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cheatdeathsarchive · 4 years

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@o-rusted-heart / cs.

A few things were different after Six braved the world outside that little repair shop with a less than tip-top Nick Valentine. She wasn’t ready to fix him yet, her confidence shot from how badly she had flubbed it up the last time. Their little corner of peace had been abandoned as soon as Six scrubbed Boone’s blood from the floor. That was as much as she wanted to be in there for. There was too much to do.

The old house of Jeannie May Crawford had been empty since her disappearance so long ago. No one objected when it was repurposed for the Courier and Nick. It had more windows, which was a relief. Being able to look for danger outside was a kindness. For a few days after they had relocated, the traps she had set up for bed kept her from leaving all too often.

Just some work to keep her sharp, she’d reply with a laugh, before going on ahead to catch up with Jason Bright. They needed a place to stay now that they were back. Novac could provide, but there was an undeniable tension at the amount of feral ghouls that were expected to be allowed to roam. She said she’d handle it. The more to keep her busy, the better. She was so busy these days she was forgetting to do more than wash her face in the morning -- no use wearing make up when she was so busy. Not when she’d sweat it off between her working on repairing the damages of battle Novac had acquired because of her.

People needed her, and it was important to always be ready for it. Sleeping clothes were forgotten as she slept in road leathers and working clothes when she tried to sleep at all. No more did Six want to tuck under blankets, a stern determination that she was just busy, and everything was fine. The fact she hadn’t seen Nick all that often was just a byproduct of that. There was too much to do, and he was safer not around her. After all, House was still a threat.

Would he be looking for her? For Nick? She had to stay vigilant -- it mean routine check ups on ED-E, making sure he had short wave radio connection to her Pip-Boy in case during his patrols he saw men in red and gold uniforms or the familiar silhouette of a Securitron. That was where Nick found her, adjusting knobs and dials

“Hey Hot Rod,” she replied with a playful lilt in her voice, “Hey, I was thinkin’ -- Nipton. Might not be a bad place for a bunch of ghouls to repopulate. There’s plenty to do there ‘fore anyone can move in, but I think I might go check it out tomorrow. You wanna tag along?”

#oopsie doopsie!!!#o-rusted-heart #orustedheart #( ic. ) resume save file.#( arc vii. ) remember the new vegas valley / post commonwealth.

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lookslikechill · 5 years

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MM #2: Make Tracks

My piece for this week’s MM, inspired very loosely by Hey Bulldog and the lyrics:

“ Sheepdog, standing in the rain Bullfrog, doing it again Some kind of happiness is Measured out in miles “

In which Alistair is the sheepdog, Miles is the bullfrog, and some kind of happiness sure is measured out in Miles. haha.

Words written: 613 Content warnings: blood mention, general discussion of a murder & various details, knife mention.

It was a long trek back down to the cruiser after they had finished combing rough land around the cabin in the woods, so thick with underbrush and trees that they could be hardly three feet apart and barely see each other. The moody sky had broken out in a steady drizzle shortly after they started out, and, upwards of an hour later, it was now a downpour.

The men, and women, police and volunteers alike, were all soaked to the bone by the time they descended from the trees and mountainous land. There was a short huddle to exchange information, mostly physical, evidence bags containing bloodied clothes, a large chef’s knife, wiped clean. Afterward, most people made quick work of packing themselves into their vehicles and dispersing, back into town or further into the woods and mountains.

Miles, as usual, took the passenger seat. He tossed his jacket into the backseat, his wet shirt clinging to his shoulders and chest. Alistair kept his jacket on, rolled down the window an inch or so, and gave in to the craving for a cigarette.

“I can’t wrap my head around this case,” Miles said, tapping his fingers against the car door and wrinkling his nose as he spoke. Cute, Alistair thought.

“Maybe don’t try so hard. It’s gonna go cold,” Alistair mumbled around the cigarette. He blew a cloud of smoke out the car window, a spot of it catching, building, and dissipating on the ceiling.

Miles, bless his heart, looked genuinely dismayed. “Perhaps that’s the part I can’t wrap my head around. It’s not right- he has a family, this Fred. He has a big family, had a life, and somebody came along and just stopped it. Stopped it all.”

“We have nothing to go on,” Alistair said, regretfully. He looked away from Miles and out into the fog and the rain, glistening leaves bobbing and swaying with the wind and the rain through the gray. Raindrops were like thunder, smashing out a passionate beat on the roof of the car.

“I know,” Miles said. “Yet.”

“Yet,” he agreed. “We still need to talk to the family. What do we know?”

“It’s a man, probably. Premeditated, most likely. I’m thinkin’ even out here, you wouldn’t be tossing your clothes and walking out in the nude. Somebody would notice. His wife, Sheila, she said nothing was missing from the house, which means he brought a change of clothes, and shoes.”

Alistair was already halfway through his cigarette, slouched up against the car door and peering at Miles. It was, oddly, times like these when he was most comfortable just gazing at him, taking him in, because Miles liked to stare off at nothing when he was thinking out loud. “Why do you assume he was on foot?” He prodded.

“It was muddy the day he was murdered,” Miles said. “I studied the tiretracks in the yard and checked with his wife, there weren’t any present that weren’t from one of their own vehicles or our cruiser. So, he must have escaped uphill from the house, through the woods, where tracks would be either nonexistent or fewer and far between, due to roots and twigs and stones and the like.”

Alistair nodded. “So he’s an opportunist, in a way-” the knife they’d found belonged to the victim and his wife- “but it was planned. You know what that means, Officer Crawford?”

“Yes, Officer Sheep,” Miles responded with a gleam in his eye. “He’s done this before.”

Alistair crushed the remainder of his cigarette in the ashtray. “Let’s go talk to the family.” He turned the key in the ignition, and the cruiser roared to life.

#writing #crime #murder mystery #writers on tumblr #fiction #Between His Fingers #bhf #bhf:wip #alistair sheep #miles crawford #murder mention #blood mention #knife mention

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filmista · 6 years

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🎀 Female Characters And Performances I l❤️ve 🎞

1. Clarice Starling (Jodie Foster, The Silence Of The Lambs)

-Starling, when I told that sheriff we shouldn't talk in front of a woman, that really burned you, didn't it? It was just smoke, Starling. I had to get rid of him.

-It matters, Mr. Crawford. Cops look at you to see how to act. It matters.

Why?:

She is perhaps my all-time favorite female character and of the first ones, that I think of when I hear the phrase “strong women” in reference to films. She doesn’t go around kicking literal ass but she takes pride what she does.

She is driven and passionate about her work and even with obstacles, she believes in herself. Which isn’t to say that she isn’t vulnerable or scared at times, she is. But rather than beat herself up about it or suppress she eventually learns to overcome it. Or rather work around it and draws strength from it and in the end shows that real strength isn’t not feeling fear, it isn’t being emotionless or numb it is continuing in spite of it.

2. Amy Dunne (Rosamund Pike, Gone Girl)

“It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters.” ― Gillian Flynn, Gone Girl

Why?:

Because she is one of the most complex female characters in modern literature and cinema. It’s incredibly easy to write her off as a female psychopath or a crazy bitch. While I don’t doubt that she might have mental problems, the film also shows us what might have caused some of her problems (the relationship with her parents, the pressure of living up to being Amazing Amy).

All of this aside, she’s just an incredibly fun and interesting character to watch. No matter what you might think of her morally.

There’s a phrase in the book that goes if I remember correctly something like this: “Amy likes to play god when she’s not happy. Old Testament God.” And yes, she’s incredibly pissed off for a large part of the film and does loads of scary, crazy shit throughout the film... all motivated by her absolutely astounding smartness and cunningness.

Personally, I wouldn’t say I agree with everything Amy does (I would be crazy if I did) but I do understand where some of her anger comes from and I even sympathize with her in a few instances in the film.

Point is though there should be more of these difficult, morally complex women in film. Sadly sometimes when women are unlikeable or difficult in a film we tend to as an audience dismiss them as “a crazy bitch”, or worse sometimes equate the actress behind the character to her on-screen persona.

3. Ellen Ripley (Sigourney Weaver, Alien)

“Did IQs just drop sharply while I was away?”

Why?:

Instead of naming the obvious reasons which are her stubbornness and overall badassery, determination and courage. What I love about her is the fact that she’s not really always likable, she’s quite moody and cranky and even plain bitchy sometimes.

She speaks her mind even when that doesn’t always make her popular with those around her. A not always likable female lead isn’t so unusual nowadays but Ripley really was one of the first ones in a big blockbuster. And she’s a cat lady.

Also if I ever get a cat again, I want to name it Jonesy or if it’s a black one Salem.

4. Shelly Johnson (Mädchen Amick, Twin Peaks)

“I’m a waitress in a diner. I’ve never been compared to a goddess before.”

Why?:

Okay, first of all, I’ll admit to having a small crush on Shelly (like probably many a Twin Peaks fan) but she’s more than just a sexy waitress. We all know she married an absolute piece of shit of a man, and when we see her at home she is almost always silent and completely submissive out of fear.

But then we see her at the diner, and she transforms: she’s charismatic, flirty, bubbly and just insanely loveable overall. What I think makes her a great character though is that there are also hints at rougher and darker edges.

In Episode 4 of season 1, after Laura’s funeral (after Leland falls into the coffin and sobs hysterically, which yes I thought was quite hysterical) we see her making fun of Leland in the diner in front of a group of admiring old men. There’s an interesting side to her that seems to want to bully almost, perhaps as a way to get what she is experiencing at home out of her system.

5. Mademoiselle De Poitiers ( Helen Morse, Picnic At Hanging Rock)

-Ah! Now I know.

-What do you know?

I know that Miranda is a Botticelli angel.

Why?:

Because she is for her time (which was not always easy for women) an incredibly sunny, optimistic and kind person. While everyone is telling the girls at the school off or being strict with them she treats them with respect and shows an interest in their “teenage world”.

While she might seem like a conventional and quite traditional female character, I adore that she seems like she genuinely enjoys her feminity. You look at her and see a woman who you can tell simply loves and revels in flirting and romance and it’s incredibly charming performance to watch.

6. Laura (Gene Tierney, Laura)

“You forced me to give you my word. I never have been and I never will be bound by anything I don't do of my own free will.”

Why?:

I think it’s a remarkable film for its time. Laura is portrayed (once she appears) as an incredibly charismatic, alluring and smart woman that values her privacy and independence and as loving and being successful in her career.

The twist though is that for a seemingly very strong woman she has a very toxic friendship with a male friend who’s extremely jealous and possessive of her. He has ruined countless of her romantic relationships because no man is ever good enough for his Laura.

Finally, she dumps him as she realizes his manipulation and stays with the man she’d fallen in love with, which might seem like a conventional ending but I love how Laura, in the end, takes control of her own happiness and by extension her life.

7. Vanessa Lutz (Reese Witherspoon, Freeway)

I know there’s a lot of sick guys that get hard… thinkin’ about messin’ women up. Hell, that’s all you ever see on TV. But when a guy goes and does that for real like you were plannin’ on doin’ – I was just trying to scare you. You had your turn to talk! I think it’s only fair to let me get my two cents in. You’re absolutely right. Sorry. Please, go on. But when a guy goes and hurts someone who never hurt them… that makes him a criminal first and a sick guy second. It’s like being sick has to take second place to being crooked.

Why?:

Reese Witherspoon’s plentiful and colorful swearing, as well as her unapologetic aggressiveness. She’s a trashy and violent female character, and I always find it incredibly interesting to take a look at female characters that are perpetrators of violence and what motivated them.

An interesting thing is also that she is supposedly a morally despicable, white trash and uneducated character but actually has a better understanding of and less twisted sense of morality than any of the characters that are supposedly well adjusted, refined and educated people. Some of her blunt, often shocking comments hit the nail on the head on several problems in American and general society.

8. Melanie Daniels (Tippi Hedren, The Birds)

“I thought you knew! I want to go through life jumping into fountains naked, good night!”

Why?:

She’s my all-time favorite Hitchcock heroine. What I love about her particularly as a character is her spontaneity, her assertiveness, sass, and humor but above all her perseverance and genuine strength (though she’s occasionally prone to the dramatic sighing or shrieking women just sometimes did in older films ).

A delight for me in the film is that it turns a common romantic trope around: she is the one that first sets her sights on the man and consequently chases and gets with him.

She also consistently stands up for herself, point in case: the scene in the diner in which a local accuses her of causing the bird’s irrational and unexplainable behavior. I really believe she’s one of Hitchcock's most underestimated heroines and in my opinion also written with a depth that proves he was not a misogynist as is so often believed.

9. Wendy (Shelley Duvall, The Shining)

“You son of a bitch! You did this to him, didn't you! How could you! How could you!”

Why?:

While controversial just like Tippi Hedren’s performance in The Birds, I absolutely love Shelley Duvall’s work in The Shining and I think her performance is often very wrongly looked down upon.

Personally, I always thought film Wendy was stronger than book Wendy her performance is often dismissed as hysterical, over the top and she’s also called a dumb character very frequently.

In contrast to Nicholson’s performance though she’s pretty calm. What I love about the performance is the very subtle and slow changes in her attitude. People often find her a weak character, because she stays with her abusive husband I don’t think however that it is that unrealistic.

People in real life sometimes also tend to stay in these relationships until something drastic happens that forces them to really evaluate the situation. Her husband has moments where he convincingly plays at pretending to be the “nice and good husband” and so she chooses to buy it.

However once in the hotel, as Jack becomes increasingly mad she realizes her husband was never a good man, to begin with, and that she has reason to be very, very afraid of him and Duvall absolutely illustrates that fear brilliantly. At this point, instead of walking on eggshells as she did initially she realizes she and her son must simply get away from that man if they are to live.

I see how some people might not like her a character, it does feel like she screams a lot sometimes, but I find it incredible that even in her fear she still soldiers for herself and her child.

10. Ana (Isabelle Adjani, Possession)

“We are all the same. Different words, different bodies, different versions. Like insects! Meat!”

Why?:

Very simply put, Adjani’s utterly crazy and unhinged performance. It’s also a fantastic depiction of a slow and finally full blown descend into madness. What I love most of all is that while it may easy to dismiss her as a “psycho, hysteric” kind of female character she is not completely that there’s more nuance to it.

The film shows that the unhappiness in her marriage and the hints of abuse in it played a huge role as well. A showcase of the fact that love can sometimes truly drive us mad and make us lose ourselves.

Some fictional ladies that didn’t quite make this particular list, but might make appearances on another one:

Thelma (Geena Davis, Thelma & Louise)

-It’s not like I killed anybody, for God’s sake!

-Thelma!

Grace (Brie Larson, Short Term 12)

-Grace, you are a line staff. It's not your job to interpret tears. That's what our trained therapists are here for.

-Then your trained therapists don't know shit.

Celine (Julie Delpy, Before Trilogy)

“I always feel this pressure of being a strong and independent icon of womanhood, and without making it look like my whole life is revolving around some guy. But loving someone, and being loved means so much to me. We always make fun of it and stuff. But isn’t everything we do in life a way to be loved a little more?”

#since I get asked about this a lot #I decided to make a list with some of my faves #I just realised after how much horror is in here #female characters #favourite female characters #women on film #movies #films #horror #favorites #cinema #filmista

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blackkudos · 7 years

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Al Jarreau

Alwin Lopez (Al) Jarreau (March 12, 1940 – February 12, 2017) was an American jazz singer. He won seven Grammy Awards and was nominated for over a dozen more. He is perhaps best known for his 1981 album Breakin' Away, for having sung the theme song of the late-1980s television series Moonlighting, and as a performer in the 1985 charity song "We Are the World".

Background

Jarreau was born in Milwaukee, Wisconsin, the fifth of six children. His website refers to Reservoir Avenue, the name of the street where he lived. His father was a Seventh-day Adventist Church minister and singer, and his mother was a church pianist. He and his family sang together in church concerts and in benefits, and he and his mother performed at PTA meetings.

He was student council president and Badger Boys State delegate for Lincoln High School. At Boys State, he was elected governor. He went on to attend Ripon College, where he also sang with a group called the Indigos. Jarreau graduated in 1962 with a Bachelor of Science degree in psychology. He went on to earn a master's degree in vocational rehabilitation from the University of Iowa, worked as a rehabilitation counselor in San Francisco, and moonlighted with a jazz trio headed by George Duke.

In 1967, he joined forces with acoustic guitarist Julio Martinez. The duo became the star attraction at a small Sausalito night club called Gatsby's. This success contributed to Jarreau's decision to make professional singing his life and full-time career.

Going full-time

In 1968, Jarreau made jazz his primary occupation. In 1969, Jarreau and Martinez headed south, where Jarreau appeared at such Los Angeles hot spots as Dino's, The Troubadour, and Bitter End West. Television exposure came from Johnny Carson, Mike Douglas, Merv Griffin, Dinah Shore, and David Frost. He expanded his nightclub appearances performing at The Improv between the acts of such rising-star comics as Bette Midler, Jimmie Walker, and John Belushi. During this period, he became involved with the United Church of Religious Science and the Church of Scientology, but he later dissociated from Scientology. Also, roughly at the same time, he began writing his own lyrics, finding that his Christian spirituality began to influence his work.

In 1975, Jarreau was working with pianist Tom Canning when he was spotted by Warner Bros. Records. On Valentine's Day 1976 he sang on the 13th episode of NBC's new Saturday Night Live hosted, that week by Peter Boyle. Soon thereafter he released his critically acclaimed debut album, We Got By, which catapulted him to international fame and garnered him an Echo Award (the German equivalent of the Grammy's in the United States). A second Echo Award would follow with the release of his second album, Glow.

In 1978, Al won his first U.S. Grammy Award for Best Jazz Vocal Performance for his album, Look To The Rainbow.

One of Jarreau's most commercially successful albums is Breakin' Away (1981), which includes the hit song "We're in This Love Together". He won the 1982 Grammy Award for Best Male Pop Vocal Performance for Breakin' Away. In 1984, his single "After All" reached 69 on the US Hot 100 chart and number 26 on the R&B chart. It was especially popular in the Philippines. His last big hit was the Grammy-nominated theme to the 1980s American television show Moonlighting, for which he wrote the lyrics. Among other things, he was well known for his extensive use of scat singing, and vocal percussion. He was also a featured vocalist on USA for Africa's "We Are the World" in which he sang the line, "...and so we all must lend a helping hand." Another charitable media event, HBO's Comic Relief, featured Al in a duet with Natalie Cole singing the song "Mr. President", written by Joe Sterling, Mike Loveless and Ray Reach.

Jarreau took an extended break from recording in the 1990s. As he explained in an interview with Jazz Review: "I was still touring, in fact, I toured more than I ever had in the past, so I kept in touch with my audience. I got my symphony program under way, which included my music and that of other people too, and I performed on the Broadway production of Grease. I was busier than ever! For the most part, I was doing what I have always done … perform live. I was shopping for a record deal and was letting people know that there is a new album coming. I was just waiting for the right label (Verve), but I toured more than ever."

In 2003, Jarreau and conductor Larry Baird collaborated on symphony shows around the United States, with Baird arranging additional orchestral material for Jarreau's shows.

Jarreau toured and performed with Joe Sample, Chick Corea, Kathleen Battle, Miles Davis, David Sanborn, Rick Braun, and George Benson. He also performed the role of the Teen Angel in a 1996 Broadway production of Grease. On March 6, 2001, he received a star on the Hollywood Walk of Fame, at 7083 Hollywood Boulevard on the corner of Hollywood Boulevard and La Brea Avenue.

In 2006, Jarreau appeared in a duet with American Idol finalist Paris Bennett during the Season 5 finale and on Celebrity Duets singing with actor Cheech Marin.

In 2010, Jarreau was a guest on the new Eumir Deodato album, with the song "Double Face" written by Nicolosi/Deodato/Al Jarreau. The song was produced by the Italian company Nicolosi Productions.

On February 16, 2012, he was invited to the famous Italian Festival di Sanremo to sing with the Italian group Matia Bazar.

On February 8, 2017, after being hospitalized for exhaustion, Jarreau cancelled his remaining 2017 tour dates and retired from touring.

Personal life

Jarreau was married twice. His first marriage, to Phyllis Hall, lasted from 1964 to 1968. His second wife was model Susan Elaine Player, whom he married in 1977. Jarreau and Player had one son together, Ryan.

It was reported on July 23, 2010, that Jarreau was critically ill at a hospital in France, while in the area to perform a concert at nearby Barcelonnette, and was being treated for respiratory problems and cardiac arrhythmias. He was taken to the intensive-care unit at Gap late on July 22, 2010. Jarreau was conscious, in a stable condition and in the cardiology unit of La Timone hospital in Marseille, the Marseille Hospital Authority said. He was expected to remain there for about a week for tests. In June 2012, Jarreau was diagnosed with pneumonia, which caused him to cancel several concerts in France. Jarreau made a full recovery and continued to tour extensively until February 2017.

In 2009 children's author Carmen Rubin published the story Ashti Meets Birdman Al, inspired by Jarreau's music. He wrote the foreword for the book and read from it across the world. Al and Carmen worked together to promote literacy and the importance of keeping music alive in children.

Death

After having been hospitalized for exhaustion in Los Angeles, Jarreau died on February 12, 2017, at the age of 76.

Discography

Albums

1975: We Got By (Reprise) US# 209

1976: Glow (Reprise) – US# 132, R&B No. 30, Jazz# 9

1978: All Fly Home (Warner Bros.) – US# 78, R&B# 27, Jazz# 2

1980: This Time (Warner Bros.) – US# 27, R&B# 6, Jazz# 1

1981: Breakin' Away (Warner Bros.) – US# 9, R&B# 1, Jazz# 1, UK# 60

1983: Jarreau (Warner Bros.) – US# 13, R&B# 4, Jazz# 1, UK# 39

1984: High Crime (Warner Bros.) – US# 49, R&B# 12, Jazz# 2, UK# 81

1986: L Is for Lover (Warner Bros.) – US# 81, R&B# 30, Jazz# 9, UK# 45

1988: Heart's Horizon (Reprise) – US# 75, R&B# 10, Jazz# 1

1992: Heaven and Earth (Warner Bros.) – US# 105, R&B# 30, Jazz# 2

2000: Tomorrow Today (Verve) – US# 137, R&B# 43, Jazz# 1

2002: All I Got (Verve) – US# 137, R&B# 43, Jazz# 3

2004: Accentuate the Positive (Verve) - Jazz# 6

2006: Givin' It Up (with George Benson) (Concord) – US# 58, R&B# 14, Jazz# 1

2008: Christmas (Rhino) - Jazz# 5

2014: My Old Friend: Celebrating George Duke (Concord)

Live albums

1977: Look to the Rainbow (Warner Bros.) – US# 49, R&B# 19, Jazz# 5

1984: In London (Warner Bros.) – US# 125, R&B# 55, Jazz# 10. Sometimes titled Live in London.

1994: Tenderness (Warner Bros.) US# 114, R&B# 25, Jazz# 2. Recorded live in a studio in front of an invited audience.

2012: Al Jarreau and The Metropole Orkest: LIVE (Concord)

2011: Al Jarreau And The George Duke Trio: Live At The Half/Note 1965, Volume 1 (BPM Records) Originally offered exclusively at georgeduke.com.

Compilations

1996: Best Of Al Jarreau (Warner Bros.) – Jazz No. 8

2008: Love Songs (Rhino)

2009: An Excellent Adventure: The Very Best Of Al Jarreau (Rhino) (This compilation holds one previously unreleased track: "Excellent Adventure")

Early material recorded before 1974

After Jarreau's breakthrough in 1975 an almost uncountable number of compilations of earlier recordings from 1965 to 1973 have emerged, including some or all of the following songs:

Songs by various composers

"My Favorite Things" (5:02, Hammerstein, Rodgers)

"Stockholm Sweetnin'" (5:50, Jones)

"A Sleepin' Bee" (5:52, Arlen, Capote)

"The Masquerade Is Over" (6:34, Magidson, Wrubel)

"Sophisticated Lady" (4:14, Ellington, Mills, Parish)

"Joey, Joey, Joey" (3:42, Loesser)

Singles

1976: "Rainbow in Your Eyes" – R&B No. 92

1977: "Take Five" – R&B No. 91

1978: "Thinkin' About It Too" – R&B No. 55

1980: "Distracted" – R&B No. 61

1980: "Gimme What You Got" – R&B No. 63

1980: "Never Givin' Up" – R&B No. 26

1981: "We're in This Love Together" – US No. 15, R&B No. 6, UK No. 55

1982: "Breakin' Away" – US No. 43, R&B No. 25

1982: "Teach Me Tonight" – US No. 70, R&B No. 51

1982: "Your Precious Love", duet with Randy Crawford – R&B No. 16

1982: "Roof Garden" - NL No. 2

1983: "Boogie Down" – US No. 77, R&B No. 9, UK No. 63, NL No. 14

1983: "Mornin'" – US No. 21, R&B No. 6, UK No. 28, NL No. 16

1983: "Trouble in Paradise" – US No. 63, R&B No. 66, UK No. 36

1984: "After All" – US No. 69, R&B No. 26

1985: "Raging Waters" – R&B No. 42

1986: "L Is for Lover" – R&B No. 42

1986: "Tell Me What I Gotta Do" – R&B No. 37

1986: "The Music of Goodbye" (from Out Of Africa), duet with Melissa Manchester – AC No. 16

1987: "Moonlighting (theme)" (from Moonlighting) – US No. 23, R&B No. 32, UK No. 8, AC#1

1988: "So Good" R&B No. 2

1989: "All of My Love" – R&B No. 69

1989: "All or Nothing at All" – R&B No. 59

1992: "Blue Angel" – R&B No. 74

1992: "It's Not Hard to Love You" – R&B No. 36

2001: "In My Music" (with Phife Dawg)

Soundtrack inclusions

1982: "Girls Know How", in the film Night Shift (Warner Bros)

1984: "Moonlighting (theme)" and "Since I Fell for You", in the television show Moonlighting (Universal)

1984: "Boogie Down", in the film Breakin' (Warner Bros)

1986: "The Music of Goodbye", duet with Melissa Manchester, in the film Out of Africa (MCA Records)

1989: "Never Explain Love", in the film Do the Right Thing (Motown)

1992: "Blue Skies", in the film Glengarry Glen Ross (New Line Cinema)

1984: "Million Dollar Baby", in the film City Heat (Warner Bros)

Guest appearances

1978: "Hot News Blues" from Secret Agent/Chick Corea (Polydor)

1979: "Little Sunflower" from The Love Connection/Freddie Hubbard (Columbia)

1983: "Bet Cha Say That to All the Girls" from Bet Cha Say That to All the Girls/Sister Sledge (Cotillion)

1985: "We Are the World" from We Are the World/USA for Africa (Columbia) US No. 1, R&B No. 1 UK No. 1

1986: "Since I Fell for You" from Double Vision/Bob James & David Sanborn (Warner Bros.)

1987: "Day by Day" from City Rhythms/Shakatak

1997: "How Can I Help You Say Goodbye" from Doky Brothers 2/Chris Minh Doky/Niels Lan Doky (Blue Note Records)

1997: "Girl from Ipanema" and "Waters of March" from A Twist of Jobim/Lee Ritenour (GRP)

2010: "Whisper Not" from New Time, New Tet/Benny Golson (Concord Jazz)

1974: "If I Ever Lose This Heaven" from Body Heat/Quincy Jones (A&M) (Jarreau provides background scat and vocal percussion.)

Wikipedia

#Al Jarreau

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mrmichaelchadler · 5 years

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Thumbnails 1/25/19

Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety.—Chaz Ebert

"Still grieving, Anton Yelchin's parents try to move forward with new documentary": Amy Kaufman of The LA Times reports on "Love Antosha," scheduled to premiere at Sundance.

“Perhaps the biggest revelation in the film is just how much Anton struggled with cystic fibrosis — a diagnosis he hid from the public and the entertainment business. As a precocious kid, he was pink-cheeked and enthusiastic, shooting short films with childhood friends and constantly performing impressions for his parents. He never seemed sick and barely demonstrated any signs of someone with the progressive disease, which causes mucus to form in the lungs. In fact, he appeared so healthy that his parents decided not to tell him the full details of his diagnosis — CF patients have a life expectancy of around 37 — until he was 17. ‘I didn’t want to introduce him exactly to what it was, because he was so artistic and so sensitive,’ said Irina. ‘I was just afraid that he would go into it and he would get panicked or get affected by it too much. He didn’t even know what it was for real, how difficult and dangerous that illness was. Only after 17, 18, that’s when we talked, because I said: ‘You can’t go to this club. They are smoking there.’ You feel good, but it doesn’t mean you cannot get worse.’’ Upon learning about his illness, Anton worked hard to stay healthy, constantly running up and down the stairs and researching herbal remedies to try on top of his prescribed medications. Before long days on set, he’d wake up two hours early to put on an inflatable vest that helped him to clear his airways.”

"John Fricke on the 80th Anniversary of 'The Wizard of Oz'": The Emmy-winning Oz historian/author chats with me at Indie Outlook, in anticipation of the film's return to the big screen January 27th, 29th & 30th, courtesy of Fathom Events.

“For the last half century, you could start talking about ‘The Wizard of Oz; to just about anybody over the age of three, and there would be an immediate, shared reference point. People levitate from their chairs when they start discussing the movie. About six or seven years ago, The Weather Channel did a special on the 100 Most Pivotal Moments in Weather History, and at number 53, they listed the tornado in ‘The Wizard of Oz.’ That sequence actually inspired people to become meteorologists. There’s no question that the film has impacted all ages on a multitude of levels. If you grew up watching it on TV, every time you revisit the film, you think, ‘That was the one night we were able to stay up late, put on our pajamas and have popcorn and orange soda with our family, and we all watched it together.’ I remember one poignant story about a man who grew up in a very troubled house. He said that the ‘Oz’ broadcast was the one very peaceful night of the year, because both of his parents loved that movie. As you say, Margaret Hamilton nailed it, as did Ray Bolger when he was a guest on ‘The Judy Garland Show.’ He spoke of growing up with the Oz books, and the great philosophy that they expressed. His mother had pointed out to him the message of these books: ‘Everybody has a brain, everybody has a heart, and everybody has courage. These are the gifts that God gives people on earth, and if you use them properly, they lead you home. And home isn’t a place. It’s the people you love and the people who love you. That’s a home.’”

"Stephen Reinhardt (1931-2018): The Liberal Judge With a Fighting Spirit": Politico's Lara Bazelon eulogizes the late judge, who passed away in December, while honoring his extraordinary legacy.

“Judge Stephen Reinhardt, 87, reigned for 38 years as the liberal lion of the U.S. Court of Appeals for the 9th Circuit, the nation’s largest appellate court with jurisdiction over nine states. Nothing, it seemed, could kill him. Not triple bypass surgery in 1982, not quadruple bypass surgery in 2001. Not the execution—over his fierce objection—of individuals he believed had been wrongfully convicted, nor the Supreme Court’s numerous other reversals of his most famous decisions—decisions upholding the right to die, striking down the requirement that students recite the Pledge of Allegiance, declaring unconstitutional a law prohibiting late-term abortions. Not the slow loss of his beloved wife, Ramona Ripston, to dementia, and the stress, sadness and loneliness that came with it. Not even the election of President Donald Trump, whose rhetoric and policies targeted the very people—immigrants, the criminally accused, the powerless—whose rights the judge had done everything he could to protect. But in March, after he had gotten a clean bill of health from his cardiologist, Reinhardt’s heart stopped suddenly. His death left the hundreds who knew and loved him—his family, his law clerks, his colleagues and large circle of friends—grief stricken and in shock.”

"You ain't seen nothin' yet, but there's nothin' aplenty": Martha P. Nochimson reviews Adam McKay's Oscar-nominated satirical drama, "Vice," for Eye on Media.

“‘Vice,’ Adam McKay’s interpretation of Dick Cheney’s reign of terror, comes to a false ending in the middle of his film. The music rises to a mock triumphant crescendo, and credits roll over a montage of happy family scenes in which the actors we have seen portray the infamous Dick (Christian Bale) and his wife Lynne (Amy Adams) luxuriate in the lap of domestic affluence as they cavort with children and dogs. The credits are the actual credits of Vice, but prematurely displayed. The faux closure falsely celebrates the Cheneys’ permanent exit from politics when, after Carter’s win as president and the loss of Gerald Ford, Cheney’s prospects for running for and winning high political office began to seem impossible. What? It’s a tease. The movie isn’t ending; rather it winks at us about how stories work, and continues on to document the most destructive period of Cheney’s political life. It’s a mysterious rhetorical move by McKay. But it isn’t the only one, and it isn’t the first one. ‘Vice’ is a film about Dick Cheney and his partner in crime Lynne, to be sure, but it’s also about the way we talk about history, how we know what we know, how we fill in the gaps in our partial knowledge with our own fictions, and who has a voice in creating historical narratives.”

"Aaron Sorkin remembers William Goldman: 'He was the dean of American screenwriters and still is": An exclusive essay from the Oscar-winning screenwriter, published at The LA Times.

“When I was starting out in my 20s, Bill Goldman saw something in me and took me under his wing, where I’ve remained and where I’ll continue to remain despite his death. I’m not the only writer he mentored — Scott Frank, Tony Gilroy, Ben Affleck and Matt Damon are just a few he tutored personally, and countless others have been and will continue to be taught by his examples. ‘Kid, the next time I say, ‘Let’s go someplace like Bolivia,’ let’s go someplace like Bolivia.’ ‘They could always surrender.’ ‘For a second there I thought we were in trouble.’ Those three quotable lines aren’t just from the same movie (‘Butch Cassidy and the Sundance Kid’), they’re from the same scene. ‘You keep thinkin’, Butch, that’s what you’re good at.’ ‘Who are those guys?’ ‘Well we tried goin’ straight, what should we try now?’ ‘The fall’ll probably kill you!’ A movie about two outlaws coming to grips with a world that’s changing around them won Bill his first Academy Award. Deep Throat never said, ‘Follow the money.’ It was a line Bill wrote for the character of Deep Throat in his screenplay ‘All the President’s Men,’ for which he won his second Academy Award.”

Image of the Day

At Vanity Fair, Donald Liebenson hails Thelma Todd and Zasu Pitts as the greatest female comedy team of classic Hollywood, and explains "why they still pack a punch."

Video of the Day

youtube

The invaluable YouTube channel, Be Kind Rewind, has a wonderful series of videos dissecting that circumstances that resulted in various Best Actress triumphs at the Oscars. The video embedded above focusing on Joan Crawford's 1946 victory, where she finally won the accolade for "Mildred Pierce," also serves as an exceptional introduction to the icon's career bereft of camp.

from All Content http://bit.ly/2WiyAYB

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