe-worthy.

MOBSTERS (1991)

overview: R, crime/drama, 2h

description by ella: four mobsters, charlie luciano (christian slater), meyer lansky (patrick dempsey), bugsy siegel (richard grieco), and frank costello (costas mandylor) rise from nothing a build an empire. but, the original big guys of the mob world are sensing the quartet are more trouble than they thought.

directed by: michael karbelnikoff

script by: michael mahern

music by: michael small

starring: christian slater, patrick dempsey, richard grieco, costas mandylor, lara flynn boyle, anthony quinn, & michael gambon.

why it’s #5: armed with a tommy gun and a craving for revenge, christian slater and his gang of mob maniacs stop at nothing to make their acting perfect in this movie. the set design is the best i’ve seen in a mob movie ever, and does justice to charlie lucky luciano’s legend.

[shannendoherty-fans]

People, September 9th 1991

High School Confidential

By Tom Gliatto and Michael Alexander.

Photos by Mark Sennett.

Beverly Hills, 90210 Gets Its Heat from a Dangerously Cute Cast of TV's Hottest New Stars CONFIDENTIAL MEMO: FROM: The Vice Principal TO: The Faculty, High School U.S.A. I'm sure I don't need to remind you what happened when we didn't prepare for Bart Simpson last fall. The school was flooded with rude, antieducational T-shirts. Some cows were had. Well, as a new school year gets under way, I believe we face another daunting challenge: Brace yourselves for Beverly Hills, 90210. That's the Fox drama about unworldly twin teens Brandon and Brenda Walsh (played by Jason Priestley and Shannen Doherty), recent transferees from Minneapolis to the Hills of Beverly. There they struggle to assimilate into the fast-lane lifestyle of West Beverly Hills High School, where the kids come equipped with BMWs, call waiting and designer surfboards. In the process, the teens examine their emerging identities and the problems that adolescents everywhere face.

The show languished in the Nielsen ratings against Thursday powerhouse Cheers last year. But Fox had no replacement, so it stayed. While we were on summer vacation, new 90210 episodes began airing, and the show landed in the Top 20, becoming the most popular show among teenagers. To some extent, I take responsibility for having ignored 90210. I made the mistake of reading newspaper critics instead of my daughter's diary, and so I believed, as Howard Rosenberg sniffed in the Los Angeles Times, that the show was merely a "ZIP code for stereotypes and stock characters." Little did I know that this show would mesmerize teens by doing emotionally realistic shows that involved adolescent rebellion, alcoholic; parents, a breast-cancer scare and plenty of worrisome teen sex. "Most shows for adolescents," says 90210 creator Darren Star, "seem like they are written by 50-year-olds who think teenagers behave like 7-year-olds."

It also doesn't hurt that the show's male stars, Priestley and Luke Perry (who plays brooding loner Dylan McKay), are "to die for," as my daughter puts it. These two have each been receiving about 1,500 fan letters a week. So be vigilant: Surely some of these will be written by our students...during class! And I'm afraid that 90210 is only going to get bigger with our kids, if producer Aaron Spelling is to be believed. "I thought The Mod Squad and Charlie's Angels got a lot of publicity in their heyday," says Spelling, whose company produced those shows, "but it doesn't compare to this. It's crazy. We have merchandising coming out of our ears"—a complete line of T-shirts, beach towels, notebooks, etc. "And now these actors can't walk down the street!"

Or even streak through malls. You probably saw those alarming news reports about a frenzied mob of 10,000 fans that stampeded Perry when he appeared at a south Florida mall last month. "It's a little scary," says Perry. Scarier is the amount of time students will waste this fall discussing Luke. And Jason. And who is sexier. I provide some information on the two. Jason Priestley, 22, plays Brandon Walsh, a model of thoughtful level-headedness. In real life, however, the brown-haired, blue-eyed star, who started acting in commercials at age 4 and played an orphan on that very nice NBC sitcom Sister Kate, is no Oliver Twist. He likes dirt bikes, bungee jumping and is a chain-smoker (just about the whole cast puffs it up—but not on-camera). Vancouver-born Priestley likes to hang out in Las Vegas. As for his real romantic life, he was reportedly dating actress Robin (Doogie Howser, M.D.) Lively last spring, but it seems likely that now he is too busy for such dalliance;. He must be on the set 14 hours a day, five days a week. To avoid ever-present fans, Priestley says, "I look different from my character when I'm just walking around. I don't shave, I don't dress like Brandon."

On the show, 26-year-old Luke Perry (Brenda Walsh's boyfriend, Dylan) sports a leather jacket, dagger sideburns and a squint that spells t-r-o-u-b-l-e. Although he grew up and graduated from high school in Fredericktown, Ohio, he seems to have attended James Dean wise-guy classes. Perry, who played country-boy Ned Bates on the ABC soap Loving, entertains the 90210 cast by strutting around bare-chested making jokes. Does he have a girlfriend? "No. You know how I can get in touch with Linda Hamilton?" What kind of music does he listen to? "Tom Jones is awesome." Are he and Priestley ever mistaken for each other? "He's mistaken for me on his good days." And 90210, he says, is "the best show on television, except for Jeopardy!" We should act quickly, faculty, when we see any signs that Beverly Hills, 90210 is disrupting normal student activity.

How abnormal might things get? Consider: "It's almost like there are cults," says Brian Austin Green, 18, the North Hollywood High grad who plays the cutely dweeby David Silver. "Girls go to school the day after the show, and they actually become these characters. They say, 'Okay, today I want to be Dylan, you can be Brenda, you can be Brandon.' " Needless to say, students caught pretending to be TV characters should be brought directly to my office for detention. But you know, it might not be a bad thing if our students could show some of the good sense that the 90210ers display in coping with the pressures of fame and fortune. Jennie Garth, 19, who plays the very sexy, very blond, very snotty Kelly Taylor, is particularly admirable. The youngest of seven children, she grew up on a farm near Champaign, Ill., until her schoolteacher parents moved to Phoenix when she was 13. "Living in a small town and coming from a very tight and close family instilled a lot of standards that I need to live up to," says Garth, who just bought a home in Sherman Oaks. She also recently supplied her parents with the down payment for their new home, setting a splendid example for today's youth.

According to a tabloid that someone left in the faculty lounge, Memphis-raised Shannen Doherty, 20, a veteran of such wonderful shows as Little House: A New Beginning, is the only cast member to be accused of behaving like "a spoiled brat" on the set. But she maintains she is no such thing. "I think everybody gets in a bad mood," Shannen says. "You do not work 16-hour days and not start feeling it. But I have never thrown a tantrum. I've gotten upset on the set, but it's never been just to be a bitch. You have to stand up for yourself in this business. That was something I was told when I was 12 years old and working with Michael Landon."

As with about half the cast members, Doherty is in a relationship—in her case, a real-estate developer with whom she's exchanged commitment rings. "You really have to date a while before you decide if this is the person you want to marry," she says with Brenda-like candor. Almost sounds like the relationship could be a future 90210 plot. "The problems of young people have accelerated," says Aaron Spelling, "and so have their feelings and thoughts." The show, he says, has kept pace: Even with their Clearasil-perfect complexions and plump allowances, the students at Beverly Hills have encountered their share of problems. "We had the guts to make Luke Perry be a member of AA," says Spelling. "We had Jason, our star, drinking and driving. That's reality."

And, apparently, the adulatory fan mail often includes a sad dose of that reality. "I got a letter the other day from a girl who mentioned the show we did on parental drug abuse," says Perry in a rare moment of seriousness. "She wrote about catching her father freebasing in the basement. I get letters like that all the time, from people all over the country." Gabrielle Carteris (at age 30, she's 90210's oldest cast-kid), who plays Andrea Zuckerman, the bright student who comes from the wrong side of Rodeo Drive, remembers an encouraging close encounter in a grocery store. "One girl came up to me after we'd done the breast-cancer show," says Carteris. "She said, 'I went home with all my friends and we checked our breasts for lumps.' "

In conclusion: Maybe I didn't need to write this memo. Maybe things won't be that bad, even if every locker in every corridor has a picture of Jason, Luke, Shannen or Jennie in it. Perhaps our dear little school is more like West Beverly Hills High—at least the TV version—than I thought. That's what Ian Ziering, 27, thinks too. "The reality on the show pretty much mirrors the way life is all over, in terms of teenagers," says New Jersey—bred Ziering, who once did Fruit of the Loom underwear ads and now plays 90210's curly-headed jock, Steve Sanders. "There's a mystique about Beverly Hills. But that's not what keeps people tuning in. The show could have been Montana E-I-E-I-O." By the way, should any student pronounce his name "eee-an," correct him or her, please. It's "eye-an."

-- WHEN BEVERLY HILLS, 90210 PREMIERED last October, Highlights, the student newspaper at Beverly Hills High, ran articles mocking the school's TV counterpart, West Beverly Hills High. "They said that the show was a joke," says Jenny Brandt, 14, a sophomore at the 1,900-student school. But as the story lines improved and Jason Priestley and Luke Perry became stars, the jokes stopped, and Brandt found herself, like many of her pals, glued to the set on Thursday nights from 9 to 10 P.M. "No phone calls allowed," says Brandt. "Except during commercials." Hope Levy, a 17-year-old senior, has taken fandom a step further with her friends. "We have little handmade cards," she says, speaking from her mom's car phone. "They say you're a member of Club 90210." While some kids think the show treats them as snobby stereotypes, most agree with sophomore Jordan Rynes when he says, "It's like a soap opera for teens. The shows dealing with drinking and drugs are the most real—adults don't realize how accurate it is."

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