Category Archives: FILM

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Caity Lotz is Sara Lance in DC’S LEGENDS OF TOMORROW

Watch “Meiko Kaji (梶芽衣子) – CD Collection (CDコレクション)” on YouTube

Wikipedia: Meiko Kaji

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Meiko Kaji

Meiko Kaji (梶 芽衣子 Kaji Meiko, born March 24, 1947) is a Japanese actress and singer. She has appeared in about 100 films,[3] with her most famous roles being outlaw characters in early 1970s films, such as the rebels of the Stray Cat Rock series, the assassin Lady Snowblood, and the murderous Nami Matsushima from the Female Prisoner 701: Scorpionseries.

Meiko Kaji

Native name
梶 芽衣子

Masako Ohta[1][2]

March 24, 1947(age 72)

Occupation Actress, singer
Years active 1965-present

Life and careerEdit

Meiko Kaji was born Masako Ohta in the Kanda area of Tokyo and graduated from the Yakumo Academy high school in Meguro, Tokyo. She began to work in the film industry under her real name, Masako Ota, at Nikkatsu studio in 1965 after graduating from high school.[1] In 1969 she appeared in Nihon Zankyoden, one of a series of films directed by Masahiro Makino, who recognized her acting ability and gave her the stage name of Meiko Kaji.[2]From 1970 to 1971 she appeared in the Noraneko Rokku (Stray cat/Alleycat Rock) series of films about delinquent young people.

In 1971, Nikkatsu moved into the pink film business, and to avoid this, Kaji moved to Toei Company.[1] There she made the Female Convict 701: Scorpion series of films. In 1973 she took on the role of Yuki in the revenge-themed film Lady Snowblood, followed by a sequel, Lady Snowblood 2: Love Song of Vengeance. She went on to appear in several of Kinji Fukasaku‘s films, such as Yakuza Graveyard(1976). In 1978, she starred in Sonezaki Shinjū, for which she earned nominations for Best Actress at five different awards shows, winning four of them.[4]

Kaji has worked in television since the 1980s. In 1989 she portrayed Omasa, an informant, in the television drama Onihei Hankachō (the ShochikuFuji Television version starring kabukiactor Nakamura Kichiemon II).

Kaji is also a singer. She sang the theme song to Lady Snowblood, “Shura no Hana” (修羅の花), and the theme song of the Female Convict Scorpion series, “Urami Bushi” (怨み節). When both these songs were used in the 2003 Quentin Tarantino film Kill Bill,[1] there was a revival of interest in Kaji’s music that encouraged her to resume her musical career.[5] In 2009, she released a single, Onna wa yametai. In 2011, Kaji released her first new album in 31 years, Aitsu no suki-so-na burūsu (あいつの好きそなブルース)[6] with songs written by Ryudo Uzaki and Yoko Aki.

Kaji received acting offers from Hollywood but refused them all, saying she could not give a good performance in a language other than Japanese.[7]




  • Sasagawa Saho Matatabi Shirizu – Kuresakatouge e no chisou (1972) – Oshizu
  • Terauchi Kantarō Ikka (1974) TV series …. Shizue Terauchi
  • Sorekara no Musashi (1981) TV series … Yuri-hime
  • Ōoku (1983)
  • Kaseifu wa mita! 2 (1984) (TV)
  • Sutaa tanjō (1985) TV series
  • Tantei Kamizu Kyōsuke no satsujin suiri 8: Izu Shimoda-kaigan ni akai satsui ga hashiru (1988) (TV) …. Shōko Hamano
  • Aoi sanmyaku ’88 (1988) …. Umetaro
  • Onihei Hankachō (1989-2016)… Omasa
  • Kenkaku Shōbai (1998) TV series
  • Kaseifu ha mita! 21 (2003) (TV) …. Mayumi Hirao
  • Anata no tonari ni dare ka iru (2003) TV series …. Shimako Matsumoto
  • Nogaremono orin (2006) TV series
  • Hasshū mawari kuwayama jūbei(2007) TV series
  • Kenkyaku shobai: Haru no arashi(2008) (TV)
  • Kekkon shinai (2012) TV series
  • Joiuchi: Hairyo zuma shimatsu(2013) (TV)
  • Taxi Driver no Suiri Nisschi 34 (2013) (TV)
  • Gokuaku Gambo (2014) TV series
  • Joshu Seven (2017) TV series
  • What Did You Eat Yesterday? (2019) TV series



Title (romaji) Title (Japanese) Released Notes
Jingi Komoriuta / Koi ni inochi o 仁義子守唄/恋に命を July 5, 1970
Inochi no Namida / Kanashii Egao 命の涙/悲しい笑顔 March 5, 1971
Hamabe no Meruhen / Ai he no kitai 浜辺のメルヘン/愛への期待 July 5, 1971
Gincho Wataridori / Gincho Buruusu 銀蝶渡り鳥/銀蝶ブルース March 5, 1972 Theme song from Wandering Ginza Butterfly
Urami Bushi / Onna no Jumon 怨み節/女の呪文 December 1, 1972 Theme song from Female Convict 701: Scorpion
Kaji Meiko No Miryoku

Watch “Le Meilleur de Ennio Morricone – Les Plus Belles Musiques de Films – [High Quality Audio]” on YouTube

Watch “Jeff Buckley – “Hallelujah”” on YouTube

Well I’ve heard there was a secret chord
That David played and it pleased the Lord
But you don’t really care for music, do you?
Well it goes like this:
The fourth, the fifth, the minor fall and the major lift
The baffled king composing Hallelujah

Well your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew ya
She tied you to her kitchen chair
And she broke your throne and she cut your hair
And from your lips she drew the Hallelujah
But baby I’ve been here before
I’ve seen this room and I’ve walked this floor
You know, I used to live alone before I knew ya
And I’ve seen your flag on the marble arch
And love is not a victory march
It’s a cold and it’s a broken Hallelujah
Well there was a time when you let me know
What’s really going on below
But now you never show that to me do ya
But remember when I moved in you
And the holy dove was moving too
And every breath we drew was Hallelujah
Maybe there’s a God above
But all I’ve ever learned from love
Was how to shoot somebody who outdrew ya
And it’s not a cry that you hear at night
It’s not somebody who’s seen the light
It’s a cold and it’s a broken Hallelujah
Source: LyricFind

Songwriters: Leonard Cohen
Hallelujah lyrics © Sony/ATV Music Publishing LLC

Watch “Somewhere in Time (orchestra version), Conducted by Albert E Moehring” on YouTube

Watch “Leonard Cohen’s Prince Of Asturias Speech – No Overdubbing” on YouTube

Watch “The Thompson Fields by Maria Schneider” on YouTube

Watch “Leonard Cohen on Preparing for Death | The New Yorker” on YouTube

Watch “Leonard Cohen Chelsea Hotel #2 Live” on YouTube

I remember you well in the Chelsea Hotel
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah but you got away, didn’t you babe
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around
I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, “Well never mind,
We are ugly but we have the music”
And you got away, didn’t you babe,
You just turned your back on the crowd
You got away, I never once heard you say,
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around
I don’t mean to suggest that I loved you the best
I can’t keep track of each fallen robin
I remember you well in the Chelsea Hotel
That’s all, I don’t even think of you that often
Source: LyricFind

Songwriters: Leonard Cohen
Chelsea Hotel #2 lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management
I remember you well in the Chelsea Hotel
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah but you got away, didn’t you babe
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around

I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, “Well never mind,
We are ugly but we have the music”

And you got away, didn’t you babe,
You just turned your back on the crowd
You got away, I never once heard you say,
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around

I don’t mean to suggest that I loved you the best
I can’t keep track of each fallen robin
I remember you well in the Chelsea Hotel
That’s all, I don’t even think of you that often

Source: LyricFind

Songwriters: Leonard Cohen
Chelsea Hotel #2 lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management

Wikipedia: List of The Blacklist characters

List of The Blacklistcharacters

The Blacklist is an American crime drama television series that premiered on NBC on September 23, 2013. Raymond “Red” Reddington (James Spader), a former government agent turned high-profile criminal, who had eluded capture for decades, voluntarily surrenders to the FBI, offering to cooperate on capturing a list of criminals who are virtually impossible to catch. He insists on working with a rookie profiler by the name of Elizabeth Keen (Megan Boone). The show also stars Diego Klattenhoff, Ryan Eggold and Harry Lennix. The pilot episode was written by Jon Bokenkamp and directed by Joe Carnahan. Executive producers for the series include Bokenkamp, John Eisendrath, and John Davis for Sony Pictures Television, Universal Television, and Davis Entertainment. In February 2015, The Blacklist was renewed for a third season,[1] with Hisham Tawfiq promoted to main cast.[2]

Cast overview

Actor Character Position Seasons
1 2 3 4 5 6 7
James Spader Raymond “Red” Reddington Confidential informant, FBI Main
Megan Boone Elizabeth “Liz” Keen/Masha Rostova Special Agent, FBI
Special consultant, FBI
Diego Klattenhoff Donald Ressler Special agent, FBI
Director of the Counterterrorism Division, FBI
Ryan Eggold Tom Keen/Jacob Phelps/Christopher Hargrave Covert operative Main
Parminder Nagra Meera Malik Field agent, CIA Main
Harry Lennix Harold Cooper Director of the Counterterrorism Division, FBI Main
Amir Arison Aram Mojtabai Computer specialist, FBI Recurring Main
Mozhan Marnò Samar Navabi Agent, Former Mossad agent Main
Hisham Tawfiq Dembe Zuma Reddington’s bodyguard Recurring Main

Main characters featured in The Blacklis

Raymond Reddington/Ilya Koslov

Raymond Reddington is portrayed by James Spader, since 2013

Portrayed by James Spader

Raymond “Red” Reddington is a former government agent, presumed to be a member of the United States Navy, and number 4 on the FBI’s Most Wanted List.[3] A U.S. Naval Academygraduate, he once worked in US counterintelligence and was being groomed for Admiral when something happened on his way home for the Christmas holidays. It is later revealed that Reddington was accused of committing treason by leaking information to the Soviet Union which led to the death of several American naval officers. Nicknamed “the concierge of crime”, Reddington is known for brokering deals between criminals. He willingly surrenders to the FBI and provides information on a roster of criminals that he refers to as The Blacklist: dangerous criminals who are so careful to avoid leaving any traces behind that the FBI has not even detected their existence. His ethics are somewhat murky, and he espouses the use of some crimes (such as extortion, counterfeiting, torture, and murder) in the service of “the greater good”. He uses his arrangement with the FBI to pursue his own secret agenda; it was revealed that he needed their help to find Berlin, a mysterious nemesis who had been attacking his organization.

He has an unexplained interest in Elizabeth Keen and knows personal secrets about her that she has never made public. He will stop at nothing to protect her and even went as far as to block her memories of the fire she was trapped in. But she finally regains them and learns that when her father attacked her mother, she killed him while still a child. Red explains that he never wanted Liz to end up like him and was trying to prevent that. He had a romantic affair with Liz’s mother, Katarina Rostova, and it is implied several times that he may be Liz’s biological father. No proof of this is ever shown, and Red himself initially denies it when directly confronted by Liz, although he does claim that he knew her father well. Red is confirmed as Liz’s father in “Dr. Adrian Shaw: Conclusion”, and in “Mr. Kaplan: Conclusion”, he finally acknowledges this to Liz after she presents him with a DNA test confirming his paternity. In “Monarch Douglas Bank”, it was revealed that Red used to be married to Naomi Hyland and has a daughter named Jennifer. In “Dr. Linus Creel”, when he confronted Naomi about her, he discovers that Jennifer left her after her marriage to Frank and hasn’t tried to make contact since then.

After the death of Alan Fitch, Reddington comes into conflict with the Director, the new head of the Cabal. The Director did not believe that Reddington had the Fulcrum, a blackmail file which Reddington had used as leverage to force a stalemate with the Cabal, and wanted to end the détente and kill Reddington. In response, Reddington urgently began seeking the Fulcrum, and managed to collect various items needed to decrypt it. Finally, after he confessed to Liz that he had initially hired Tom Keen to enter her life and watch over her, she gave him the Fulcrum, after which he was shot by the Director’s agents. However, he survived. He continued to throw obstacles into Liz’s path as she sought to find out more about her mother. When Liz was framed by the Cabal for the assassination of Senator Hawkins, Reddington countered by gathering 11 of the world’s top investigative journalists and giving them the information contained in the Fulcrum. He later helped Liz go on the run after she assassinated Attorney GeneralTom Connolly, a member of the Cabal.

Accompanied by Liz, Reddington goes on the run to gather various resources needed for his plan to bring down the Director and exonerate Liz. He eventually succeeds in forcing the Cabal to abandon the Director, and then kills him. However, Red is unable to clear Liz completely of the killing of Tom Connolly and she only returns to the taskforce as an asset like Red himself. He meets with Laurel Hitchin, who suggests he weakened the Cabal so that they would invite him to join it.

After watching Liz die in his arms Dembe convinces Red to leave the van containing her body and Ressler places his FBI windbreaker around Red’s shoulders and leads him over to the car with Dembe. As Ressler lets go of Red’s arm and Red goes to get into the car he collapses and Dembe catches him saying: “I got you.” And preceding to help Red into the car. After being told to stay away from Agnes by Tom in “Cape May”, Red goes on a self-imposed exile to get away from everything and find better means to cope with Liz’s death. He rescues a woman who attempted suicide one time and takes her back to the abandoned hotel. Only when a man talks to Red at the beach, that he realized the woman he rescued was a ghost and it was she who tells him that he did save her, through channeling his grief in losing Liz. In “The Artax Network”, Red finally visits Dom, the father of Katarina, and while he still blames him for what he done, Dom reluctantly allows Red to stay. When Aram tracks him down to try and convince Red to help them again, he refuses to leave and sends Aram on his way. Dom later convinces Red to leave and honor his word to the FBI, saying that Red’s got good people who count on him. As a token of gratitude, Red fixes a C♯ key on Dom’s piano and leaves. Red later visits Aram and tells him they have work to do.

In “Dr. Adrian Shaw: Conclusion”, while Red is being held captive and threatened by Alexander Kirk, Red admits that he is in fact Elizabeth Keen’s father. As Kirk goes to kill him, Red whispers something to Kirk that changes his mind and the two men disappear by the time the FBI arrive. Red later tells Liz that Kirk is “gone” but doesn’t elaborate further and doesn’t tell her that he’s her father.

In “Lipet’s Seafood Company” Red is berated by Cooper for letting Alexander Kirk go, but Red tells him that Kirk is gone and won’t be coming back and moves on. Red works to meet with the President-Elect to whose campaign he contributed in exchange for his help with the Alexander Kirk situation and is eventually able to secure a Presidential pardon for Liz killing Tom Connolly. As a result, Liz is able to be reinstated as an FBI agent.

In “The Apothecary”, Red is poisoned and needs the FBI to find Asa Hightower, the man who poisoned him. When confronting Marvin Gerard for not being at the dinner, he learns that Dembe has left him.

In “Dembe Zuma” Red finds out that Dembe left his side in order to find the traitor in his syndicate. Aram helps him out by procuring one name, Kathryn Nemec, whom Red recognizes as Mr. Kaplan. When confronting the man who housed her and shot Dembe, Red and Baz discovered he wired a bomb and escaped as he died in his house.

In “Requiem”, Kaplan calls Red and he confronts her for hiding Liz from him. She tells him she needed to do what she should’ve done years ago in keeping Liz away from him and mentions that she has just begun her revenge. When Red tries to claim that she helped build his syndicate tight, Kaplan reminds him that she is the one who knows where the bodies of the people he had killed are buried and that she hid them from the FBI over the years, including that of Diane Fowler. This makes Red worried when Kaplan reveals that they can be used to not only attack his syndicate, but also destroy him from within.

In “Mr. Kaplan”, many of Red’s associates have broken rank and joined Kaplan in her plans for revenge. He also learns that Julian Gale, a rogue FBI agent, is working with her in order to procure the immunity deal between Red and the FBI. Red tries to appeal to Kaplan to end the war, but she refused, telling him that Liz needs to know the truth.

In “Mr. Kaplan, Conclusion”, Red takes Ressler to Hitchin’s cleaner, Henry Prescott, to help him find a barrel marked back two years ago. When they open it, Red tells Ressler that he had just found Reven Wright. With the evidence, he and Ressler appeal to Hitchin for help. When she tried to refuse, Red tells her that unless she wants to be held accountable for both the Task Force’s downfall and the murder of Wright, she better uphold her end of the bargain and end the indictment on the Task Force. Red tries to appeal to Kaplan again at the bridge, promising he won’t shoot her. He is shocked when she decided to jump to her own death. Later on, Red is confronted by Liz who tells him that she now knows he’s her father. At Tansi Farms, Red and Dembe discover the suitcase buried there is gone and that they must get it back before Liz discovers the truth about how her mother, Katarina Rostova, died.

In “Ian Garvey: Conclusion”, despite taking Garvey hostage and en route to collecting the skeletal remains of Katarina, Ian rams his sedan into another car, leaving Red and Dembe there as he escapes. Red later confronts Garvey after learning that the latter now knows that Liz is his daughter. Only then, Jennifer confronts Red for what he’s done and the fact that Ian saved her and Naomi’s life from their disappointment when they learned of his criminal career. Red then recognizes her from all the years. Despite Garvey shooting first, Red fires back and shoots him.

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Henry and June

Henry & June

This article is about the film based upon the book by Anaïs Nin. For other uses, see Henry and June (disambiguation).

Henry & June is a 1990 American biographical drama film directed by Philip Kaufman, and starring Fred Ward, Uma Thurman, and Maria de Medeiros. It is loosely based on Anaïs Nin’s French book of the same name, and tells the story of Nin’s relationship with Henry Miller and his wife, June.

Henry & June

Theatrical release poster

Directed byPhilip KaufmanProduced byPeter KaufmanWritten by

Philip KaufmanRose Kaufman


Fred WardUma ThurmanMaria de MedeirosRichard E. GrantKevin Spacey

CinematographyPhilippe RousselotEdited by

Dede AllenVivien Hillgrove GilliamWilliam S. Scharf


Walrus & Associates

Distributed byUniversal Pictures

Release date

October 5, 1990

Running time

136 minutes[1]CountryUnited StatesLanguageEnglishBox office$23.5 million[2]

The film was nominated for Best Cinematography at the 63rd Academy Awards. It is one of three NC-17 films to receive Oscar nominations; the other films are Wild at Heart (1990) and Requiem for a Dream(2000).[3][4][5]

Plot synopsis

In 1931 in Paris, France, Anaïs Nin is in a stable relationship with her husband Hugo, but longs for more out of life. When Nin first meets Henry Miller, he is working on his first novel. Nin is drawn to Miller and his wife June, as well as their bohemian lifestyle. Nin becomes involved in the couple’s tormented relationship, having an affair with Miller and also pursuing June. Ultimately, Nin helps Miller to publish his novel, Tropic of Cancer, but catalyzes the Millers’ separation, while she returns to Hugo.


Fred Ward as Henry MillerUma Thurman as June MillerMaria de Medeiros as Anaïs NinRichard E. Grant as HugoKevin Spacey as Richard OsbornJean-Philippe Écoffey as Eduardo Sanchez (credit spelled as Ecoffey)Maurice Escargot (Gary Oldman) as PopArtus de Penguern as BrassaïLiz Hasse as JeanBrigitte Lahaie as Henry’s prostituteFéodor Atkine as Francisco Miralles Arnau


The soundtrack was arranged by Mark Adler, consisting of period popular songs.

Jean Lenoir, “Parlez-moi d’amour” (Lucienne Boyer)Claude Debussy, Six épigraphes antiques: Pour l’égyptienne (Ensemble Musical de Paris)Francis Poulenc, “Les chemins de l’amour” (Ransom Wilson and Christopher O’Riley)Debussy, Petite Suite: “Ballet” (Aloys and Alfons Kontarsky)Harry Warren, “I Found a Million Dollar Baby” (Bing Crosby)Erik Satie, “Gnossienne No. 3” (Pascal Rogé)Satie, “Je te veux” (Jean-Pierre Armengaud)Debussy, “Sonata for Violin and Piano” (first movement) (Kyung-wha Chung and Radu Lupu)Frédéric Chopin, Nocturne No. 1 in C Major [sic] (Paul Crossley)Georges Auric, “Sous les toits de Paris” (Rene Nazels)Jacques Larmanjat, lyrics by Francis Carco, “Le doux caboulot” (Annie Fratellini)Debussy, “La plus que lente” (Josef Suk)”Je m’ennuie” (Mark Adler)”Coralia” (Mark Adler)Irving Mills, “St. James Infirmary Blues” (Mark Adler)Francisco Tárrega, “Gran Vals” (Francisco Tárrega)Joaquin Nin-Culmell, “Basque Song” (Joaquin Nin-Culmell)Vincent Scotto, lyrics by George Koger and H. Vama, “J’ai deux amours” (Josephine Baker)



See alsoEdit

Nudity in film


External links

Watch “Henry & June / Je M’Ennuie” on YouTube

“>Marlene Dietrich: Moi, Je M’Ennuie Lyrics

De ce que fut mon enfance
Je n’ai plus de souvenir
C’est peut-être que la chance
Ne m’offrit pas de plaisir
Et chaque jour qui se lève
Ne m’apporte aucun espoir
Je n’ai même pas de rêves
Quand luit l’étoile du soir

Moi je m’ennuie
C’est dans ma vie
Une manie
Je n’y peux rien
Le plaisir passe
Il me dépasse
En moi sa trace
Ne laisse rien
Partout je traîne
Comme une chaîne
Ma lourde peine
Sans autre bien
C’est dans ma vie
Une manie
Moi, je m’ennuie

Par de longs vagabondages
J’ai voulu griser mon cœur
Et souvent sur mon passage
J’ai vu naître des malheurs
Sur chaque nouvelle route
À l’amour j’ai du mentir
Et, le soir, lorsque j’écoute
La plainte du vent mourir

Moi j’ m’ennuie
C’est dans ma vie
Une manie
Je n’y peux rien
Le plaisir passe
Il me dépasse
En moi sa trace
Ne laisse rien
Partout je traîne
Comme une chaîne
Ma lourde peine
Sans autre bien
C’est dans ma vie
Une manie
Moi, je m’ennuie

Watch “Immortal Music: Schubert Piano Quintet D667/The Trout/Jacqueline du Pré, Barenboim, Perlman, Pinchas” on YouTube


Trout Quintet

The Trout Quintet (Forellenquintett) is the popular name for the Piano Quintet in A major, D. 667, by Franz Schubert. The piano quintet was composed in 1819,[1] when he was 22 years old; it was not published, however, until 1829, a year after his death.[2]

Rather than the usual piano quintet lineup of piano and string quartet, the Trout Quintet is written for piano, violin, viola, cello and double bass. The composer Johann Nepomuk Hummel had rearranged his own Septet for the same instrumentation,[3]and the Trout was actually written for a group of musicians coming together to play Hummel’s work.


The piece is known as the Troutbecause the fourth movement is a set of variations on Schubert’s earlier LiedDie Forelle” (“The Trout”). The quintet was written for Sylvester Paumgartner, of Steyr in Upper Austria, a wealthy music patron and amateur cellist, who also suggested that Schubert include a set of variations on the Lied.[1] Sets of variations on melodies from his Lieder are found in four other works by Schubert: the Death and the Maiden Quartet, the “Trockne Blumen” Variations for Flute and Piano (D. 802), the Wanderer Fantasy, and the Fantasia for Violin and Piano in C major (D. 934, on “Sei mir gegrüßt”).


The quintet consists of five movements:

The rising sextuplet figure from the song’s accompaniment is used as a unifying motif throughout the quintet, and related figures appear in four out of the five movements – all but the Scherzo. As in the song, the figure is usually introduced by the piano, ascending.[1]

I. Allegro vivace

The first movement is in sonata form. As is commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert’s harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flatted submediant) in the eleventh bar.

The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones.

The recapitulation begins in the subdominant, making any modulatorychanges in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert.[1] It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.

II. Andante

This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began. Tonal layout (with some intermediate keys of lower structural significance omitted) as follows:

III. Scherzo: Presto

This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major, the flattened mediant, or the relative major of the parallel minor (A minor).

IV. Andantino – Allegretto

The fourth movement is a theme and variations on Schubert’s Lied Die Forelle“. As typical of some other variation movements by Schubert (in contrast to Beethoven’s style),[4] the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. In each of the first few variations, the main theme is played by a different instrument or group. In the fifth variation, Schubert begins in the flat submediant (B major), and creates a series of modulations eventually leading back to the movement’s main key, at the beginning of the final sixth variation.

A similar process is heard in three of Schubert’s later compositions: the Octet in F major, D. 803 (fourth movement); the Piano Sonata in A minor, D. 845 (second movement); and the Impromptu in B major, D. 935 No. 3. The concluding variation is similar to the original Lied, sharing the same characteristic accompaniment in the piano.

V. Allegro giust

The Finale is in two symmetrical sections, like the second movement. However, the movement differs from the second movement in the absence of unusual chromaticism, and in the second section being an exact transposition of the first (except for some changes of octave register). A repeat sign is written for the first section: if one adheres meticulously to the score, the movement consists of three lengthy, almost identical repeats of the same musical material. Performers sometimes choose to omit the repeat of the first section when playing.

Although this movement lacks the chromaticism of the second movement, its own harmonic design is also innovative: the first section ends in D major, the subdominant. This is contradictory to the aesthetics of the Classical musical style, in which the first major harmonic event in a musical piece or movement, is the shift from tonic to dominant (or, more rarely, to mediant or submediant – but never to the subdominant).[5][6]

Musical significance

Compared to other major chamber works by Schubert, such as the last three string quartets and the string quintet, the Trout Quintet is a leisurely work, characterized by lower structural coherence, especially in its outer movements and the Andante. These movements contain unusually long repetitions of previously stated material, sometimes transposed, with little or no structural reworking, aimed at generating an overall unified dramatic design (“mechanical” in Martin Chusid’s words[1]).

The importance of the piece stems mainly from its use of an original and innovative harmonic language, rich in mediants and chromaticism, and from its timbral characteristics. The Trout Quintet has a unique sonority among chamber works for piano and strings, due mainly to the piano part, which for substantial sections of the piece concentrates on the highest register of the instrument, with both hands playing the same melodic line an octave apart (having been freed to do so by the inclusion of both cello and bass in the ensemble). Such writing also occurs in other chamber works by Schubert, such as the piano trios, but to a much lesser extent,[1][3] and is characteristic of Schubert’s works for piano four-hands,[3] one of his most personal musical genres. Such timbral writing may have influenced the works of Romantic composers such as Frédéric Chopin, who admired Schubert’s music for piano four-hands.[7]

The quintet forms the basis of Christopher Nupen‘s 1969 film The Trout, in which Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Daniel Barenboim and Zubin Mehtaperform it at Queen Elizabeth Hall in London.[8]

Other Uses

The song, in MIDI format, is used on modern Samsung washers and dryers to indicate that the wash or dry cycle is complete. [9]


  1. ^ a b c d e f Chusid, Martin (April 1997). “Schubert’s chamber music: before and after Beethoven”. In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. United Kingdom: Cambridge University Press. pp. 174–192. ISBN 978-0-521-48424-4.
  2. ^ Gibbs, Christopher H. (April 1997). “German reception: Schubert’s ‘journey to immortality“. In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. United Kingdom: Cambridge University Press. pp. 241–253. ISBN 978-0-521-48424-4.
  3. ^

Watch “Miles Davis – Smoke gets in your eyes” on YouTube

Watch “The Blacklist ( Best of Raymond Reddington ) part 2” on YouTube

Watch “The Blacklist ( Best of Raymond Reddington ) part 1” on YouTube

Watch “Jacques Brel – Les vieux (Olympia 1966)” on YouTube

Les vieux
Song by Jacques Brel

  1. Les vieux ne parlent plus
    Ou alors seulement
    Parfois du bout des yeux,
    Même riches ils sont pauvres,
    Ils n’ont plus d’illusions,
    Et n’ont qu’un cœur pour deux.
    Chez eux ça sent le thym,
    Le propre, la lavande,
    Et le verbe d’antan,
    Que l’on vive à Paris,
    On vit tous en province
    Quand on vit trop longtemps.
    Est-ce d’avoir trop ri
    Que leur voix se lézarde
    Quand ils parlent d’hier?
    Et d’avoir trop pleuré
    Que des larmes encore
    Leur perlent les paupières?
    Et s’ils tremblent un peu
    Est-ce de voir vieillir
    La pendule d’argent
    Qui ronronne au salon,
    Qui dit oui, qui dit non,
    Qui dit “Je vous attends”.

    Les vieux ne rêvent plus,
    Leurs livres s’ensommeillent,
    Leurs pianos sont fermés,
    Le petit chat est mort.
    Le muscat du dimanche
    Ne les fait plus chanter,
    Les vieux ne bougent plus,
    Leurs gestes ont trop de rides,
    Leur monde est trop petit,
    Du lit à la fenêtre,
    Puis du lit au fauteuil,
    Et puis du lit au lit,
    Et s’ils sortent encore
    Bras dessus, bras dessous,
    Tout habillés de raide,
    C’est pour suivre au soleil
    L’enterrement d’un plus vieux,
    L’enterrement d’une plus laide,
    Et le temps d’un sanglot
    Oublier toute une heure
    La pendule d’argent
    Qui ronronne au salon,
    Qui dit oui, qui dit non,
    Et puis qui les attend.

    Les vieux ne meurent pas,
    Ils s’endorment un jour
    Et dorment trop longtemps,
    Ils se tiennent la main,
    Ils ont peur de se perdre,
    Et se perdent pourtant
    Et l’autre reste là,
    Le meilleur ou le pire,
    Le doux ou le sévère,
    Cela n’importe pas,
    Celui des deux qui reste
    Se retrouve en enfer.
    Vous le verrez peut-être,
    Vous le verrez parfois
    En pluie et en chagrin
    Traverser le présent.
    En s’excusant déjà
    De n’être pas plus loin.
    Et fuir devant vous
    Une dernière fois
    La pendule d’argent
    Qui ronronne au salon,
    Qui dit oui, qui dit non,
    Qui leur dit “Je t’attends”,
    Qui ronronne au salon,
    Qui dit oui, qui dit non,
    Et puis qui nous attend

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    Source: LyricFind

    Songwriters: Gerard Jouannest / Jacques Roman Brel / Jean Corti

    Les vieux lyrics © Warner Chappell Music, Inc

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    Jacques Brel – Old Folks (Les Vieux) Lyrics | Genius Lyrics

    Old Folks (Les Vieux) Lyrics: The old folks don’t talk much / And they talk so slowly when they do / They are rich, they are poor …

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    Old Folks (Les vieux) This song is by Jacques Brel. The old folks don’t talk much And they talk so slowly when they do They are rich …

Watch “Léo Ferré – Avec le temps (enregistrement TRS)” on YouTube

Avec le temps
Avec le temps va tout s’en va
On oublie le visage et l’on oublie la voix
Le cœur quand ça bat plus
C’est pas la peine d’aller chercher plus loin
Faut laisser faire et c’est très bien

Avec le temps
Avec le temps va tout s’en va
L’autre qu’on adorait, qu’on cherchait sous la pluie
L’autre qu’on devinait au détour d’un regard
Entre les mots, entre les lignes et sous le fard
D’un serment maquillé qui s’en va faire sa nuit
Avec le temps tout s’évanouit
Avec le temps
Avec le temps va tout s’en va
Même les plus chouettes souvenirs ça t’as une de ces gueules
À la Galerie j’farfouille dans les rayons d’la mort
Le samedi soir quand la tendresse s’en va toute seule
Avec le temps
Avec le temps va tout s’en va
L’autre à qui l’on croyait pour un rhume pour un rien
L’autre à qui l’on donnait du vent et des bijoux
Pour qui l’on eût vendu son âme pour quelques sous
Devant quoi l’on s’traînait comme traînent les chiens
Avec le temps va tout va bien
Avec le temps
Avec le temps va tout s’en va
On oublie les passions et l’on oublie les voix
Qui vous disaient tout bas les mots des pauvres gens
Ne rentre pas trop tard surtout ne prend pas froid
Avec le temps
Avec le temps va tout s’en va
Et l’on se sent blanchi comme un cheval fourbu
Et l’on se sent glacé dans un lit de hasard
Et l’on se sent tout seul peut-être mais peinard
Et l’on se sent floué par les années perdues
Alors vraiment
Avec le temps on n’aime plus
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Source: Musixmatch

Songwriters: Leo Ferre
Avec le temps lyrics © Les Nouvelles EDI.MERIDIAN, Editorial Avenue, Les Nouvelles Editions Meridian, La Memoire Et La Mer, Editions Chanson Music, S D R M, MATHIEU FERRE ET CIE, MERIDIAN ED

Watch “Castiel: My Story – The Man Who Would Be King” on YouTube (A Witnessing Angel’s Monologue)

From Wikipedia:

6.20 The Man Who Would Be King


Title The Man Who Would Be King
Episode # Season 6, Episode 20
First aired May 6, 2011
Directed by Ben Edlund
Written by Ben Edlund
On IMDB The Man Who Would Be King
Outline Castiel tells his story.
Monster Crowley
Location(s) Sioux Falls, South Dakota
« Previous Episode | Next Episode »

Promotional poster for “The Man Who Would Be King.”
Castiel prays to God for direction. He recalls many things – the beginning of man’s evolution, the Tower of Babel, Sodom and Gomorrah – but the thing that stands out the most in his mind is how he, Dean, Sam and Bobby averted the Apocalypse. They ripped up destiny, leaving freedom and choice, but after everything he’s done since then, Castiel doesn’t know if it was the right thing after all. He resolves to tell his story.

Dean is driving the Impala when Castiel appears next to him. He tells Dean that he’s looking for Crowley and isn’t sure how he’s still alive. Dean makes it clear that killing Crowley is their first priority, but tells Castiel that they haven’t found anything yet, either. Sam is tracking a djinn in Omaha, and so Dean is going there to meet him. Before Castiel leaves, Dean asks him to call if he gets into real trouble.

After Castiel leaves Dean, he meets with Crowley, who is busy experimenting on Eve’s body. Castiel reminds Crowley of their ultimate goal – opening the door to Purgatory – and Crowley gets angry. Eve could have opened the door to Purgatory, but Castiel let Dean and Sam kill her, and now he has to find another way in. He also accuses Castiel of being distracted because of the Winchesters – he can smell “the stench of the Impala” on him. Castiel tells Crowley that he had to check and see what they knew, and Crowley says that he knows they’re after him and he’s worried about Castiel’s conflict of interest.

Castiel admits to himself that he does have a conflict of interest. He still considers himself the Winchesters’ guardian because of everything they taught him and everything they accomplished together. After the Apocalypse was averted and Castiel resurrected, he healed Dean, resurrected Bobby, and then went to Hell to resurrect Sam. He thought he’d managed to bring back all of Sam, but he realizes now that he was being arrogant, and that he should have known something was wrong with Sam. So, when Crowley tells Castiel to kill the Winchesters, he refuses. Crowley says that he’ll kill them himself, but Castiel says he’ll just bring them back and that Crowley shouldn’t worry about them. Instead, Crowley needs to focus on finding Purgatory, or they will both “die again and again until the end of time.”

Meanwhile, Sam and Bobby are interrogating a demon named Redd about Crowley. Dean appears – he was lying when he told Castiel that Sam was in Omaha – and tells Sam that he wants to bring Castiel in the loop. Dean doesn’t believe that Castiel is working with Crowley, but Bobby and Sam aren’t so sure. As they discuss the possibility of a “Superman who’s gone dark side” and the need for kryptonite, Castiel watches them, unseen. He’s there when they torture the demon into revealing that he works for Crowley through a dispatcher named Ellsworth. Castiel is aware of Ellsworth, who he describes as the demon counterpart to Bobby, and because Castiel knows that they’re getting close, he preemptively kills Ellsworth and the other demons at his headquarters.

While Dean, Sam, and Bobby burst into Ellsworth’s headquarters and find nothing, Castiel watches, and remembers Heaven after stopping the Apocalypse. The other angels, including Rachel, believed that God resurrected Castiel so that he could lead them, but Castiel told them that they had free will and didn’t need a leader. They were lost without direction, however, and Raphael stepped in. He wanted Castiel to give him his allegiance and then help him to free Lucifer and Michael so they could restart the Apocalypse. When Castiel refused to join him, Raphael easily overpowered him.

Back in the present, Dean convinces Sam and Bobby to call Castiel, but Castiel doesn’t appear when Sam prays, too afraid of the questions they’ll have for him. Just as they turn to leave Ellsworth’s headquarters, though, more demons appear. They are assassins sent by Crowley, and Castiel appears and quickly dispatches them. Dean, Sam, and Bobby take this to mean that Castiel is on their side, and they apologize to Castiel for doubting him. He forgives them for thinking he was “Superman going to the dark side” and agrees with Dean when Dean says they can “put away the kryptonite.” He doesn’t realize it at the time, but because of what he says, Dean realizes that Castiel has been spying on them.

Castiel goes to confront Crowley, who he tells not to touch a hair on the heads of his friends. He then reveals the reason he partnered with Crowley: after Raphael beat him so easily, he considered going to Dean for help, but Crowley waylaid him and offered him a deal. Together, they would open Purgatory, and then they both would use the monster souls inside to grow more powerful. Castiel needed to be more powerful right away, however, so Crowley advanced him 50,000 souls, which Castiel used to overpower Raphael and then start his civil war in Heaven.

After threatening Crowley, Castiel answers another call from Dean, who is still at Ellsworth’s headquarters with Sam and Bobby. Sam tells Castiel that they’ve figured out a way to track Crowley, and Castiel walks straight into their trap. He is surrounded by a ring of burning holy oil, and they start questioning him about Crowley. He tells them that he is working with Crowley only because he needs to defeat Raphael, and that they need to trust him. He then reveals that he is the one who resurrected Sam, and Sam asks Castiel if he purposefully raised him without his soul. Castiel denies it, but it’s clear that Dean, Sam, and Bobby no longer trust him. They tell Castiel that working with Crowley is wrong, and he knows it, which is why he kept his actions a secret from them. Castiel seems repentant, but when a cloud of demons appears outside, he tells them that it’s too late to go back now. Dean, Sam, and Bobby flee the approaching demons, and Crowley soon appears to free Castiel from the burning holy oil.

Castiel goes to visit Dean at Bobby’s house. He tells Dean that he wants him to understand what he’s doing and to know that he’s doing it all because of what Dean taught him about free will. Dean tells Castiel that he’s like a brother to him and that he needs to trust him when he tells him not to work with Crowley. If he keeps trying to open Purgatory, Dean will stop him. Castiel tells him that he can’t stop him, apologizes, and then leaves.

Castiel is alone, praying to God. After having told his story, he asks again if he’s doing the right thing. He begs for a sign and says that, if he doesn’t get one, he’s going to do whatever he must. There is no sign.

Sam Winchester
Dean Winchester
Bobby Singer
Angel Lore
Bobby’s Hats
Dark Side
Demon Smoke
Devil’s Trident
Goblet of blood
Holy Oil
Warding Sigils
“Me and Mrs. Jones” by Billy Paul
(plays while Crowley tortures)
An der schönen blauen Donau, Op. 314 by Johann Strauss II
(plays when Crowley and Cas are in Hell)
Castiel: I remember being at a shoreline, watching a little grey fish heave itself up on the beach. And an older brother saying, “Don’t step on that fish, Castiel, big plans for that fish. I remember the Tower of Babel – all 37 feet of it, which I suppose was impressive at the time. And when it fell they howled, “Divine Wrath!” But come on, dried dung can only be stacked so high.
Castiel: And of course, I remember the most remarkable event. Remarkable because it never came to pass. It was averted by two boys, an old drunk, and a fallen angel. The grand story, and we ripped up the ending, and the rules, and destiny, leaving nothing but freedom and choice. Which is all well and good, except… but what if I’ve made the wrong choice?
Crowley: Don’t worry about — what, like Lucifer didn’t worry? Or Michael? Or Lilith or Alastair or Azazel didn’t worry?! Am I the only game piece on the board who doesn’t underestimate those denim-wrapped nightmares?!
Bobby: If there’s a snowball of a snowball’s chance here, that means we’re dealing with a Superman who’s gone darkside, which means we’ve got to be cautious, we’ve got to be smart, and maybe stock up on some kryptonite.
Dean: (to Sam) This makes you Lois Lane.
Castiel: I did it to protect the boys, or to protect myself. I don’t know anymore.
Castiel: Freedom is a length of rope. God wants you to hang yourself with it.
Castiel: Explaining freedom to angels is a bit like teaching poetry to fish.
Castiel: Are you joking?
Raphael: Do I look like I’m joking?

Castiel: …You never look like you’re joking.
Crowley: See, problem with the old place was most of the inmates were masochists already. A lot of “thank you, sir, can I have another hot spike up the jacksy?” But just look at them. No one likes waiting in line.
Castiel: What happens when they reach the front?

Crowley: Nothing. They go right back to the end again. That’s efficiency.
Crowley: What are you planning to do about Raphael?
Castiel: What can I do besides submit or die?

Crowley: Submit or die? What are you, French? How about resist!
Castiel: Sam, I am the one who raised you from perdition.
Sam: What? … Well, no offence, but you did a pretty piss poor job of it.
Castiel: You don’t understand. It’s complicated.
Dean: No, actually, it’s not, and you know that. Why else would you keep this whole thing a secret, huh, unless you knew that it was wrong? When crap like this comes around, we deal with it… Like we always have. What we don’t do is we don’t go out and make another deal with the Devil!
Castiel: It sounds so simple when you say it like that. Where were you when I needed to hear it?

Dean: I was there. Where were you?
Trivia & References
The Man Who Would Be King is a short story by Rudyard Kipling, made into a 1975 film by John Houston starring Sean Connery and Michael Caine. It tells the story of two ex-officers of the British Raj who become adventurers and become hailed as deities in a remote village in the Hindu Kush. They lead successful battles against the villages enemies, but become wrapped up in their own delusions of grandeur. Eventually the villages turn against them. In the movie, the story unfolds as the surviving character relates his story to a journalist.
Some of the film clips used in Castiel’s flashback montage at the beginning where he remembers the fall of the Tower of Babel, appear to be from the the fall of Babylon section of the 1916 movie by D.W. Griffith Intolerance. This movie also features a non-linear narrative and spans 2,500 years of history. It is considered on of the masterpieces of the silent era of movies (Source). You can see a clip from the movie here.
Crowley: Single best chance to get over the rainbow, and the Winchesters killed her!
“Over the Rainbow” is a song that was written for the movie The Wizard of Oz. It refers to another world that one can reach only by going over the rainbow. Here, Crowley uses it to refer to Purgatory.
Crowley refers to the vampire he’s torturing as Chocula, which is a reference to the breakfast cereal Count Chocula, which has a vampire for a mascot.
Dean: He’s the Balki Bartokomus of Heaven – he can make a mistake.
Dean is comparing Castiel to Balki Batokumus was a character in the 1980s ‘fish-out-of-water/buddy’ genre sitcom Perfect Strangers. Balki was a naive shepherd from the fictional country Mypos, who immigrates to U.S. and moves in with a distant cousin.
Bobby: You sure about that? Cause we can twist again all the way to next summer.
Bobby is quoting the song “Let’s Twist Again” recorded by Chubby Checker.
Bobby: Well, who do you deal with?
Redd: The Dispatcher – a demon named Ellsworth
Castiel: (voiceover) If there was a demon counterpart to Bobby Singer, Ellsworth would be it.

Jim Beaver played a character called Ellsworth in Deadwood. Ellsworth the demon is shown to resemble Bobby, and rather than having a number of phones has a collection of blood goblets. He also impersonates an FBI officer as Bobby does.
Ellsworth: I want you to get down to New Mexico and bag me that wendigo!
A wendigo is what Dean and Sam hunted in 1.02 Wendigo.
The devil’s trap on the ceiling above Redd is the same one that was used on Meg in 1.22 Devil’s Trap and again in 2.14 Born Under a Bad Sign. It was also used in the season 3 title card.
Castiel: (about visiting Heaven) I favor the eternal Tuesday afternoon of an autistic man who drowned in a bathtub in 1953.
This may be a reference to the hit song by The Moody Blues from 1968 titled “Tuesday Afternoon” (sometimes known as “Forever Afternoon”). Watch the song here
Castiel: Whose Heaven is this?
Raphael: Ken Lay’s. I’m borrowing it.
Castiel: I still question his admittance here.
Raphael: He’s devout. Trumps everything.

Ken Lay was the corrupt CEO whose fraud led to the bankruptcy of the Enron corporation. He was convicted on a number of charges, but died in 2006 before he was sentenced. Former president George H.W. Bush attended the memorial service.
Bobby: Yeah, but it’s like Mr. Clean clean, you know?
Mr. Clean is a brand name known as Flash in the UK. Its mascot is a muscular, tanned, bald man who cleans things very well.
Dean: Yeah, you think, Kojak?
Kojak was a 1970s TV detective.
Crowley: Well I’ve got news for you, kitten: a whore is a whore is a whore.
This may be a parody of Hemingway’s line in For Who The Bell Tolls “a bitch is a bitch is a bitch is a bitch,” which in itself a reference to the famous line by Gertrude Stein a rose is a rose is a rose is a rose. In which Stein is basically saying things are the way they are.
Crowley: Ah, Castiel, Angel of Thursday. Just not your day, is it?
According to A Dictionary of Angels: Including the Fallen Angels, Castiel is an Angel of Thursday in the occult lore. This may be a reference to the fact that Supernatural aired on Thursday nights on The CW when the character was introduced in season four. Beginning with season six, the show has aired on Fridays, which may be why Crowley says it’s “not Castiel’s day.”
Among the list of demons and angels that Crowley claims underestimated Sam and Dean, he mentions Lilith, though she fully intended for the brothers to kill her. It is likely, though, that no demons knew that her death was the final seal.
Crowley: Ding ding ding, tell him what he’s won, Vanna.
Vanna White is the long-time hostess on the TV game show Wheel of Fortune.
There was a rumor amongst fans that Ben Edlund appears in the episode as one of the people queuing in line in Hell. This hasn’t been confirmed. The guy who is taking a ticket as Crowley and Castiel arrive is played by Michael Bardach, and is credited on IMDB as “Ticket Guy.”
Above the line in hell is a sign that says:
The number changes to 6,611,527,125 while Crowley and Castiel stand under it.
One of the demons that brings Ellsworth a monster – before being killed by Castiel – also played a demon in 1.22 Devil’s Trap. In 1.22 Devil’s Trap, he is wearing an auto mechanic uniform with the name “Kim.”
Sides, Scripts & Transcripts
6.20 The Man Who Would Be King (Transcript)
Episode title
Ben Edlund to direct
Video of Ben talking about writing and directing the episode at Paleyfest
Episode spoilers from EW
Official Synopsis
Promo pics
Promo clip
Preview Clip
Ben Edlund talks about the relationships in the episode
Promotional ad
Sera introduces the episode
Comments by Misha on the episode at Zap2it
Mark Sheppard comments on the episode
Mark Sheppard comments on the episode
Ben Edlund on the episode by Zap2It
Ben Edlund on the episode by TV Squad
Ben Edlund on the episode by TV Line
Ben Edlund on the episode by EW
Ben Edlund on the episode by TV Overmind
Ben Edlund on the episode by EONline
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Watch “Rhapsody In Blue (1945) – Rhapsody in Blue Debut” on YouTube

Rhapsody In Blue (1945) Directed by Irving Rapper1945 141 min

Robert Alda stars alongside musical greats Al Jolson, Paul Whiteman, and Oscar Levant in this biopic treatment of the life of composer George Gershwin. The film traces Gershwin’s rise, from his first big hit “Swanee” (performed by Al Jolson, playing himself), to his collaborations with lyricist brother Ira (Herbert Rudley) to the heights of artistic achievement with the debut of “Rhapsody in Blue” at Aeolian Hall

Starring Robert Alda, Joan Leslie, Alexis Smith

Category People & Blogs

Quote by Henry Miller: “To walk in money through the night crowd, prote…” | Goodreads

Quote by Henry Miller: “To walk in money through the night crowd, prote...” | Goodreads

GILBERT BECAUD C’EST QUOI LE TEMPS (“C’est un oiseaux qui fuit le camps”)



Français : Tombe de Gilbert Bécaud au cimetièr...

Français : Tombe de Gilbert Bécaud au cimetière du Père Lachaise (Photo credit: Wikipedia)

Artist: Gilbert Bécaud lyrics
Title: C’est Quoi Le Temps

Lyrics to C’est Quoi Le Temps :

C’est quoi le temps,
Le temps, c’est pas de l’argent mais c’est un oiseau qui fout le camp
C’est quoi le temps,
L’espace de l’homme à l’enfant, c’est de l’amour et c’est du sang

Un cheveu blanc, une ride
Des lambeaux d’éphémérides
Perdus dans une chambre vide des parents
Des trous dans une raquette
Un imper, une gazette d’outre-temps

C’est quoi le temps,
C’est la distance qui va de passionnément à tendrement, inexorablement

C’est quoi le temps,
Le temps, c’est pas de l’argent, c’est un oiseau qui fout le camp
C’est quoi le temps,
C’est un chiffon de papier, des grains tombant d’un sablier

C’est la Toussaint, la Saint-Pierre
Des chiffres en or sur la pierre
C’est la montre de mon père tout en argent
C’est ce nouveau-né qui brille
Aux j.O. de l’an 2000 à Milan

C’est quoi le temps,
Un tyran qui nous prend tout et l’on s’en fout puisqu’on a tout le temps
C’est quoi le temps
 Send “C’est Quoi Le Temps” to your Cell 

O prichinduta de pasarica se alimenteaza cu coacaze!

Watch “Robin Williams reads “I Love You Without Knowing How” by Pablo Neruda” on YouTube

I love you without knowing how, by Pablo Neruda

I love you without knowing how,

by Pablo Neruda

This is how pieces de résistance are born: Watch “Bob Fosse on All That Jazz” on YouTube

This is How pieces de résistance are born

Watch “Richard Wagner – The Valkyrie, WWV 86b, Ride of the Valkyries (Oslo Philharmonic/ Maris Jansons)” on YouTube

today’s birthday: Dick Van Dyke (1925) Chim Chim Cheree Mary Poppins

Dick Van Dyke (1925)

After appearing in television variety shows during the 1950s, Van Dyke made his Broadway debut and earned his first Tony Award starring in Bye, Bye Birdie. He won several Emmy Awards for the successful television comedy series The Dick Van Dyke Show and also danced and sang in the films Mary Poppins and Chitty, Chitty, Bang, Bang. Van Dyke appeared infrequently during the 80s but made a career comeback with what dramatic TV series that co-starred his son?
More… Discuss

Chim Chim Cheree Mary Poppins

Our Lady of Guadalupe (Apparitions of the Virgin Mary in Mexico): School of Mary

Our Lady of Guadalupe (Apparitions of the Virgin Mary in Mexico)

VISIT THE INTERNET ARCHIVE -WayBackMachine: You”l be surprised of what you’ll find…Check out your website there!

Internet Archive Wayback Machine

Click here to visit archive!

today’s birthday: Mary Virginia Martin (1913)

Mary Virginia Martin (1913)

Martin was an American musical comedy star. She co-owned a dance school in her native Texas before moving in 1938 to New York City, where she earned a small part in the musical Leave It To Me, winning widespread popularity with her buoyant singing voice and high-spirited temperament. She went on to star in several enormously successful musicals, including South Pacific, Peter Pan, and The Sound of Music, as well as a number of films. Who is Martin’s famous son? More… Discuss

great compositions/performances: Beethoven’s Piano Concerto No. 3, in C minor, Op. 37, Daniel Barenboim / Dresden Staatskapelle 2007

Beethoven : Piano Concerto No. 3 in C minor, Op. 37 Daniel Barenboim / Dresden Staatskapelle 2007

great compositions/performances: Luigi Rodolfo Boccherini: Quintet for Guitar No.4 ‘Fandango’ in D major, (G.448)

Luigi Rodolfo Boccherini: Quintet for Guitar No.4 ‘Fandango’ in D major, (G.448)

this day in the yesteryear: Louis B. Mayer Opens His First Movie Theater (1907)

Louis B. Mayer Opens His First Movie Theater (1907)

Born in Russia, Mayer immigrated to Canada and then the US with his family and began working in his father’s scrap-iron business at 14. At 23, he bought a small nickelodeon in Massachusetts, and by the time he reached his mid-30s, he owned New England’s largest movie theater chain. In 1925, he merged his film production company with others to form Metro-Goldwyn-Mayer, which, under his leadership, became Hollywood’s most prestigious studio. Mayer aspired to have “more stars than” what? More… Discuss

great compositions/performances: Beethoven – Triple Concerto in C major, Op. 56, Capuçon, Braley, & Haitink

Beethoven – Triple Concerto in C major, Op. 56, Capuçon, Braley, & Haitink

Fabulous renditions of Classical Music: Valentina Lisitsa – Moonlight Sonata Op.27 No.2 Mov.1,2,3 (Beethoven)

Valentina Lisitsa – Moonlight Sonata Op.27 No.2 Mov.1,2,3 (Beethoven)



Arlo Guthrie – Alice’s Restaurant lyrics: HAPPY THANKSGIVING FRIENDS!

Arlo Guthrie – Alice’s Restaurant lyrics

great compositions/performances: Mendelssohn A Midsummer Night’s Dream Overture Op.21 by Masur, LGO (1997)

Mendelssohn A Midsummer Night’s Dream Overture Op.21 by Masur, LGO (1997)

this pressed for…”Wake up and start thinking people”: Nato and UN seek calm over Turkish downing of Russian jet | World news | The Guardian

Turkmen militiamen in Syria claimed to have shot the pilots as they descended on parachutes from the stricken Su-24 bomber. The Turkmen rebels, who are supported by Ankara and who have been the target of earlier Russian bombing, broadcast a video of what appeared to be a dead Russian pilot.The rebels also posted footage appearing to show one of their missiles destroying a helicopter while it was on the ground, which they said was a Russian aircraft sent to rescue the downed Su-24 crew, although it was not possible to verify the footage.A Russian military spokesman later said one of the rescue helicopters had been forced to make an emergency landing after being hit by fire from the ground and a marine on board had been killed.Within hours of the jet’s downing, the Russian foreign minister, Sergei Lavrov, announced the first reprisal, warning Russian tourists not to go to Turkey, a potentially significant loss of revenue for Ankara. Lavrov compared the terrorist threat there to Egypt, where a Russian airliner was brought down by a bomb earlier this month, and he cancelled a planned trip to Ankara on Wednesday.Mute Current Time 0:00/Duration Time 0:53Loaded: 0%Progress: 0cebookTwitterPinterestRussia cancels Turkey meeting and warns its citizens not to visit The Russian defence ministry said on its website that it considered the “actions of the Turkish air force as an unfriendly act”, adding that it was “designing a complex of measures directed to respond such incidents”. In his remarks, Putin complained in particular that Turkey had contacted its Nato allies before getting in touch with Moscow, “as if we shot down their plane and not they ours”. Analysis Is Vladimir Putin right to label Turkey ‘accomplices of terrorists’?The relationship hinted at by Russian leader after warplane was shot down is a complex one, and includes links between senior Isis figures and Turkish officials Read more Ankara summoned an emergency meeting of Nato ambassadors in the North Atlantic Council on Tuesday evening to share information about the incident. However, the Turkish government stopped short of calling the meeting under article 4 of the alliance’s founding treaty, which would have represented a more formal response to a threat to a member state’s territorial integrity and security.Turkey said one of its US-made F-16 fighters fired on the Russian plane when it entered Turkish airspace after having been warned on its approach to the Turkish border.In a letter to the British ambassador to the United Nations, currently serving as the president of the UN security council, the Turkish government wrote: “This morning, two Su-24 planes have approached Turkish national airspace in Yayladaga/Hatay region. The planes in question have been warned 10 times during a period of five minutes via ‘emergency’ channels and asked to change their headings south immediately. Disregarding these warnings, both planes, at an altitude of 19,000 feet violated Turkish airspace to a depth of 1.36 miles and 1.15 miles for 17 seconds from 9.24.05 local time.

Source: Nato and UN seek calm over Turkish downing of Russian jet | World news | The Guardian

great compositions/performances: Edvard Grieg – Peer Gynt Suites – 1 and 2 Orquesta Sinfónica de RTVE Guillermo Garcia Calvo – Conductor

Edvard Grieg – Peer Gynt  Suites 1 / 2