#hugo peretti

[mitjalovse]

Some musicians can benefit from the standalone singles. Actually, I'm surprised Eno didn't do more of these – we can joke he applied the principles of the latter for his albums –, though he did release some surprising ones. For instance, he cover the famous chestnut by the Tokens into an amalgam of whatever his style was during the early 70's and the original. However, he somehow pointed towards his future on the composition, since he only slightly modified the piece. I mean, the whole things sounds like him singing over the original backing. True, this was not the case, yet I presume he wished for the song to sound like that, he wished to capture what the original actually had. To be honest, the question of the original here is a complex one.

[day-drunk]

Can't Help Falling In Love...

In my day dreams I'm still with you in the sea

Or throwing what's left of our old selves in the muddy river to sink

But the waves of regret always come rushing in

They wash away your cologne but they don’t wash away my sins 

I open my eyes and you’re gone again…

We were fools all along

Ask the wise men what they call someone who waits too long 

I can't help it 

Is it worth it to mourn love just to say that you've felt it?

༺♥༻

[fayegonnaslay]

Photo by Jean-Paul Goude.

Halston with his creative team and models, Esquire Magazine, August 1975.

[eptodaytommorowforever]

Elvis Presley In Concert In Las Vegas D/S At The International Hotel On August 26th, In 1969.

Events In The History And Of The Life Of Elvis Presley Today On The 26th Of August In 1969.

Known for a powerful stage presence Elvis Presley in total command of every room he has ever worked. But backstage at the International Hotel on July 31, 1969, Elvis Presley was pacing back and forth like a panther. In a few minutes, he would march out into what was then the largest showroom in Las Vegas, holding 2.000 people.rare candid photos of Elvis Presley wearing the white herringbone jumpsuit at this awesome show performance taken by fans and audience members who were at this show.

Track Listing | Dinner Show 26th, August 1969.

01  Blue Suede Shoes 3:06 (Carl Perkins) 02  I Got A Woman 2:44 (Ray Charles) 03  All Shook Up 3:50 (Otis Blackwell/Elvis Presley) 04  Love Me Tender 3:04 (Vera Matson/Elvis Presley) 05  Jailhouse Rock / Don't Be Cruel  2:23 (Jerry Leiber/Mike Stoller) / (Otis Blackwell/Elvis Presley) 06  Heartbreak Hotel 4:56 (Mae Boren Axton/Tommy Durden/Elvis Presley) 07  Hound Dog 1:35 (Jerry Leiber/Mike Stoller) 08  Memories 2:42 (Billy Strange/Mac Davis) 09  My Babe 4:23 (Willie Dixon) 10  Mystery Train / Tiger Man 3:39 (Junior Parker/Sam Phillips) / (Joe Hill Louis/Sam Burns) 11 Monologue 8:39 12  Baby, What You Want Me To Do 3:29 (Jimmy Reed) 13  Runaway 2:58 (Max Crook/Del Shannon) 14  Inherit The Wind 3:06 (Eddie Rabbitt) 15  Yesterday / Hey Jude 4:35 (John Lennon/Paul McCartney) 16 Introductions 4:35 17  In The Ghetto 3:04 (Scott 'Mac' Davis) 18  Suspicious Minds 7:48 (Mark James) 19  Can't Help Falling In Love 2:10 (Hugo Peretti/Luigi Creatore/George Weiss)

[disastrouscanasta]

a prose webweave using quotes and inspired by @almost-a-class-act’s amazing fic You Got The Best Of Me

Quotes: Jon Kabat-Zinn, Can’t Help Falling In Love written by Hugo Peretti, Luigi Creatore, and George David Weiss, The Sandman, Neil Gaiman, unknown

[jules-has-notes]

Can't Help Falling In Love — VoicePlay music video

Some men have trouble expressing their squishier emotions, but not these five open-hearted fellows. For the second year in a row, VoicePlay's first music video release was a romantic ballad near Valentine's Day. The arrangement highlights the beauty of their harmonies and the skill of their interwoven rhythms that turn a simple, classic tune into an emotional journey. Cuddle up and let it wash over you.

Details:

title: Can't Help Falling in Love

original performer: Elvis Presley

written by: Hugo Peretti, Luigi Creatore, & George David Weiss

arranged by: Geoff Castellucci

release date: 28 February 2020

My favorite bits:

the simplicity of starting with just Geoff's gentle legato melody

those warm, flowing harmonies

passing the lead up to J.None's buttery baritone

those swelling harmonies under ♫ "like a river flows" ♫

leaning into the Southern accent for Geoff's solo ♫ "darlin’" ♫

Eli's tasty riff on ♫ "meant to be" ♫

the clarity in J's tone for ♫ "take my hand" ♫

those subtle bell chords under ♫ "take my whole life too" ♫

the moment of dissonance in Layne and J's harmonies on the ascending ♫ "I can't help" ♫

Earl touching his wedding band as he sings ♫ "I can't help" ♫

all the incredible layering and counterpoint in the candlelit corner section, building to a lush unison ♫ "Who-o-o-oa" ♫

the beautiful use of silence in the final chorus

leaving the final ♫ "falling in love with you" ♫ to the only not-yet-married guy before that gorgeous ending chord

Trivia:

This song had been heavily requested by VoicePlay's fans, and the guys were happy to oblige.

The video was filmed at a local venue called The Acre.

The guys sprinkled a little silliness in between serious takes, which they then shared on social media as a teaser for their longer behind the scenes video on Patreon.

View this post on Instagram

A post shared by VoicePlay (@thevoiceplay)

It's important to look your best when you're on camera, and sometimes that means enlisting the production manager's help with some minor dental maintenance. (Scroll to second slide.)

View this post on Instagram

A post shared by Geoff Castellucci (@geophr3y)

Their artist friend Leon King used the soft, romantic aesthetic as inspiration to practice drawing Geoff's flowing locks.

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

Can't Help Falling in Love

Written By: George David Weiss, Luigi Creatore & Hugo Peretti

Artist: Elvis Presley

Released: 1961

Covers included: A*Teens, 2002; Ingrid Michaelson, 2008; twenty one pilots, 2012; Kina Grannis, 2017; Ice Nine Kills, 2021

A tender ballad about being unable to resist falling in love, “Can’t Help Falling in Love” is one of Elvis' most famous and romantic songs. Originally recorded to tie along with his movie, Blue Hawaii, the song has since been covered by various other artists, from U2 and Britney Spears to twenty one pilots. Rolling Stone ranked it as the 5th best Elvis song of all time, and it was also ranked as the 50th most popular wedding song by Billboard magazine.

[Verse 1] Wise men say "Only fools rush in" But I can't help Falling in love with you [Verse 2] Shall I stay? Would it be a sin If I can't help Falling in love with you? [Chorus] Like a river flows Surely to the sea Darling, so it goes Some things are meant to be [Verse 3] Take my hand Take my whole life, too For I can't help Falling in love with you [Chorus] Like a river flows Surely to the sea Darling, so it goes Some things are meant to be [Outro] Take my hand Take my whole life, too For I can't help Falling in love with you For I can't help Falling in love with you

Work Song

Written By: Hozier

Artist: Hozier

Released: 2014

Alternate version included: Live in America, 2015

This is the only song on Hozier’s self titled album to have a title that is not entirely composed of lyrics from the song. The song is about the love of a worker’s life lending him strength during a hard day’s work. The song encompasses indie with strong influences on folk, blues and negro spirituals.

[Verse 1] Boys, workin' on empty Is that the kinda way to face the burning heat? I just think about my baby I'm so full of love I could barely eat There's nothin' sweeter than my baby I'd never want once from the cherry tree 'Cause my baby's sweet as can be She give me toothaches just from kissin' me [Chorus] When my time comes around Lay me gently in the cold dark earth No grave can hold my body down I'll crawl home to her [Verse 2] Boys, when my baby found me I was three days on a drunken sin I woke with her walls around me Nothin' in her room but an empty crib And I was burning up a fever I didn't care much how long I lived But I swear, I thought I dreamed her She never asked me once about the wrong I did [Chorus] When my time comes around Lay me gently in the cold dark earth No grave can hold my body down I'll crawl home to her When my time comes around Lay me gently in the cold dark earth No grave can hold my body down I'll crawl home to her [Bridge] My babe would never fret none About what my hands and my body done If the Lord don't forgive me I'd still have my baby and my babe would have me When I was kissin' on my baby And she'd put her love down, soft and sweet In the low lamplight, I was free Heaven and hell were words to me [Chorus] When my time comes around Lay me gently in the cold dark earth No grave can hold my body down I'll crawl home to her When my time comes around Lay me gently in the cold dark earth No grave can hold my body down I'll crawl home to her

[retropopcult]

"Can't Help Falling in Love" is a song recorded by American singer Elvis Presley for the film (and album) Blue Hawaii (1961). The lyrics were written by Hugo Peretti, Luigi Creatore, and George David Weiss and the melody is based on "Plaisir d'amour", a popular French love song composed in 1784 by Jean-Paul-Égide Martini.

The single topped the British charts in 1962, spending four weeks at #1; in the US, the song peaked at #2 on the Billboard Hot 100 for six weeks but was unable to dethrone the song "Peppermint Twist". Nevertheless, it proceeded to sell over a million copies and is certified Platinum.

in the film, Elvis plays Chad Gates, a young man recently discharged from the army. He's eager to return to his old Hawaiian lifestyle with his surfboard, his guitar, and his girlfriend Maile... but his mother wants him to take over the family business, the Great Southern Hawaiian Fruit Company.

[thriftstorerecords]

Jimmie Rodgers…His Golden Year Jimmie Rodgers With The Hugo Peretti Orchestra Roulette Records/USA (1959)

[odk-2]

Sam Cooke - Good Times (1964) Sam Cooke from: "Ain't That Good News" (LP) "Good Times" / "Tennessee Waltz" (Single)

Soul | R&B | Rock and Roll

JukeHostUK (left click = play) (320kbps)

Personnel: Sam Cooke: Vocals Guitar: Clifton White / René Hall / John Pisano John Ewing: Trombone Ray Pohlman: Bass Emil Radocchia: Marimba / Timpani / Percussion Edward Hall: Drums / Percussion

Johnnie Taylor: Backing Vocals

Arranged by René Hall Produced by Hugo Peretti / Luigi Creatore

Recorded: @ RCA Victor's Music Center of The World Studios in Hollywood, California USA on December 21, 1963 and February 2, 1964

Album Released: on February 18, 1964

Single Released: on July 9, 1964

RCA Victor Records

[my-chaos-radio]

Release: May 10, 1993

Lyrics:

Wise men say

Only fools rush in

But I can't help falling in love with you

Wise men say

Only fools rush in

But I can't help falling in love with you

Shall I stay

Would it be a sin

But I can't help falling in love with you

As the river flows

Gently to the sea

Darling so we go

Some things were meant to be

Take my hand

Take my whole life too

But I can't help falling in love with you.

As the river flows

Gently to the sea

Darling so we go

Some things were meant to be

Take my hand

Take my whole life too

But I can't help falling in love with you

Songwriter:

I can't help falling in love with you

I can't help falling in love with you

I can't help falling in love with you

Luigi Creatore / George Weiss / Hugo E Peretti / Jeremy Fedryk / Colin Foster

[neroushalvaus]

Peretti & Creatore & Weiss / Paul McCartney / Little Miss Sunshine / Operation Mincemeat / Victor Hugo

[iamkenlee-blog]

"할렘에서의 탱고, 롤라가 뭘 워하든, 이태리집, 커피집"

2023년 9월 30일, 토요일. 홍대입구역 근처 밀롱가(=이프밀) 방문. 연휴 전날인 목요일부터 3일 연속이다. 굳이 변명을 하자면 밀롱가에는 음+주+가+무가 풀세트로 갖춰져 있기 땜에 그냥 여길 가면 최고로 잘 놀게 됨.

이날도 AM 딴다가 하나 나왔다. 두 곡은 알고, 나머지 하나는 모르는 거.

첫 번째는 터치앤고(Touch and go)라는 영국 재즈팝 밴드의 '할렘에서의 탱고(=Tango in harlem)'. 브레이크에서 여성 목소리로 "빡큐"란 말이 또렷이 들려 사람들이 춤추다 말고 웃음.

원래 이 밴드 컨셉이 몽환적인 스타일에 가사를 약간 자극적으로 쓰는 편. 또 다른 히트곡 중에 '혹시 해줄 수…(Would you…)'란 곡도 있는데 "나랑 자러 갈래?(=Would you go to bed with me?)"의 줄임말이다.

'넘버원으로 직행(=Straight To Number One)'이란 곡에선 좀 더 은밀하게 "입술에 키스해줘, 손가락으로 머리카락 쓸어줘, 날 더듬어줘 천천히, 그리고 넘버원(=정황상 오르가즘으로 사료됨)으로 바로 가자" 운운하는 내용임. 뭐… 나도 이 맛에 가끔 들었던 거니까.

두 번째는 고탄 프로젝트가 2003년 발매한 'Verve Remixed 2'라는 옴니버스 음반에 참여한 것으로, 1955년에 사라 본(Sarah Vaughan)이 휴고 페레티(Hugo Peretti) 악단과 부른 '롤라가 뭘 원하든(=Whatever Lola Wants)'을 샘플링해 다시 만든 것. 개인적으로 좋아하는 두 장르인 재즈 + 땅고 콜라보란 점 때문에 '멜로디 어페어'에도 잠깐 소개함.

원래는 '빌어먹을 양키스(=Damn Yankees)'라는 뮤지컬에 쓰인 곡이다. 보스턴 레드삭스 팬인 주인공이 뉴욕 양키스를 이기기 위해 악마에게 영혼을 팔았고, 롤라는 악마의 하수인이자 남자를 유혹하는 캐릭터다. '롤라'라는 이름은 롤라 몬테즈(Lola Montez)라는 아일랜드 출신의 댄서에서 따왔는데, 국왕 포함 상류층 남자들과 숱한 염문을 뿌린 팜므파탈이었다.

밀롱가 나와선 매년 추석에 정기 모임하는 땅고 인맥과 연남동 이태리집에서 파스타, 뇨끼, 리조또 먹었고, 스페인 음식으로 알던 빠에야도 있길래 먹음.

식후엔 지미 헨드릭스를 오마주 한 듯한 '헨드릭스'란 커피집으로 몰려갔고, 나는 에스프레소 곱배기 시킨 후 잡담에 동참.

[rhianna]

Elvis Presley - Can't Help Falling In Love • Live in Las Vegas 1970

Lyrics Wise men say Only fools rush in But I can't help falling in love with you Shall I stay? Would it be a sin If I can't help falling in love with you? Like a river flows Surely to the sea Darling, so it goes Some things are meant to be Take my hand Take my whole life, too For I can't help falling in love with you Like a river flows Surely to the sea Darling, so it goes Some things are meant to be Take my hand Take my whole life, too For I can't help falling in love with you For I can't help falling in love with you Source: LyricFind Songwriters: George Weiss / Hugo Peretti / Luigi Creatore Can't Help Falling in Love lyrics © Universal Music Publishing Group

[dweemeister]

Blue Hawaii (1961)

Elvis Presley’s ascent to stardom struck the United States (and the world) like a lightning bolt. Hounded from Nashville’s Grand Ole Opry due to the country music establishment taking offense to his genre-blending musicianship, Elvis grew from being a regional phenomenon to a national sensation as he helped innovate rockabilly, a form of rock and roll. Movie producers, sensing an opportunity to cash in on Elvis’ skyrocketing popularity, gave Elvis star vehicles such as Love Me Tender (1956) and Jailhouse Rock (1957). Critics shrugged at these films – low-budget affairs where most of the budget went to Elvis’ salary – but his fans made them critic-proof, turning out in droves to scream and swoon at their slick-looking dreamboat. Grappling with television’s advent and the dissolution of the Old Hollywood Studio System, Hollywood’s major studios shifted their efforts towards more bombastic, showman-like films. Such was the situation in the early 1960s that longtime Warner Bros. producer Hal B. Wallis (1938’s The Adventures of Robin Hood, 1942’s Casablanca), now at Paramount, joked that, “a Presley picture is the only sure thing in Hollywood.”

To the horror of Elvis’ fans and movie studio executives but to the delight of those fans’ parental figures and teachers, the U.S. Army drafted him in March 1958. Elvis served twenty-four months before his discharge with the rank of Sergeant. During his service, Elvis nevertheless had plenty of singles in the can, many ranking high on the charts while he was at basic training and later his posting in West Germany. Looking forward to restarting his musical and acting careers, Elvis soon returned to the recording studio and shot G. I. Blues (1960) – he had discussed the film with Wallis months prior to his discharge – in short order. For the eighth film of his career and his fourth after his discharge, Elvis starred in Blue Hawaii, directed by Norman Taurog (1938’s Boys Town, nine Elvis films) and produced by Wallis. The film stars Elvis as an Army veteran recently discharged from the service, returning to his home state. I wonder where did they get that idea from? It also marks the unlikely beginning of Elvis’ association with the Aloha State – which shed its territorial status in 1959 and was ready for a Hollywood treatment that had nothing to do with the Japanese attack on Pearl Harbor.

Chadwick “Chad” Gates (Presley) returns home to Hawai’i from his military service, greeted by girlfriend Maile Duval (Joan Blackman: “MY-lee”) and a flower seller named Waihila (Hilo Hattie in a cameo). Instead of immediately seeing his parents – mother Sarah Lee (Angela Lansbury, only ten years Elvis’ senior) and father Fred (Roland Winters) – he escapes to a secluded oceanside shack with Maile and his Hawaiian surf buddies. Chad is the son of pineapple plantation owners, and Sarah Lee wants him to succeed Fred when the time comes. But Chad is not interested in those plans, electing instead to work as a tour guide for Mr. Chapman’s (Howard McNear) travel agency – among other things, Maile works at the agency. The first tour he gives serves schoolteacher Abigail Prentice (Nancy Walters) and her four teenage students, all girls. One of those girls, Ellie Corbett (Jenny Maxwell), appears standoffish at first but then begins to flirt shamelessly with Chad.

If by that point in Blue Hawaii you are still concentrating on the plot, just note that your approach to watching Elvis movies is not advisable. Watching Elvis movies for a sensible plot is to invite frustration; accept the narrative drivel and enjoy.

Shot mostly on location on the Hawaiian Islands of O’ahu and Kaua’i, Hawai’i offers splendid backdrops to even the most mundane scenes of this film. Charles Lang’s (1947’s The Ghost and Mrs. Muir, 1959’s Some Like It Hot) camera allows characters to be dwarfed by the green mountains in the distance, the crystal blue waters extending to the horizon, and palm tree fronds wafting amid a gentle breeze. Scenes of breathtaking natural beauty abound in Blue Hawaii. In conjunction with the production (Hal Pereira and Walter H. Tyler) and set design (Sam Comer and Frank R. McKelvy), Blue Hawaii becomes, by default, the most colorful Elvis movie to date. The film, by design, partly becomes a tourism advertisement for the new state. Its white characters and filmmakers exotify and romanticize Native Hawaiian culture to fit their own expectations and perspectives – these sorts of depictions have endured across the last century, figuring heavily in cinema (1935’s Honolulu: The Paradise of the Pacific as part of [James A.] Fitzpatrick’s Traveltalks for MGM) and tourism advertising. This is the first live-action feature film from a major Hollywood studio to make even a minimal attempt to depict native Hawaiian culture since Waikiki Wedding (1937), another Paramount film.

Here are some more connections between Waikiki Wedding and Blue Hawaii: both share one song (“Blue Hawaii”) in both their soundtracks and both films are musicals. The Hawaiian musical sound is just as integral to popular conceptions of Hawai’i, and it is used liberally here in orchestrations, if not melodic structure. Blue Hawaii’s soundtrack contains the greatest amount of songs (fourteen) for an Elvis film. For those who enjoy their breathless musicals with a song at every turn, Blue Hawaii does just that. The musical numbers arrive in the most innocuous situations – from forming a melody from a tune heard on the radio, an impromptu jam session with a guitar conveniently within arm’s length of Elvis, or starting from nothing. The worst of the soundtrack avoids many of the novelty songs that plague Elvis films, especially the later entries. Given how nonsensical the plots to Elvis movies are, the lower-tier songs in Blue Hawaii are preferable compared to more stilted acting and fraternizing shenanigans. Thus, the bar is raised, and the inclusion of two non-original songs – “Blue Hawaii” (music by Ralph Rainger, lyrics by Leo Robin) and “Aloha ‘Oe” (Queen Lili’uokalani) – are arranged in such a way that beautifully complements Elvis’ velvety singing voice. Among the original songs, “Moonlight Swim” (music by Ben Weisman, lyrics by Sylvia Dee) is a sensuous, laid back song that perfectly serves Chad’s characterization: an unabashed Casanova, effortless in romance, a hint of masculine arrogance.

The runaway hit of the Blue Hawaii soundtrack is among Elvis’ most popular songs. “Can’t Help Falling in Love” – music and lyrics by Hugo Peretti, Luigi Creatore, and George David Weiss – appears approximately midway through the film as Chad says hello to Maile’s grandmother (Flora Kaai Hayes, a former Hawaiian Territorial Representative to the U.S. House of Representatives) for the first time since before his military service. It, like so many other musical entries in Blue Hawaii, arrives without much warning, backed by a constantly harmonizing music box and a steel guitar played in a Hawaiian style. One might take issue with the song’s use in context, but it is a crooners’ standard that has crossed linguistic barriers worldwide. Its simplicity is self-evident: a memorable melody, chorus, and a minor key bridge aching for resolution as it modulates to major key. Perhaps “Can’t Help Falling in Love” is not considered one of the greatest original songs in movie history because of the questionable quality of the film it appears in. More likely, Elvis’ gravitational pull as a crossover music and movie star writes its own legends that defy a critic’s or a historian’s corrections.

Somehow, I have written all the above without remarking on the acting. Other than Elvis himself, everyone else is a passing interest at best. Joan Blackman’s chemistry with Elvis is apparent, but she does not distinguish herself from every other female lead in an Elvis movie. Angela Lansbury’s exaggerated Southern accent displays her considerable range, even if there are better examples in other films. As much as some may deride Elvis’ performances for being unchallenging, one could not imagine an Elvis movie without the star attraction. His persona is effervescent; his charisma incontestable. According to Weiss, Elvis’ comedic instincts manifested themselves in subtle ways. If Elvis requested a joke to be explained in discussions about the screenplay, it was his roundabout, maybe overly polite, way to warn Weiss, Taurog, and screenwriter Hal Kanter (1952’s Road to Bali, at least twenty-two Academy Award ceremonies) that the joke was not funny. During test screenings of Blue Hawaii, every joke kept in the film that Elvis questioned elicited nothing from the audience. On- and off-screen, an Elvis movie with Elvis removed would collapse from the void of hilarity and charm such an absence would create.

Blue Hawaii, like all other Elvis movies prior, succeeded at the box office in comparison to its budget. Adding to this bounty for Elvis, the film’s soundtrack album sold millions of copies, sitting atop of the Billboard charts for twenty weeks, and garnering a Grammy nomination. The soundtrack profits from Blue Hawaii and the preceding G.I. Blues led Presley’s obstinate manager, Colonel Tom Parker, to have his client concentrate on film soundtrack albums at the expense of non-soundtrack albums – setting the groundwork for the remainder of the 1960s (Elvis released 16 soundtrack albums versus six non-soundtrack albums during this decade), with diminishing returns. Parker reasoned to Elvis that his fans demanded to see him in these musical romantic comedies, rejecting any roles that did not fit this mold. Elvis, believing his manager, continued to make films until well past the point an Elvis Presley picture was a guaranteed hit in theaters.

In its visual splendor and Pacific appeal, Blue Hawaii sealed the fate of Elvis’ post-Army career. No other subsequent Elvis film would match the commercial heights of Blue Hawaii, although one could argue several of those movies surpass this one in terms of acting, aesthetics, and musical interest (like 1964’s Viva Las Vegas and two concert documentaries in 1970 and 1972). Elvis returned to Hawai’i several more times during his career for concerts and two films – Girls! Girls! Girls! (1962) and Paradise, Hawaiian Style (1966). As much as Elvis is associated with Tupelo, Mississippi (his birthplace) and Graceland in Memphis, there is also a special relationship between Elvis and Hawai’i. That relationship – one that touches Elvis’ personal life and the musical traditions of Native Hawaiians – begins with Blue Hawaii, an archetypal Elvis film and one of his best.

My rating: 6/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.