#unforgettable eddie martin

[lilskeeter]

Skeet Ulrich as Eddie Martin in Unforgettable, S4E1, 2015.

[bin1es]

skeet ulrich as eddie martin

unforgettable (season 4, ep. 6)

[perfectindiatrip]

Taj mahal Sunrise Tour by Car from Delhi By Perfect India Trip

Overview of the Car Tour of the Taj Mahal Sunrise from Delhi With Perfect India Trip's Taj Mahal Sunrise Tour by Car from Delhi, set out on an unforgettable adventure to see the majestic Taj Mahal at dawn. This tour is made to make sure you have a smooth and comfortable experience while you take in the grandeur of one of the most famous structures in the world.

Schedule Early Departure Early in the morning is when your adventure starts. You will be picked up by a courteous driver from your preferred location in Delhi between 2:30 and 3:00 in the morning. Starting early guarantees that you will arrive at the Taj Mahal in time to see the breathtaking dawn.

A pleasant travel Take a relaxing ride in a well-kept vehicle with air conditioning and contemporary conveniences. You can take some time to relax and get ready for the day's events during the three to four-hour trip from Delhi to Agra.

Meeting Your Guide Upon Arrival in Agra You will be met by your experienced local guide when you arrive in Agra. Throughout your journey to the Taj Mahal, your guide will be at your side, sharing insights on its architectural significance, rich history, and the love tale that led to its construction.

Sunrise over the Taj Mahal As the first rays of sunlight dance across the immaculate white marble of the Taj Mahal, behold its enchantment. A mesmerizing and unique image is created by the monument's changing colors as the sun rises. Explore this UNESCO World Heritage site slowly to fully appreciate all of its minute intricacies and exquisite craftsmanship.

Break for breakfast Have a filling brunch at a neighboring restaurant after your tour of the Taj Mahal. To rejuvenate for the remainder of your journey, savor a range of Indian and continental cuisine.

Agra Fort Next, proceed to another UNESCO World Heritage site, the magnificent Agra Fort. Discover the fort complex's historical significance as the former home of the Mughal emperors as you tour its magnificent palaces, courtyards, and gardens.

Optional Mehtab Bagh Visit Mehtab Bagh is a stunning garden situated across the Yamuna River from the Taj Mahal. You may decide to visit it based on your schedule and preferences. This site is great for photography since it provides a breathtaking view of the Taj Mahal from a different angle.

Go back to Delhi. Set out to return to Delhi after an enjoyable day of discovery. As you unwind in the cozy vehicle, consider the events of the day. By late afternoon or early evening, your tour will come to an end when your driver drops you off at the selected place in Delhi.

Included Air-conditioned automobile transportation round-trip with a professional driver and local guide Fees for entering the Agra Fort and Taj Mahal A neighborhood restaurant for breakfast Water in bottles and snacks Advice for the Journey There will be a good bit of walking, so wear comfortable clothes and shoes. To shield oneself from the sun, always carry a hat, sunglasses, and sunscreen. Remember to bring along your camera to witness the breathtaking vistas of the Taj Mahal at dawn. For any tips or personal expenses, always have some cash on hand. In conclusion Perfect India's Car-Based Taj Mahal Sunrise Tour from Delhi Trip provides an enjoyable and enriching experience. It is an image that will stay with you forever: the Taj Mahal illuminated by the morning's golden hue. Travelers who want to experience the comforts and conveniences of a well-planned trip, all while exploring the historical and architectural wonders of Agra in a single day, should book this tour.

ALSO READ-

Eddie Murphy plays Axel Foley, a streetwise Detroit police officer who goes to Beverly Hills, California, to investigate the death of his closest buddy. Martin Brest directed this iconic American action-comedy, which debuted in 1984. Eddie Murphy's reputation as a big movie star was cemented by the film, which was a huge box office hit. A closer look at the movie is provided here:

Summary of Plot: Beverly Hills Cop centers on Axel Foley, a brazen and unconventional Detroit detective who sets out to solve the murder of Mikey Tandino, a buddy from boyhood. After being released from prison, Mikey worked for a wealthy art dealer named Victor Maitland in Beverly Hills. After Mikey is slain, Axel follows his inquiry into the murder to the affluent streets of Beverly Hills, where his streetwise strategies collide with the more official procedures of the neighbourhood police department.

Axel joins forces with two Beverly Hills investigators, Billy Rosewood (Judge Reinhold) and John Taggart (John Ashton), in spite of a warning to leave the matter alone, in order to apprehend Mikey's killers. Eddie Murphy's powerful performance, action scenes, and humor are the film's main draws.

Important Personas The main character, witty Detroit police officer Axel Foley (Eddie Murphy), employs unusual techniques to solve crimes. Judge Reinhold's character Billy Rosewood is an innocent yet sincere Beverly Hills investigator who joins Axel's team. After initially opposing Axel's techniques, John Taggart (John Ashton), a seasoned Beverly Hills investigator, finally works with him. The primary antagonist, wealthy art dealer Victor Maitland (Steven Berkoff), is engaged in a number of illegal enterprises. Subjects Axel Foley's trip from impoverished Detroit to opulent Beverly Hills, which emphasizes cultural and procedural distinctions, serves as a major source of humor and tension in Fish Out of Water. Justice and Revenge: The story revolves around Axel's pursuit of justice for his friend's murder, which highlights themes of fidelity and retaliation. Bureaucracy against Street Smarts: The differences in policing ideologies are brought to light by the comparison between Axel's street-smart strategy and the bureaucratic practices of the Beverly Hills police. Effect and Heritage Both critically and commercially, Beverly Hills Cop was a huge success. It was the highest-grossing R-rated movie of its era, taking in over $300 million globally. Eddie Murphy became a significant draw at the ticket office with his highly acclaimed performance. In addition, two sequels to the movie were made: Beverly Hills Cop II in 1987 and Beverly Hills Cop III in 1994. A fourth movie is currently in development.

The film is well-known for its memorable music, especially Harold Faltermeyer's instrumental "Axel F," which went on to become a hit on its own. More action-comedy movies in the 1980s and later were made possible by the popularity of Beverly Hills Cop.

In conclusion Known for its keen humor, captivating plot, and Eddie Murphy's outstanding performance, Beverly Hills Cop is still a renowned action-comedy movie. Its unforgettable characters, action-packed plot, and perfect balance of humor have guaranteed its place as an American film classic.

[50s-music-tournament]

Week 1

Blue Moon, The Marcells - I Only Have Eyes For You, The Flamingos

We Wanna Boogie, Sonny Burgess - Heartbreak Hotel, Elvis Presley

Tutti Frutti, Little Richard - Santa Baby, Eartha Kitt

Beyond the Sea, Bobby Darin - Rockin Robin, Bobby Day

El Paso, Marty Robbins - Be Bop a Lula, Gene Vincent

Get a Job, The Silhouettes - Shout, The Isley Brothers

Tequila, The Champs - Who Do You Love, Bo Diddley

Unforgettable, Nat King Cole - Secret Love, Doris Day

La Bamba, Ritchie Valens - 16 Tons, Tennessee Ernie Ford

Week 2

The Masochism Tango, Tom Lehrer - Kansas City, Wilbert Harrison

Silhouettes, The Rays - Carolina Moon, Connie Francis

Hound Dog, Big Mama Thornton - Jim Dandy, LaVern Baker

Here in My Heart, Al Martino - I Put A Spell On You, Screamin' Jay Hawkins

Whole Lotta Shaking Going On, Big Maybelle - A Teenager In Love, Dion & The Belmonts

Fever, Little Willie John - Old Cape Cod, Patti Page

Summertime Blues, Eddie Cochran - Lovers Question, Clyde McPhatter

Summertime, Ella Fitzgerald/ Louis Armstrong - Dont You Just Know it, Huey Piano Smith & His Clowns

Lonely Teardrops, Jackie Wilson - Wonderful! Wonderful!, Johnny Mathis

Week 3

Earth Angel, The Penguins - Rumble, Link Wray

Blueberry Hill, Fats Domino - Why Do Fools Fall In Love, Frankie Lymon

Put Your Head on My Shoulder, Paul Anka - Stagger Lee, Lloyd Price

Cold, Cold Heart, Hank Williams - I Hear You Knocking, Smiley Lewis

Sh'Boom, The Chords - Rebel Rouser, Duane Eddie

Brown Eyed Handsome, Man Chuck Berry - Speedo, The Cadillacs

In the Still Of The Night, The Five Satins - Freight Train, Elizabeth Cotten

Mama He Treats Your Daughter Mean Ruth Brown - Everyday Buddy Hollly & The Crickets

Come & Go With Me, The Del Vikings - Love Potion No. 9, The Clovers

Week 4

My Baby Just Cares For Me, Nina Simone - (We're Gonna) Rock Around the Clock, Bill Haley & His Comets

That's Amore, Dean Martin - Betty Lou Got A New Pair Of Shoes, Bobby Freeman

I Walk The Line, Johnny Cash - Work With Me Annie, Hank Ballard & The Midnighters

Cry Me A River, Julie London - Come On-a My House, Rosemary Clooney

Be Anything (but Be Mine), Peggy Lee - Smoke Gets in Your Eyes, The Platters

The Book of Love, The Monotones - Mr. Sandman, The Chordettes

Pink Shoelaces, Dodie Stevens - Let's Have A Party, Wanda Jackson

Ain't Got No Home, Clarence "Frogman" Henry - Fly Me To The Moon, Kaye Ballard

Day-O (The Banana Boat Song), Harry Belafonte - Blue Suede Shoes, Carl Perkins

[projectionboothpodcast]

Between Columbo's Seasons 4 and 5, we're shifting our detective lens to explore another powerful creation by Richard Levinson and William Link: The Execution of Private Slovik (1974). Directed by Lamont Johnson and featuring an unforgettable performance by Martin Sheen, this adaptation of William Bradford Huie's work tells the harrowing true story of Eddie Slovik—a small-time Michigan criminal who made history as the only U.S. soldier executed for desertion during World War II. https://www.spreaker.com/episode/the-execution-of-private-slovik-1974--63438149

[final-girl96]

Variety Announces 10 Actors to Watch for 2022

Variety has selected its 10 Actors to Watch for 2022, an honor that dates back to 1998.

Past honorees include many future Oscar winners and nominees including Mahershala Ali, Timothée Chalamet, Viola Davis, Adam Driver, Brie Larson and Lupita Nyong’o.

This year’s honorees will be feted in the Oct. 12 issue of Variety and at the Newport Beach Film Festival Honors, a brunch reception held on Oct. 16 that also celebrates some of the best and brightest in the entertainment world. The event will be held in conjunction with Visit Newport Beach and the Newport Beach Film Festival.

“With a significant amount of guild and Academy voters attending, the Newport Beach Film Festival Honors event has become a must-stop for the awards campaign season,” says Gregg Schwenk, CEO of the Newport Beach Film Festival. “The annual celebration hosts industry legends side-by-side with rising stars from Variety‘s 10 Actors to Watch.”

Adds Steven Gaydos, senior VP global content/executive editor of Variety, “However it happened – whether it was COVID, the rise of streamers, the internationalization of film and tv – compelling storytelling is happening every at once, as further evidenced by this year’s 10 Actors to Watch. These ten are bursting out of movies, but movies of all kinds from all places. And from long-form shows that match their big screen counterparts in buzziness, creative impact and opportunities for these ten to create new, unforgettable characters. And so they have. I look forward to seeing the rest of the world recognize their talent in the coming weeks as their movies play festivals and theaters.”

This year’s 10 Actors to Watch are:

Joseph Quinn – The British actor had a major breakout role as fan favorite Eddie Munson in Season 4 of “Stranger Things.” He also appeared in “Mangrove,” part of Steve McQueen’s “Small Axe.”

Kerry Condon – Known for her roles on “Better Call Saul” and “Ray Donovan,” Condon will next be seen opposite Colin Farrell and Brendan Gleeson in Martin McDonagh’s “The Banshees of Inisherin.”

Stephanie Hsu – After her breakthrough performance in “Everything Everywhere All at Once” opposite Michelle Yeoh, Hsu will appear in an upcoming film from Adele Lim and the series “American Born Chinese,” which reunites her with Yeoh.

Ximena Lamadrid – Seen as the titular character in the Netflix series “Who Killed Sara?,” Lamadrid plays a pivotal role in “Bardo” from filmmaker Alejandro G. Iñárritu.

Christina Jackson – Following roles in “The Good Fight” and “Swagger,” Jackson stars opposite Jonathan Majors and Glen Powell in “Devotion” and has a role in the upcoming Shirley Chisholm biopic opposite Regina King.

Thuso Mbedu – After starring in Barry Jenkins’ series “The Underground Railroad,” Mbedu will make her feature film debut opposite Viola Davis in “The Woman King.”

Zen McGrath – The newcomer stars alongside Hugh Jackman and Anthony Hopkins as the title character in Florian Zeller’s film “The Son.”

Amber Midthunder – Midthunder earned critical and audience raves for her leading role in “Prey” and starred in the series “Roswell, New Mexico” and “Legion.”

Sam Nivola – Nivola will be seen this year as Adam Driver and Greta Gerwig’s son in Noah Baumbach’s “White Noise” and in 2023 opposite Bradley Cooper in “Maestro.”

Jeremy Pope – The Tony Award nominee earned an Emmy nomination for his TV debut in “Hollywood” and will make his first starring film role as a Black, gay Marine recruit in “The Inspection.”

[mamusiq]

Ronnie Spector: 15 Essential Songs

We survey the full arc of the iconic singer’s five-decade pop odyssey, from her Ronettes classics to team-ups with everyone from Eddie Money to Joey Ramone

By Jon Dolan & Jon Freeman & Elisabeth Garber-Paul & Kory Grow & Joseph Hudak & Daniel Kreps & Elias Leight

Ronnie Spector's greatest performances included Sixties girl-group gems as well as late-career solo spins on tunes by the Stones and the Bee Gees.

After years of performing around New York City, the Ronettes exploded in 1963 behind “Be My Baby,” a modern standard beloved by the Beach Boys’ Brian Wilson and pretty much everyone else with ears and a heart. During the recording of the song in Los Angeles, “All the musicians dropped whatever they were holding, their horns and guitars, and they were looking at this new girl in town,” lead singer Ronnie Spector remembered during an interview with Rolling Stone in 2016. “All the musicians were yelling, ‘Oh, my God. Her voice!’ And I’m saying, ‘Me? A little girl from Spanish Harlem?’ ”

Spector used her potent vocals to convey the overwhelming highs and desperate lows of young love, and “Be My Baby” was the first of five consecutive Top 40 hits for the Ronettes. The group toured with both the Beatles and the Rolling Stones before disbanding in 1967, but Spector continued to record intermittently over the years, teaming up with everyone from Eddie Money to Joey Ramone, and releasing her final solo album album, English Heart, in 2016. “Singing was something I loved and something that was taken from me,” she said at the time, referencing her years in exile while married to Phil Spector. “And after that, I want to do it so much more.”

Here we pay tribute to the ultimate girl-group icon, who died Wednesday at age 78, with a look back at 15 songs that span her career and sum up her vocal brilliance.

The Ronettes, “Be My Baby” (1963)

Thump, thump-thump, clap! From the unforgettable opening drumbeat to Ronnie Spector’s roller-coaster “whoa-oa-oas” over a Wall of Sound built on orchestral strings and castanets, “Be My Baby” was an instant classic. “It was like I’d gone to heaven,” Spector once recalled of Hal Blaine’s drum intro. “It all fit. It all was like a puzzle and once my voice was put on, the puzzle was complete. That’s when I knew this record just might be a hit.” Ultimately, the song was more than a hit, it was a cultural touchstone. Martin Scorsese used it to set the scene for his film Mean Streets, and Taylor Swift, the Jesus and Mary Chain, and Amy Winehouse have all quoted Blaine’s drumbeat. “In a way it wasn’t like having your mind blown, it was like having your mind revamped,” Brian Wilson once said of the track. “It’s like, once you’ve heard that record, you’re a fan forever.” K.G.

The Ronettes, “Baby, I Love You” (1963)

There’s nothing quite like the rush of hearing the Ronettes’ “Baby, I Love You” slide into its chorus: It’s the thrill of young hearts (and hormones) colliding feverishly and a backbeat powerful enough to drown out any doubts. Written by Phil Spector with Jeff Barry and Ellie Greenwich, “Baby, I Love You” was released in 1963 as the follow-up to “Be My Baby” but couldn’t match the dizzying heights of that song’s chart success despite its starry-eyed demeanor and more of Ronnie Spector’s signature vocal dives. “Oh, tell me that you feel the same,” Spector pleads, overcome with emotion. Cher was one of the studio background singers and later cut her own version, as did the Ramones, on the Phil Spector–produced End of the Century in 1980. Bruce Springsteen, in his famed 1975 Newsweek cover story, described the song as “the sound of universes colliding.” J.F.

The Ronettes, “Sleigh Ride” (1963)

It’s not really the holidays until Ronnie Spector welcomes it with “Sleigh Ride,” an upbeat Andrews Sisters cover that appeared on a Phil Spector–produced Christmas sampler in 1963, and just last year became the Ronettes’ highest-charting hit. Cue the bells, cue the whinnying horse, cue the rock & roll buildup — then Ronnie bursts in, with her smoky, irresistible voice, to melt a little of the snow away. Decades later, the singer would turn her love of Christmas into a rocking annual multi-city party. E.G.P.

The Ronettes, “So Young” (1964)

“So Young” plays as a downcast follow-up to the giddy rush of “Be My Baby” — the fictional couple gets together, only to have their love dismissed by the short-sighted adults who still rule their lives. “They say our love is just a teenage affection,” Spector pouts, before turning defiant: “But no one knows my heart’s direction.” “I’m So Young” was already a doo-wop hit for the Students before the Ronettes got their hands on it, but that group can’t match Spector’s mix of steely daring and quavery desolation — plus a dollop of weepy orchestration and over-the-top drum fills that push the misery to even greater heights. A year after the Ronettes released their “So Young,” the Beach Boys decided to take a crack at it as well. E.L.

The Ronettes, “Walking in the Rain” (1964)

After a trip to London, Spector mentioned to husband-and-wife songwriting team Barry Mann and Cynthia Weil how entranced she was by her time in the city. “I told them I loved the English rain and fog,” she recalled. Building on that image, the pair came up with this dreamy ballad — a perfect mix of teenage romantic fantasy and wearily searching loneliness (“Where can he be?” Ronnie asks, after elucidating all of her rain-loving ideal boyfriend’s many qualities). She nailed her vocal in one take, and Phil Spector upped the operatic ante by opening “Walking in the Rain” with the ominous sound of thunderclaps. It was the Ronettes’ last Top 40 hit. J.D.

The Ronettes, “Why Don’t They Let Us Fall in Love” (1964)

Love is a battlefield — or at least a subject of mockery, much to Spector’s frustration — in this track: “Why do they always try to keep us apart?” she wonders. “Why do they laugh at what I feel in my heart?” Spector never identifies the dastardly forces standing between her and the object of her affections. But the track beneath her pushes back against the idea that she’s thwarted at every turn: Even as the lyrics catalog absence and obstacles, the instrumental remains peppy, all sturdy guitar, perky “bah-bah-bah” backing vocals, and firm handclaps. It sounds like she’s skipping through the park with her partner already. E.L.

The Ronettes, “(The Best Part of) Breakin’ Up” (1964)

“(The Best Part of) Breakin’ Up” marked another Top 40 hit off the Ronettes lone LP, Presenting the Fabulous Ronettes Featuring Veronica. The track was arranged by studio wizard Jack Nitzsche and co-written by Brill Building vets Pete Anders and Vince Poncia with Phil Spector — who, as legend goes, knew the song would be a hit after he was presented with the words for the chorus, “The best part of breaking up is when you’re making up.” Ronnie took center stage on the sweeping teenage anthem about the joys of temporary heartbreak. “When Phil loved a song as much as he loved ‘(The Best Part of) Breakin’ Up,’ he could work on it for days without ever getting tired,” Ronnie wrote in her memoir Be My Baby: How I Survived Mascara, Miniskirts, and Madness. D.K.

The Ronettes, “Do I Love You?” (1964)

Ronnie Spector is relentless to the point of recklessness in “Do I Love You?” — a series of romantic questions (the implied answer to each is, of course, an emphatic yes) that escalates at breakneck speed. She starts with a few softballs: “Do I want you for my baby?” “Do I want to run and kiss your lips?” But it doesn’t take long for her to ratchet up the intensity. “Do I live my life for you?” she asks. “Would I die if you should ever go away?” Soon she stops asking rhetorical questions and announces a plan of action, with brass blurting continuously behind her. “I swear I’m gonna get you if takes me all my life,” she vows. “I’ll hope and pray and dream and scheme.” You’d be a fool not to believe her. E.L.

The Ronettes, “I Can Hear Music” (1966)

Composed especially for the Ronettes from the Jeff Barry/Ellie Greenwich/Phil Spector girl-group blueprint, “I Can Hear Music” wasn’t a major hit for the band upon its release in 1966. Rather, it was the Beach Boys’ version three years later — with angelic lead vocals from Carl Wilson — that’s best remembered. But listening to the Ronettes’ original is to hear pure joy: There are few better opening lines than Ronnie crooning, “This is the way/I’ve always dreamed it would be.” Carl Wilson died in 1998, but Ronnie would go on to perform the song live with Brian Wilson at a 2000 concert special honoring the catalog of Barry. J.H.

“Try Some, Buy Some” (1971)

In 1971, a few years after interest in the Ronettes had dried up and a year before Ronnie would escape the clutches of Phil Spector, Ronnie’s Beatles buddy George Harrison helped revive her career by giving her “Try Some, Buy Some,” a leftover from his All Things Must Pass sessions. The tune is more pensive and plodding (and therefore more George Harrison–y) than the Ronettes’ music, but Ronnie’s voice fits in perfectly as she sings about opening her eyes and falling in love (with God this time, since Harrison wrote it). The tune made it up to Number 77 on the Billboard chart. A couple years later, Harrison recorded a more plaintive version of the tune on his album Living in the Material World, and David Bowie attempted a version on his 2003 Reality album, but both sound lackluster compared to Ronnie. K.G.

Ronnie Spector and the E Street Band, “Say Goodbye to Hollywood” (1977)

Little Steven Van Zandt gave Ronnie Spector’s career a shot in the arm with help from both Billy Joel and the E Street Band in 1977. Determined to elevate Spector — who so vastly influenced the core sound of Bruce Springsteen and his group — Van Zandt enlisted his bandmates to back up the vocalist on Joel’s 1976 Turnstiles track “Say Goodbye to Hollywood.” It was a fitting choice: Joel’s song was itself shaped by “Be My Baby.” (Listen to the way he draws out “Boulevard” in Ronnie’s distinct style.) Van Zandt’s gambit worked and both gave Spector her due and introduced her to a new audience. “When I came back with ‘Say Goodbye to Hollywood,’ I was so shocked that anyone cared,” she said in 2013. “When I went to play at the Stone Pony in Asbury Park, New Jersey, in the Seventies, there’s Bruce up onstage and Billy Joel sitting next to me. These people idolized me and I was saying, ‘Me?’ ” J.H.

Eddie Money, “Take Me Home Tonight” (1986)

Eddie Money had enjoyed Seventies success with hits like “Two Tickets to Paradise” and “Baby Hold On,” but his career was fading a little by the mid-Eighties. He originally demoed “Take Me Home Tonight” with Martha Davis of the Motels interpolating lyrics from “Be My Baby” into the song. Davis suggested he get Spector herself to sing it, and though the girl-group icon wasn’t interested at first, she eventually stepped in with a vocal that elevated the tune, as well as both artists’ careers — ushering Money back into the Top 10 and landing Spector on MTV. J.D.

“You Can’t Put Your Arms Around a Memory” (1999)

Spector’s 1999 EP She Talks to Rainbows turned heads because of its duet with the project’s co-producer: Joey Ramone. But it’s her solo reading of another punk rocker’s song that gave the EP its heart: Johnny Thunders’ “You Can’t Put Your Arms Around a Memory,” which the New York Dolls guitarist wrote for his 1978 solo debut. While the chorus may have been inspired by a line from the Fifties sitcom The Honeymooners, there’s nothing funny about Spector’s delivery. It’s full of regret and resignation (and features harmonies from Ramone), along with enough grit in the then–56-year-old’s voice to convey that her journey hadn’t been an easy one. During a gig during her career’s fallow years, Spector spied Thunders from the stage. “He was crying throughout my whole show,” she told Vogue in 2016, “and I’m saying, ‘Who is this guy?’ ” J.H.

“I’d Much Rather Be With the Girls” (2016)

Shortly after “Be My Baby” transformed pop music, Ronnie Spector’s pal Keith Richards teamed with Rolling Stones manager Andrew Loog Oldham to pen “I’d Much Rather Be With the Boys,” a song that lovingly parodied the girl-group phenomenon. “I’d rather be out with the boys than with girls like you,” goes one line. When the long-forgotten group the Toggery Five recorded the tune for the first time in 1965, they included a guitar riff that winked at “Be My Baby,” but when the Stones tackled it for themselves, they made the “Be My Baby” swipe more explicit and even jabbed at the Four Seasons with whiny backing vocals. In 2016, Spector claimed it for herself on her English Heart album and flipped the lyrics. “I just waited 50 years,” she told Rolling Stone. “Yeah, I’d much rather be with the girls.” K.G.

“How Can You Mend a Broken Heart” (2016)

Half a century after Ronnie Spector made her career sitting atop busy-sounding Walls of Sound, her final album, English Heart, featured her surprisingly sparse and moving cover of the Bee Gees’ “How Can You Mend a Broken Heart.” Built around only organ, electric piano, a little guitar, and some whispering percussion, the track is a showcase for Ronnie Spector’s soul. “I went in the ladies’ room and cried my eyes out,” she once said of the session. “Because that song is about my life, you know? My heart’s been broken so many times. I mean, I was in lawsuits over royalties with my ex for 20 years. It took away a lot of the things I really wanted to do.” K.G.

https://www.rollingstone.com/music/music-features/ronnie-spector-ronettes-best-songs-1283633/

👇 ARCHIVE 👇 https://mamusiq.tumblr.com/archive

[tcm]

The Whacky, Unforgettable Comedies of Paramount Pictures By Donald Liebenson

In Road to Utopia (‘45), Bob Hope and Bing Crosby are on the road again. “Case those trees, that snow, that scenery and that sky,” Bing exclaims as he and Bob sled across the Yukon. Noting a familiar-looking mountain, Bob adds, “And get a load of that bread and butter.” “That’s a mountain,” Bing corrects him. “May be a mountain to you, but it’s bread and butter to me,” insists Bob, as a semi-circle of stars materializes to arc the peak and recreate the Paramount Pictures logo.

Paramount was bread and butter to a murderer’s row of actors, entertainers and comedy teams who helped establish the studio as being to comedy what MGM was to musicals, Warner Bros. to gangster pictures and Universal to horror films. On January 26, TCM is offering up a mini-Paramount-palooza with three comedies and stars that defined their eras: I’m No Angel (‘33) starring Mae West; Road to Utopia with Bing Crosby and Bob Hope; and The Nutty Professor (‘63) starring Jerry Lewis in his signature Jekyll and Hyde role portraying the milquetoast, accident-prone Professor Kelp and self-described “world’s greatest everything,” Buddy Love.

Paramount comedies, especially of the 1930s and ‘40s, were the smartest, the silliest and the screwiest (and that’s only the s’s). Comedy was a priority for Paramount in the silent era, and once sound came in, the studio was uniquely positioned to sign the biggest comedy stars of Broadway, vaudeville and radio for shorts and features, according to Dr. Joseph Casper, an Alma and Alfred Hitchcock Professor of American Film at the University of Southern California.

“Paramount owned most of the downtown theaters, including the Balaban and Katz chain, which was the largest circuit of first-run theaters,” he noted. “Those theaters featured movies and vaudeville entertainers. Paramount also had an interest in radio, and with its studio based in Astoria, NY, they could also see who was clicking with audiences on the Broadway stages.”

In addition to West, Hope and Crosby and Lewis, here is only a partial list of the comedy icons in Paramount’s stable: W. C. Fields, the Marx Brothers, George Burns and Gracie Allen, Jack Benny, Eddie Cantor, George Jessel, Jack Oakie and Charlie Ruggles (and his frequent costar Mary Boland).

Mae West came to Paramount with a Broadway pedigree and a 10-day jail sentence as the writer and star of the then-scandalous play, Sex. She was only a supporting character in the George Raft vehicle, Night After Night (‘32), her screen debut, but she made an indelible first impression. As Mae saunters into a night club, the coat-check girl greets her with, “Goodness, what diamonds.” Without breaking her stride, West coos, “Goodness had nothing to do with it, dearie.” She stole everything but the cameras, as George Raft said afterward of his costar. Her first starring role in She Done Him Wrong (‘33) established her persona as a “sexual gangster,” as modern-day burlesque queen Dita Von Teese dubbed her in the recent documentary Dirty Blonde��(2020). Its box-office success is credited with saving Paramount from bankruptcy. I’m No Angel, the follow-up, was an even bigger box-office hit. 

What makes it Paramount? In pre-Code Hollywood, Paramount did not try to tame or censor the wild, wild West of moviemaking. “When I’m good, I’m very good,” she tells co-star Cary Grant. “When I’m bad, I’m better.” As Tira, a carnival dancer and lion tamer, West is bold and independent. She needs no man to bail her out of trouble. In I’m No Angel, she takes it upon herself to conduct a courtroom cross-examination to unapologetically defend her sullied reputation. No wonder that she, along with the Marx Brothers and W.C. Fields, were rediscovered and embraced by Vietnam War-era college students for whom West, with her subversive attitudes and flouting of authority and convention, was a kindred iconoclastic spirit.

Road to Utopia was the fourth, and arguably funniest, of the seven Road to… films. For the record, I rank them: 

Utopia, Morocco (‘42), Bali (‘52), Rio (‘47), Zanzibar (‘41), Singapore (‘40) and Hong Kong (‘62). Yes, I rank Bali over Rio (I look forward to your comments). Utopia was a franchise-best at the box office.

What makes it Paramount? It’s everything you love in a Road film, plus humorist Robert Benchley wryly kibbitzing from the sidelines. The Oscar-nominated script contains some of the series’ best character-defining gags, such as the indelible moment when Hope, trying to pass himself off as a feared killer, saunters up to a bar, orders a lemonade and then quickly course-corrects, “In a dirty glass.”

Road to Utopia is undistilled silliness with meta jokes (“I thought this was going to be an A picture,” Hope scowls when Crosby enters), fourth-wall breaking (“You mean they missed my song?” Crosby exclaims when informed that some in the audience might have come late to the movie theater) and talking animals (“A fish, they let talk,” a grizzly bear complains. “Me, they won’t give one stinking line.”). The closest Road to Utopia gets to pathos is when Hope and Crosby, about to go their separate ways, seemingly let their guards down and profess their undying friendship to each other… while picking each other’s pockets.

Even Jerry Lewis doubters concede him The Nutty Professor. With his former partner, Dean Martin, Lewis enjoyed a six-year Top 10 run at the box office beginning in 1951 until their acrimonious split in 1956. Paramount signed Lewis to an unprecedented contract in 1959 that earned him a reported $10 million, plus 60 percent of the profits and the film rights, to star in 14 films over a seven-year period. Though not embraced by the critics, Lewis was boffo, especially with kids, and he was in the box office Top 10 between 1957 and 1959 and from 1961 to 1963. And with his clout, he was given the freedom to grow as a director.

What makes it Paramount? More experimental and less flat-out funny than his previous slapstick offerings, The Nutty Professor earned Lewis uncharacteristically good reviews. It is generally considered to be his masterpiece, but that may be because people insist on interpreting Lewis’ portrayal of Buddy Love to be a caricature of his former partner. That may make this film more intriguing from a Freudian standpoint, but Lewis insisted throughout his life that he meant no such thing, and I believe him. Could be Frank Sinatra, though. Or even Lewis himself.

If you ever visit Paramount Pictures, opt for the four-hour studio tour. That gets you into the costume and prop archives, where costumes from The Nutty Professor and Road to Utopia are preserved. They are priceless relics of these first-class comedies whose absurd and anarchic spirit is undimmed, notes Randall Throop, manager of the department. You watch these and other Paramount comedies of the period, such as the surreal Million Dollar Legs (‘32) or the Marx Brothers classics, Throop ponders, “and you have to ask yourself: ‘What were they smoking?’”

[supportbuyingblack]

RIH 😔 Anthony “AJ” Johnson who played an unforgettable role as a crackhead named Ezal in the cult-classic movie Friday, has died, TMZ reports. According to the outlet, Johnson was found unresponsive in a store in Los Angeles earlier this month and was pronounced dead at an LA hospital. There’s no cause of death released as of yet. Johnson tackled several memorable comedic roles and in 1990 he secured the role of E.Z.E. in “House Party.” He went on to tour and do comedy stints and landed other major roles too including parts in “Lethal Weapon 3” and “Menace II Society.” But most of his fans remember him from his 1995 breakout role playing Ezal in the comedy “Friday.” Johnson, affectionately known as A.J. appeared in nearly 50 films and TV shows from “Martin,” “Malcolm & Eddie,” “The Players Club” and “I Got the Hook Up” and its sequel and “Moesha.” The 55-year-old was also rumored to have been tapped to reprise his role in the upcoming “Last Friday,” according to the outlet. Fans and celebs took to twitter to send condolences. Ice Cube took to Twitter to send his condolences too. Sad to wake up to the news about AJ Johnson passing away. Naturally funny dude who was straight outta Compton at the same time. Sorry I couldn’t bring your character Ezal back to the big screen in Last Friday… https://t.co/gKbYZDZ4Br — Ice Cube (@icecube) September 20, 2021 Johnson’s wife Lexis Jones Mason created a GoFundMe page Monday morning for funeral costs and to aid his children and grandchildren. Follow Us @supportbuyingblack For Black Owned Business Highlights & Tutorials On Marketing Your Business Online. Join Our Decentralized Black Social Network to Practice Circulating Our Dollars. Become a owner just by joining and vote on community building projects. #blacklove #supportbuyingblack #blackandproud #blackisbeautiful #buyblack #blackexcellence #supportblackbusiness #blackwomen #blackhistory #blackfamily #blackgirlmagic #naturalhair #blacklivesmatter #blacktwitter #teamnatural #blackbeauty #blacktiktok https://www.instagram.com/p/CUDiPixFLF2/?utm_medium=tumblr

[hits1000]

Greatest Hits of 1951 | Top Music Hits 1951 | Songs of 1951 [1950s Hits]

Greatest Hits of 1951 | Top Music Hits 1951 | Songs of 1951 [1950s Hits] 00:00 Introduction 00:12 English 06:14 French 07:05 German 07:57 Italian 08:49 Portuguese 09:44 Spanish Greatest Hits of 1951 including: B.B. King - Three O'Clock Blues, Big Joe Turner - Shake, Rattle and Roll, Billy Eckstine - I Apologize, Debbie Reynolds & Carleton Carpenter - Aba Daba Honeymoon, Dinah Shore - Sweet Violets, Doris Day - Lullaby Of Broadway, Eddy Howard - Sin (It’s No Sin), Elmore James - Dust My Broom, Frankie Laine - Rose, Rose I Love You, Guy Mitchell - My Heart Cries for You and many more! Subscribe to our channel to see more of our content! Related Searches: Greatest Hits of 1951, Best Jukebox 1951 Playlist, Late 1951 Non Stop , Top 1951 Non Stop, Mix 1951 Compilation, Best 1951 List, Late 1951 UK, Best 1951 Playlist, Best 1951 Non Stop, Best 1951 Video, Greatest 1951 Non Stop, Mix 1951 Playlist, Best Jukebox 1951 List, List of 1951 Mix, Top 1951 USA, Best Songs of 1951, Top Music 1951, Hits of 1951, Hits 1950s, Songs 1950s Related Channels: K-Music, Ultra Lists, Younger days, Music Hits, DJ Crayfish, Redlist, Music Express, Some Random Guy, Francis Pelletier, MarioMex International Mixes, Top Culture, Related Videos: https://www.youtube.com/watch?v=pDMrVrtSB4o https://www.youtube.com/watch?v=rye3_vWt8zM 1. B.B. King - Three O'Clock Blues 2. Big Joe Turner - Shake, Rattle and Roll 3. Billy Eckstine - I Apologize 4. Debbie Reynolds & Carleton Carpenter - Aba Daba Honeymoon 5. Dinah Shore - Sweet Violets 6. Doris Day - Lullaby Of Broadway 7. Eddie Fisher - Turn Back The Hands Of Time 8. Eddy Howard - Sin (It’s No Sin) 9. Elmore James - Dust My Broom 10. Frankie Laine - Jezebel 11. Frankie Laine - Rose, Rose I Love You 12. Guy Mitchell - My Heart Cries for You 13. Guy Mitchell - My Truly, Truly Fair 14. Guy Mitchell - The Roving Kind 15. Hank Williams - Hey Good Lookin' 16. Hoagy Carmichael - My Resistance Is Low 17. Jackie Brenston & His Delta Cats - Rocket 88 18. Jimmy Young - Too Young 19. Jo Stafford - Shrimp Boats 20. John Lee Hooker - I'm In The Mood 21. Johnny Ray & The Four Lads - Cry 22. Leroy Anderson - The Syncopated Clock 23. Les Paul & Mary Ford - How High The Moon 24. Les Paul & Mary Ford - Mockin' Bird Hill 25. Les Paul & Mary Ford - The World Is Waiting For The Sunrise 26. Louis Armstrong - I Get Ideas 27. Mario Lanza - Be My Love 28. Mario Lanza - The Loveliest Night of the Year 29. Nat King Cole - Too Young 30. Nat King Cole - Unforgettable 31. Patti Page - Mister and Mississippi 32. Perry Como - If 33. Perry Como & The Fontane Sisters - You're Just In Love 34. Rosemary Clooney - Come On-A My House 35. Teresa Brewer - Longing For You 36. The Ames Brothers & Les Brown - Undecided 37. The Dominoes - Sixty Minute Man 38. The Weavers - On Top of Old Smoky 39. The Weavers & Gordon Jenkins - So Long (It's Been Good To Know Yuh) 40. Tony Bennett - Because Of You 41. Tony Bennett - Blue Velvet 42. Tony Bennett - Cold, Cold Heart 43. Tony Martin - I Get Ideas 44. Vaughn Monroe - Old Soldiers Never Die 45. Vaughn Monroe - Sound Off 46. Vaughn Monroe - They Call The Wind Mariah 47. Wynonie Harris - Lovin' Machine 48. Anny Flore - Deux sous de violettes 49. Edith Piaf - Padam Padam 50. Edith Piaf - Plus bleu que tes yeux 51. Juliette Gréco - Sous le ciel de Paris 52. Mick Micheyl - Un gamin de Paris 53. Yves Montand - Les Feuilles Mortes 54. Cornelia Froboess - Pack die Badehose ein 55. Friedel Hensch & die Cyprys - Tango Max 56. Lonny Kellner, Maria Mucke, Lucie Schulz, Klaus Gross - Der Südwind, der weht 57. Marika Rökk - Lass doch mal den kleinen Otto ran 58. Peter Alexander - Das machen nur die Beine von Dolores 59. Rudi Schuricke - Lass uns Träumen am Lago Maggiore 60. Achille Togliani & Duo Fasano - Al mercato di Pizzighettone 61. Claudio Villa - Luna rossa 62. Luciano Tajoli - Arrotino 63. Nilla Pizzi - Grazie Dei Fiori 64. Roberto Murolo - Malafemmena 65. Silvana Pampanini - Bellezze in bicicletta 66. Amália Rodrigues - Ai Mouraria 67. Ataulfo Alves - Deixa essa Mulher pra lá 68. Carmélia Alves - Cabeça Inchada 69. Eliana & Adelaide Chiozzo - Beijinho Doce 70. Linda Batista - Vingança 71. Quatro Ases e um Coringa - Marcha do caracol 72. Antonio Machín - Tengo una Debilidad 73. Concha Piquer - A la lima y al limón 74. José de Aguilar - Maria Cristina Me Quiere Gobernar 75. Juanita Reina - Capote de grana y oro 76. P��rez Prado - Mambo Nº 8 77. Tomás de Antequera - Romance de la Reina Mercedes Relate Hashtags: #listof1951mix #hits1951 #bestsongs1951 #hits1950s #songs1950s #classic1951playlist #greatest1951nonstop #best1951list #best1951video #top1951mix #greatest1951video #mix1951playlist #top1951nonstop #mix1951compilation https://www.youtube.com/watch?v=xHJFCZn-JDs

[karthik82]

Beverly Hills Cop (1984) Directed by Martin Brest Recently, the three "Beverly Hills Cop" movies have come to Netflix and I watched the first one a couple of days back, and started watching Part 2 now. The first "Beverly Hills Cop" movie is a classic, a very entertaining action comedy with Eddie Murphy as Detroit cop Axel Foley, who comes to Beverly Hills to track down the people who killed a friend of his. It moves at a very fast pace, the script and direction are all great. It has a terrific soundtrack of 80s pop songs and a wonderful score by Harold Faltermeyer. The "Axel F" theme music is unforgettable. The only criticism one could make is that a couple of the action scenes could be better, but that's not really a major drawback. I remember renting the first movie on videotape as a kid and watching it quite a few times. I had the audio cassette of the soundtrack back in the 1990s and listened to the songs often. Part 2 is also pretty good so far, I only watched that one a couple of times so I don't remember it like I do the first film. Part 3 was amusing at best but overall an inferior film in my opinion. I drew Eddie Murphy as Axel from the movie, the drawing was done with 0.5mm 2B mechanical pencil on A6 sketchbook. There are a couple of photos and a scan. Also, swipe to see the square before the drawing was done! The size of the drawing is one inch square, as today's entry (the drawing was completed at around 4 AM, I took the photos and scanned it now) for @aninchaugust #aninchaugust #aninchaugust2020. @netflix_in #netflix #beverlyhillscop #eddiemurphy #karthikabhiram #dailymoviesketch #pencildrawing #pencil #miniatureart #pixel2xl #teampixel #canon #5dmarkiii #546 / 15-Aug-20 (at Secunderabad) https://www.instagram.com/p/CD6cAAbDHLo/?igshid=19xhawwf0093f

[lilskeeter]

Skeet Ulrich as Eddie Martin in Unforgettable, S4E6, 2015.

[bin1es]

skeet ulrich as eddie martin

unforgettable (season 4, ep. 1)

[tocinephile]

Ada’s Top 20 Films of the 2010′s

2010 seems long ago. It was the year when Netflix, previously a mail order DVD rental operation, launched its streaming service and changed our TV/movie consumption forever. Originally known for old favourites and terrible in-house productions, Netflix and its competitors such as Amazon Studios have gone on to become award season contenders in just a few short years. The functions of film festivals and movie theatres have shifted due to streaming services’ enormous effects. This decade also saw the warp up of some beloved sagas and series on the big screen - from Christopher Nolan’s Batman Trilogy to Harry Potter (more on those later!) Then there was an entire Star Wars Trilogy and end to a saga, which, love or hate it, was something many of us have been literally waiting our whole lives for. Throw in some Marvel at every turn, and an assuring expanse into the exploration of LGBTQ+ subjects, toss out Harvey Weinstein, and I think you have a reasonably accurate summation of film in the 2010′s. Something else close to my heart that unfortunately also fell to the wayside this past decade is Hong Kong cinema.  Once famed for slick neo noir style action with an eye-popping blend of gun play and kung fu, the genre has died to a trickle as the Chinese film industry evolves. Without (much) further pre-amble, here is a list of my top 20 films of the 2010′s, chosen based on personal preference, and what I perceive to be cultural/technological/cinematic significance, presented in no definitive order...

The Social Network (2010) I talk about the things that were different at the start of the decade, and Facebook was certainly one of them. Although still a top contender in the social media minefield, at the beginning of the decade Facebook was king. From the cinema perspective, this was also a David Fincher directed, and Aaron Sorkin written film.  These credentials aside, the film was additionally recognized for its editing, soundtrack, and transforming Jesse Eisenberg from the “poor man’s Michael Cera” (and what is Michael Cera doing these days again??) to a formidable dramatic talent. Altogether was a way to immortalize Mark Zuckerberg on screen eh? Inception (2010) Brace yourselves, I will tell you now that the 2010′s was the decade of Christopher Nolan for me. I didn’t realize until I compiled this list, that starting with this mind-bending thriller, every film he made this decade is right up there for me. Aside from its story, the stunning visuals, and pacing, Inception was cleverly tied together to give me one of the most unforgettable movie going experiences this decade. The Artist (2011) The best kind of homage here, and reminder that story and performance are what make up a good film. Is this an Art House film? Sure, but the story transcends even words, it’s a celebration, and a love story not just between two characters but to cinema itself.

Hugo (2011)

And speaking of celebration of cinema, does anyone really do it better than Martin Scorsese? In this case, an homage to a forefather of motion picture wrapped in the ultimate feel good family film. Seeing Melies’ films within a film, the automatons, and the blend of history and fantasy, make you believe. When asked to name a good family film, I often name this one. Harry Potter and The Deathly Hallows Part 2 (2011) The final film of the series and also my favourite chapter. Deathly Hallows is a good example where the 2-parter turns out to be a good idea rather than a mere cash grab (as in the case Twilight).  It set a precedent showcasing the benefits of a longer story format that is enhancing for the story. Also, the Battle of Hogwarts, how do you get enough? Amiright? Super 8 (2011) 2011 was really the year of terrific family films. J.J. Abram’s Super 8 was no exception.  It was through Super 8 that I was introduced to Abram’s sense of adventure and wonder through his characters.  This was also Steven Spielberg produced adding to its positive attributes. When Abrams made Star Wars: The Force Awakens later in the decade, I was thrilled he was at the helm based on my love for Super 8. Moonrise Kingdom (2012) A different family film by Wes Anderson, and also one of the most endearing love stories told on the big screen this year. His follow up The Grand Budapest Hotel was also a contender for my best of the decade list but ultimately the unconventional young couple in Moonrise Kingdom versus the flagrantly over the top romantic gestures in Grand Budapest helped me make my choice.  Still, both are visually spectacular. The Dark Knight Rises (2012) Christopher Nolan film #2 and the close out to the best Batman trilogy. While a certain level of campiness has come to be associated with preceding Batman offerings, Nolan and Christian Bale did something different and in turn won over a lot of new audiences for the superhero genre.  While you can’t turn these days without bumping into a Marvel, etc. production, I think the quality of superhero films was raised leaps and bounds this decade and much of it in thanks to Nolan’s Dark Knight trilogy which began in the decade before. Dallas Buyers Club (2013) Oscar accolades (and Jennifer Garner) aside, Dallas Buyers Club by Canadian filmmaker Jean-Marc Vallee told a important story and told it well. It also brought Vallee’s work to a larger scale audience than any of his previous projects, giving him the attention he so very much deserves. From set design to story to acting, I truly believe this was one of the best films of the decade.

The Theory of Everything (2014) I may be partial to biopics but there’s no denying the venerability of Stephen Hawking, and Stephen Hawking as portrayed by Eddie Redmayne... well, there are no words! Boyhood (2014) When I first began compiling this list, Boyhood was one of the first few films to come to mind. Aside from being directed by one of my favourite filmmakers Richard Linklater (who was also featured in my 2000′s list with Before Sunset - which I argue is still the best of the trilogy) it was also a very ambitious undertaking as a filmmaker.  It’s my hope that the significance of Boyhood isn’t diminished in the age of digital aging/de-aging technologies, to do something like this organically is a labour of love. To commit to a project that spends 12 years in production is firstly insanity, but then to have a finished product that ties so seamlessly together in a tale of family, life, and love. Who knows if this will ever be done again? Interstellar (2014) Christopher Nolan film #3. I’m not as into movies about space and time travel as I was as a teenager/young adult, so I’m of the belief that while I still watch a fair amount of them, fewer and fewer truly stand out. When it came to explore this decade’s offerings, Interstellar and First Man were the only two even worth mentioning to me.  The latter was more traditionally biopic-ish, though well told, and I maintain has the best soundtrack of 2018. Interstellar on the other hand had other thought-provoking layers (as I have come to expect from Nolan). What We Do in the Shadows (2014) And now for something completely different! What would life be like if Taika Waititi didn't make films? Mankind has been telling stories since the beginning of time so it’s understandingly hard to come up with truly original stories after thousands of years, and yet... Taika Waititi does it!  Seriously though , What We Do In the Shadows was the single funniest film I’ve watched this decade. Mad Max: Fury Road (2015) If What We Do in the Shadows was the funniest movie of the decade, then Mad Max: Fury Road had to be hands down the most intense, non-stop, adrenaline rush thriller. Again, I watch a lot of this stuff and find myself largely disillusioned or unimpressed with most of what’s out there.  Sure, I love the Avengers movies, and I’m always up for gratuitous violence but so few of these films will make me stop everything that I’m doing and stay rooted on the spot for the entire film - which I can recall distinctly is what happened when I put on this film on in early 2016. The Hateful Eight (2015) Westerns aren’t my cup of tea, but it’s common knowledge that Quentin Tarantino certainly is. When it came time to choose a QT film for my list, and we all know that’s exactly how I went about it.  Once Upon A Time... In Hollywood was never even a contender, it was between Django Unchained and The Hateful Eight, overall I appreciated the simple (but elaborate!) set up of a cast of questionable characters in a cabin that kept me entranced for near 3 hours just listening to them talk. Straight Outta Compton (2015) Ok, there’s a clear nostalgia factor in play here, but Straight Outta Compton was also straight up good storytelling, coupled with a badass soundtrack. I didn’t give it much thought until later, but there’s also a certain level of accessibility in the storytelling, it was a film that was made for a wide audience without sparking disdain from dedicated members of the rap/hip hop community (not much significant backlash that I'm aware anyway... As someone who’s been devoted to certain subcultures, I can vouch this is entirely a possibility.)

Blue Jay (2016) Who has no idea what film this is? Hint: go watch it on Netflix. In the 2000′s I included Conversations with Other Women in my top 20 list, I feel like Blue Jay is my 2010′s equivalent.  Not that I was looking for an equivalent but I have an appreciation for unforgettable stories about the undeniable attraction between two people who have previously had a failed relationship with each other. It's Sarah Paulson and Mark Duplass on screen the entire time, and it's completely engrossing.  Not an easy feat, not appreciated by many, but glorious to me. Call Me By Your Name (2017) This is my Ghost World of the 2010′s, not because the content is at all alike, but because it’s the only movie I watched repeatedly, and the only book in history that I’ve read twice in a single month. Some stories just touch you, this one did. Factor in the brilliant performances, the exquisite writing, beautiful settings, music, and every intricacy that together made up the whole film.  I only wish I had more pretty words to give it a proper description but I will never come close to what Andre Aciman and James Ivory and Luca Guadagnino put on screen. Dunkirk (2017) Christopher Nolan film #4. Dunkirk was the first film I thought of when I started to make this list.  It seemed so obvious. While I said I wasn’t ranking these Top 20 films of the decade, if hard pressed, I would put Dunkirk at the top. Not merely a good historical drama, this was a technical achievement. There’s a lot of articles out there about how a special plane was refitted to house the camera, you can read those online. What I think needs to be mentioned more often is astounding sound mixing and design in Dunkirk.  It’s so good, and I’ve been privileged to see it in 70MM and in Imax that I’m hesitant to watch it in my home with my dinky home theatre now. When they update the history of film textbooks, they’d better be adding Dunkirk. The Irishman (2019) Ok, so maybe this isn’t Marty’s best.  Maybe it’s a slight rehashing of his best work. (But his best is so good, the rehashing is still miles beyond the rest!) But to me, it’s Martin Scorsese embracing the evolution of storytelling in film, the formats in which it's presented, and how he’s going to adapt it in his favour.  What you have here is an excessive piece of work that would likely not ever have been made in the last 50 years due to cost, impracticality, audience appreciation, what have you.  However, in an unexpected turn, longer formats have come back into favour, and found a new platform in which to present themselves (ie. streaming servies like Netflix) So here he is, and here is The Irishman. There you have it movie lovers, more or less my top 20 films for the 2010's. Here is an abbreviated recap:

The Social Network - dir. David Fincher (2010)

Inception - dir. Christopher Nolan (2010)

The Artist - dir. Michel Hazanavicius (2011)

Hugo - dir. Martin Scorsese (2011)

Harry Potter and the Deathly Hallows Part 2 - dir. David Yates (2011)

Super 8 - dir. J.J. Abrams (2011)

Moonrise Kingdom - dir. Wes Anderson (2012)

The Dark Knight Rises - dir. Christopher Nolan (2012)

Dallas Buyers Club - dir. Jean-Marc Vallee (2013)

The Theory of Everything - dir. James Marsh (2014)

Boyhood - dir. Richard Linklater (2014)

Interstellar - dir. Christopher Nolan (2014)

What We Do in the Shadows - dir. Taika Waititi (2014)

Mad Max: Fury Road - dir. George Miller (2015)

The Hateful Eight - dir. Quentin Tarantino (2015)

Straight Outta Compton - dir. F. Gary Gray (2015)

Blue Jay - dir. Alex Lehmann (2016)

Call Me By Your Name - dir. Luca Guadagnino (2017)

Dunkirk - dir. Christopher Nolan (2017)

The Irishman - dir. Martin Scorsese (2019)

Just missing the list was The Favourite - dir. Yorgos Lanthimos (2018). I actually miscounted my movies during the first draft of this list and originally had this to say about The Favourite when I'd mistakenly thought it'd made the list:

The Favourite (2018) This is the only film on the list that's not here because of its story.  It’s not a bad story, but plot alone wouldn’t put The Favourite amongst my favourites. (Also a part of me has yet to forgive Yorgos Lanthimos for making me endure Dogtooth) What makes The Favourite stand out is that it’s genre-bending, it’s like an absurd period piece for lack of a better description, and it’s awesome. Also the camera work including those panning shots with an extreme wide angle lens combined with the elaborate costume design really makes the film pop visually in a most wonderfully unconventional way.

Other films that didn't wind up making the cut:

The Town (2010)

Last Night (2010)

Rare Exports (Finland 2010)

Django Unchained (2012)

Cloud Atlas (2012)

Inside Llewyn Davis (2013)

Captain Phillips (2013)

Star Wars Episode VII: The Force Awakens (2015)

The Danish Girl (2015)

Get Out (2017)

The Shape of Water (2017)

The Hate U Give (2018)

And two others I'd like to mention are:

1. Beasts of the Southern Wild (2012), which is an affecting film but admittedly will never be my cup of tea.  Doesn't mean it's not great. And,

2. Eden (France 2014) a personal favourite that I had not even considered for one of the 20 best films of the decade, but delightfully it showed up on a Vulture article about the best films of the decade in 47th place (coincidentally the writer's initials are also A.W. and this is what they had to say...)

There you have it, my decade in film summed up. I look forward to sharing many more film experiences and thoughts with you in the years to come. Our annual January challenge "30 Films in 31 Days" commences for another year starting tomorrow, and I hope to be able to follow shortly after with my top films of 2019. Happy movie-going and happy new year!

[true-halloween-tales]

2017: #3-GUIDE TO THE OUTER LIMITS

There is nothing wrong with your television set.  Do not attempt to adjust the picture.  We are controlling transmission.  If we wish to make it louder, we will bring up the volume.  If we wish to make it softer, we will tune it to a whisper.  We will control the horizontal.  We will control the vertical.  We can roll the image, make it flutter.  We can change the focus to a soft blur or sharpen it to crystal clarity.  For the next hour, sit quietly and we will control all that you see and hear.  We repeat: there is nothing wrong with your television set.  You are about to participate in a great adventure.  You are about to experience the awe and mystery which reaches from the inner mind to – The Outer Limits.                – Prologue to The Outer Limits.

In the late 1980’s I would often get home from work around 1 am.  I would turn on my old, small, ancient, black and white, tv that had separate VHF and UHF dials and a partially broken antenna.  To get the tv to produce any sort of recognizable image, a misshapen rock had to be balanced on one dial exactly the right way - and presto - the tv worked!  And what I saw was a black and white older tv program with enormous tension, gripping drama, good music, and scary aliens.  I became mesmerized by this series and tried to watch all of the episodes (see 2016: #3-BLOODY MESMERISM).  The aliens’ designs were very creative, and the suspenseful series had intense cinematography, often with a dose of film noir or even German Expressionism.  This excessively eerie series was The Outer Limits.

The Outer Limits is an hour long science fiction/horror/fantasy anthology series that aired for two seasons, from 1963-65 comprising forty-nine episodes.  It is very much classified with The Twilight Zone.  There are a number of black and white, horror/science-fiction anthology tv series like The Twilight Zone: Alfred Hitchcock Presents, One Step Beyond, Thriller with Boris Karloff, and The Outer Limits.  These series all had a narrator such as Rod Serling who often said something that sounded special, imparting some wisdom.  The Outer Limits had no regular cast members at all, but Vic Perrin provided the Control Voice heard in each episode.  His opening and closing remarks sound much more profound and humanistic than what was said on these other series.  The Outer Limits was created by Leslie Stevens who directed William Shatner in the 1966 horror film, Incubus, that was filmed using the artificial language of Esperanto.  Stevens originally wanted The Outer Limits to be titled, Please Stand By.  The producer of the series was Joseph Stefano who was also the screenwriter for Hitchcock’s Psycho.  Stephen King has described The Outer Limits as “the best program of its type ever to run on network TV.”

In addition to having excellent creatures, effects, and cinematography, The Outer Limits also included quite a few stars.  Batman’s Adam West made an appearance as an astronaut on Mars.  Eddie Albert battled growling tumbleweeds in one episode, and Martin Landau appears in two episodes.  Cliff Robertson contacted glowing aliens, and timid Donald Pleasance used his psionic powers on people.  David McCallum’s fat head swelled up, and Simon Oakland from The Night Stalker turned into a bird alien (see 2015: #5-GUIDE TO THE NIGHT STALKER).  Lou Grant’s Ed Asner and Ted Knight both popped up as did Russell Johnson, the Professor from Gilligan’ Island.  Robert Culp appeared in three episodes, one about evil, alien, scheming, zombie-making, greasy black rocks.  Even Richard Dawson from Family Feud somehow managed to appear in an episode.  

Episodes were written by by science fiction authors such as Harlan Ellison and Clifford Simak.  The best episodes of the series were written by Jospeh Stefano.  He left the series after the first season, and the series did not survive beyond season two.  Many of the best episodes of The Outer Limits are also quite strange.  “It Crawled Out of the Woodwork” is about a ball of dust that takes over a corporation.  Since full episode guides can be found online, a focus on the best episodes may be useful.  “Nightmare” has some of the most unforgettable aliens, the Ebonites, who are apparently involved in a war against humanity, and one of their prisoners is a frantic Martin Sheen.  “Keeper of the Purple Twilight” is about tall, scary aliens pursuing one of their own to Earth.  “Controlled Experiment” is the only comedy episode of the series and one of my favorites; it was intended to be a pilot for a new tv series.  It is about Martians secretly on Earth trying to understand why humans commit murder by using a time machine.  “Controlled Experiment” stars Archie Bunker’s Carrol O’Connor, Space 1999’s Barry Morse, and Star Trek’s Grace Lee Whitney, (aka Yeoman Rand).  German electronic musician, Pete Namlook, was a fan of The Outer Limits and included samples from the series in his albums; he sampled “Controlled Experiment” for his album, Miles Apart.  “Don’t Open Until Doomsday” is about a horrifying monster in a box that sucks others into its timeless realm.  “The Zanti Misfits” is considered by TV Guide to be one of the one-hundred best episodes of television.  It is about a criminal, Bruce Dern, who encounters small, irate, intelligent, insect-like criminals in their tiny UFO.  “A Feasibility Study” is perhaps the best and most frightening episode of the series, similar in plot to The Mist and with scary aliens.  If you watch any episodes of The Outer Limits, watch “A Feasibility Study.”  

There is a strong connection between The Outer Limits and the original Star Trek series.  This may be true because Gene Roddenberry often visited the The Outer Limits studios.  One of the best episodes of The Outer Limits, “Fun and Games,” is about advanced aliens who kidnap other aliens to fight it out to the death for their entertainment; this was later a plot for an episode of Star Trek.  William Shatner, Leonard Nimoy, and James Doohan (aka Scotty) all appear in separate episodes of The Outer Limits.  Vic Perrin, the Control Voice, appeared or provided voice work in three Star Trek episodes.  Alien design, props, and special effects were also borrowed for Star Trek from The Outer Limits.  The exact alien prop of the Horta from Star Trek’s “Devil in the Dark” first appeared in The Outer Limits’ episode, “The Probe.”  Even the most iconic Star Trek special effect of the transporter, the sparkling vanishing effect, originated from The Outer Limits’ “The Mutant.”

In the 1980’s and 90’s, horror/science fiction tv series became popular again.  The Darkroom was introduced by James Coburn wearing all black.  Monsters featured exactly that in each half-hour episode.  Tales From the Darkside was soon replaced by Tales From the Crypt.  A new The Twilight Zone series emerged.  It was only a matter of time until The Outer Limits was revived in 1995 in the form of a new, color tv series that ran until 2002.  It was not nearly as good as the original series, and the new series ran for a hundred and fifty-four episodes over seven seasons.  A few episodes were remade such as “Nightmare,” “A Feasibility Study” and “I, Robot.”  Episodes included such stars as Mark Hamill and various new Star Trek actors such as Marina Sirtis, Rene Auberjonis, Robert Picardo, and Doug Jones from Star Trek: Discovery.  “Dark Matters” is probably the best episode of the new series, and focuses on a starless void filled with marooned spacecraft and the ghosts of aliens.  I adapted that plot for a Dungeons & Dragons adventure (see 2015: #12-THE ADVENTURE CONTINUES 4: THE FAR REALM – THE ILLITHID DREADNAUGHT, PART 2).  

Since Joseph Stefano was the main force behind The Outer Limits stranger monsters, what became of him?  Years after The Outer Limits, he was the writer of “Skin of Evil” for Star Trek: The Next Generation.  The episode featured Armus, a frightening monster that was an amalgamation of evil from an alien species that looked like a hulking, vaguely humanoid black pudding.  Armus shockingly killed Tasha Yar, a main character in the series.  Stefano wrote for The Swamp Thing tv series and he wrote two episodes for the new The Outer Limits series.  He wrote the remade episodes of “Nightmare” and “A Feasibility Study.”  His final big project was writing the screenplay for the 1998 Psycho remake film by Gus van Sant.  

If you don’t have time to watch a horror film, watch The Outer Limits.  The atmosphere the series creates is perfect for the month of Halloween.  The entire series is available in a DVD box set that is reasonable in price.  There is a soundtrack cd, action figures, and Halloween masks for sale based on aliens from the series.  Go and experience the awe and mystery which reaches from the inner mind to the Outer Limits!

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GMA announces nominees for 50th Annual GMA Dove Awards, October 15 in Nashville

    NASHVILLE, Tenn. (August 15, 2019) - The Gospel Music Association (GMA) announced the nominees for the 50th Annual GMA Dove Awards, revealed exclusively on Facebook 'Live' with the help of Natalie Grant, Jekalyn Carr and Karen Peck. This historic celebration will take place on Tuesday, October 15 in Nashville, Tennessee. Trinity Broadcasting Network (TBN) will exclusively air the show on Sunday, October 20, 8 p.m. EST / 5 p.m. PST. Voting for the final winners will run August 21 through August 28.

     Lauren Daigle leads artist nominations with six, followed by for KING & COUNTRY and Kirk Franklin with five. Crowder, Phil Wickham, Tasha Cobbs Leonard and TobyMac each honored with four nods. Top nominated writer/producer Wayne Haun scored 10 nominations. View the full list of nominees here and top nominee images here.

      "Congratulations to this year’s Dove Award nominees!” GMA President Jackie Patillo said. "This year, to commemorate our golden anniversary, we will celebrate some iconic Dove Awards moments from the last 50 years. This milestone reminds us all of the extraordinary people whose shoulders we are standing on today and how the sound has evolved over the years!” 

     The 50th celebration will be a powerful evening of high-energy and unforgettable vocal events paying tribute to 50 years of special appearances and sensational stage highlights over the decades. Performances representing modern Rock, Rap/Hip Hop, Pop/Contemporary, Inspirational, Southern Gospel, Bluegrass, Country, Worship and more will make up an evening praising the rich musical diversity from the past, present and future of Gospel and Christian music. Nominees are determined by GMA’s professional members, and winners will be voted on by the entire GMA membership. For more information or to purchase tickets to the show, visit www.doveawards.com.

   TobyMac backstage during 2016 Dove Awards in Nashville, Tenn. Photo by Naomi Richard.

     Artist of the Year

for KING & COUNTRY, Curb / Word Entertainment

Hillsong UNITED, Hillsong Music / Capitol CMG

Lauren Daigle, Centricity

MercyMe, Fair Trade

TobyMac, Forefront / Capitol CMG

        Song of the Year

“Counting Every Blessing” - (writers) Chris Llewellyn, Gareth Gilkeson, (publishers) Capitol CMG Paragon, Rend Family Music

“Everything” - (writers) David Garcia, Toby McKeehan, (publishers) Achtober Songs, D Soul Music, Universal Music - Brentwood Benson Publishing

“Joy.” - (writers) Ben Glover, Joel Smallbone, Luke Smallbone, Matt Hales, Seth Mosley, Stephen Blake Kanicka, Tedd Tjornhom, (publishers) 9t One Songs, Ariose Music, CentricSongs, Curb Wordspring Music LLC, Fleauxmotion Music, Kilns Music, Method to the Madness, Shankel Songs, Shaun Shankel Pub Designee, Stephen Blake Kanicka Publishing, These Tunes Go To 11, Warner-Tamerlane Publishing Corp.

“Known” - (writers) Ethan Hulse, Jordan Sapp, Tauren Wells, (publishers) Be Essential Songs, Capitol CMG Paragon, Crucial Music Entertainment, EGH Music Publishing

“Living Hope” - (writers) Brian Johnson, Phil Wickham, (publishers) Bethel Music Publishing, Phil Wickham Music, Simply Global Songs, Sing My Songs

“Only Jesus” - (writers) Bernie Herms, Mark Hall, Matthew West, (publishers) Be Essential Songs, Highly Combustible Music, House of Story Music Publishing, My Refuge Music, One77 Songs

“Red Letters” - (writers) David Crowder, Ed Cash, (publishers) Alletrop Music, Inot Music, sixsteps Music, worshiptogether.com songs

“The Breakup Song” - (writers) Bart Millard, David Garcia, Francesca Battistelli, (publishers) Bartatronic Millaphonic, D Soul Music, Francesca Music, Tunes of MercyMe, Universal Music - Brentwood Benson Publishing, Word Music LLC

“Who You Say I Am” - (writers) Ben Fielding, Reuben Morgan, (publisher) Hillsong Music Publishing 

“Won't He Do It” - (writers) Loren Hill, Makeba Riddick-Woods, Rich Shelton, (publishers) SONGSBYMAK, Janice Combs Publishing, EMI Blackwood Music Inc., Nieze World Music, One Dynasty Music

“You Say” - (writers) Jason Ingram, Paul Mabury, Lauren Daigle, (publishers) CentricSongs, Fellow Ships Music, Flychild Publishing, So Essential Tunes

     New Artist Nominee Kelontae Gavin on 2019 Stellar Awards’ Red Carpet Arrivals in Las Vegas, NV. Photo by Naomi Richard.

             New Artist of the Year

Aaron Cole, Gotee Records

Austin French, Fair Trade

Josh Baldwin, Bethel Music

Kelontae Gavin, MBE / Tyscot

Riley Clemmons, Sparrow Records / Capitol CMG

        Gospel Artist of the Year

Jekalyn Carr, Lunjeal Music Group

Kirk Franklin, Fo Yo Soul Recordings / RCA Records

Koryn Hawthorne, RCA Inspiration

Tasha Cobbs Leonard, Motown Gospel

Travis Greene, RCA Inspiration

      Worship Song of the Year

“Build My Life” - (writers) Brett Younker, Karl Martin, Kirby Kaple, Matt Redman, Pat Barrett, (publishers) Bethel Music Publishing, Capitol CMG Genesis, Housefires Sounds, Kaple Music, Martin Karl Andrew, Said And Done Music, sixsteps Music Thankyou Music worshiptogether.com songs

“Living Hope” - (writers) Brian Johnson, Phil Wickham, (publishers) Bethel Music Publishing, Phil Wickham Music, Simply Global Songs, Sing My Songs

“Surrounded (Fight My Battles)” - (writer) Elyssa Smith, (publisher) UR Global Publishing

“Who You Say I Am” - (writers) Ben Fielding, Reuben Morgan, (publisher) Hillsong Music Publishing

“Yes I Will” - (writers) Eddie Hoagland, Jonathan Smith, Mia Fieldes, (publishers) All Essential Music, Be Essential Songs, HBC Worship Music, Hickory Bill Doc, Jingram Music Publishing, So Essential Tunes, Upside Down Under

   Pop/Contemporary Recorded Song of the Year

“Only Jesus” - Casting Crowns, (writers) Bernie Herms, Mark Hall, Matthew West

“God Only Knows” - for KING & COUNTRY, (writers) Joel Smallbone, Jordan Reynolds, Josh Kerr, Luke Smallbone, Tedd Tjornhom

“The Breakup Song” - Francesca Battisteli, (writers) Bart Millard, David Garcia, Francesca Battistelli

“You Say” - Lauren Daigle, (writers) Jason Ingram, Lauren Daigle, Paul Mabury

“Known” - Tauren Wells, (writers) Ethan Hulse, Jordan Sapp, Tauren Wells

       Contemporary Gospel Recorded Song of the Year

“Blessings On Blessings” - Anthony Brown & group therAPy, (writer) Anthony Brown

“Make Room” - Jonathan McReynolds, (writer) Jonathan McReynolds

“Love Theory” - Kirk Franklin, (writer) Kirk Franklin

“Unstoppable” - Koryn Hawthorne, (writers) Kid Class, Makeba Riddick, Robert D. Reese

“My God (feat. Mr. Talkbox)” - Nashville Life Music, (writer) Dwan Hill

    Southern Gospel Recorded Song of the Year

“Longing For Home” - Ernie Haase & Signature Sound, (writers) Ernie Hasse, Joel Lindsey, Wayne Haun

“We Are All God's Children” - Gaither Vocal Band, (writers) Benjamin Gaither, Sara Beth Terry, Todd Suttles

“How Great Thou Art (feat. Sonya Isaacs)” - Josh Turner, (writer) Stuart K. Hine

“I Know I'll Be There” - Karen Peck & New River, (writers) Dave Clark, Karen Peck Gooch, Wayne Haun

“Even Me” - Triumphant Quartet, (writers) Jason Cox, Jeff Bumgardner, Kenna Turner West 

               Inspirational Film of the Year  

"Breakthrough" - (director) Roxann Dawson, (producers) DeVon Franklin, Jessica Dunn

"Indivisible" - (director) David G. Evans, (producers) Darren Moorman, David G. Evans, Esther Evans

"Run The Race" - (director) Chris Dowling, (producers) Darren Moorman, Jake McEntire, Ken Carpenter

"Unbroken: Path to Redemption" - (director) Harold Cronk, (producers) Matt Baer, Mike Elliot

"Unplanned" - (directors) Chuck Konzelman, Cary Solomon, (producers) Cary Solomon, Chris Jones, Chuck Konzelman, Daryl C. Lefever, Fabiano Altamura, Jason Stafford, Joe Knopp, Mark Cheatwood, Megan Harrington, Sheila Hart

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