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Stephen Colbert, Brian Williams Not Fans of New Millennials Campbell's Soups

Stephen Colbert, Brian Williams Not Fans of New Millennials Campbell's Soups

The 2 hosts skewered the new soups targeted to hip, younger soup drinkers

Campbell’s new line of "hip" bagged soups got completely skewered on the talk show rounds last night, as both Stephen Colbert and Brian Williams decided to bag on the new line, catered toward "millennials."

"The folks at Campbell’s officially marked the end of the world this week by launching a new line of soups for the millennial generation," Williams said. And among other amazing soup attributes (like the ability to "warm themselves just by thinking about themselves"), the line is also super hip, with "glasses frames, overly enthusiastic people, smoked Gouda, unpronounceable chicken with poblano chiles. It’s so hoody-themed and Brooklyn-y and thoughtful yet fun-loving," Williams says.

Colbert also points out that the new line has something else going for it: Capri soup. "Just jam a straw in it," he says. Add on Campbell’s collaboration with Spotify, asking people to come up with playlists based off the "persona" of a soup, and Colbert is completely annoyed by this marketing campaign. "It’s like a mixtape you make for your girlfriend," he says, "only your girlfriend is a bag of soup." Watch it all below.

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James Stewart

James Maitland "Jimmy" Stewart (May 20, 1908 – July 2, 1997) was an American actor. Known for his distinctive drawl and everyman screen persona, Stewart's film career spanned 80 films from 1935 to 1991. With the strong morality he portrayed both on and off the screen, he epitomized the "American ideal" in the twentieth century. In 1999, the American Film Institute (AFI) ranked him third on its list of the greatest American male actors. [1]

Born and raised in Indiana, Pennsylvania, Stewart started acting while studying at Princeton University. After graduating in 1932, he began a career as a stage actor, appearing on Broadway and in summer stock productions. In 1935, he landed his first of several supporting roles in movies and in 1938 he had his big breakthrough in Frank Capra's ensemble comedy You Can't Take It with You. The following year, Stewart garnered his first of five Academy Award nominations for his portrayal of an idealized and virtuous man who becomes a senator in Capra's Mr. Smith Goes to Washington (1939). He won his only Academy Award for Best Actor for his work in the comedy The Philadelphia Story (1940), which also starred Katharine Hepburn and Cary Grant.

A licensed amateur pilot, Stewart enlisted as a private in the Army Air Corps soon after the United States entered the Second World War in 1941. After fighting in the European theater, he attained the rank of colonel and had received several awards for his service. He remained in the U.S. Air Force Reserve and was promoted to brigadier general in 1959. He retired in 1968 and was awarded the United States Air Force Distinguished Service Medal. President Ronald Reagan would later promote Stewart to the rank of major general in the Air Force retired list, in 1985. [2]

Stewart's first postwar role was as George Bailey in Capra's It's a Wonderful Life (1946). Although it earned him an Oscar nomination, the film was not a big success at first. It has increased in popularity since its release, and is considered a Christmas classic and one of Stewart's most famous performances. In the 1950s, Stewart played darker, more morally ambiguous characters in movies directed by Anthony Mann, including Winchester '73 (1950), The Glenn Miller Story (1954) and The Naked Spur (1953), and by Alfred Hitchcock in Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956), and Vertigo (1958). Vertigo was ignored by critics upon release, but is now recognized as an American cinematic masterpiece. His other films in the 1950s included the Broadway adaptation Harvey (1950) and the courtroom drama Anatomy of a Murder (1959), both of which landed him Academy Award nominations. He was one of the most popular film stars of the decade, with most of his films becoming box office successes.

Stewart's later Westerns included The Man Who Shot Liberty Valance (1962) and Cheyenne Autumn (1964), both directed by John Ford. He appeared in many popular family comedies during the 1960s. After a brief venture into television acting, Stewart semi-retired by the 1980s. He received many honorary awards, including an Academy Honorary Award and the Presidential Medal of Freedom, both in 1985.

Stewart remained unmarried until his 40s and was dubbed "The Great American Bachelor" by the press. In 1949, he married former model Gloria Hatrick McLean. They had twin daughters, and he adopted her two sons from her previous marriage. The marriage lasted until McLean's death in 1994 Stewart died of a pulmonary embolism three years later.


Contents

John Norman Howard, a famous and self-destructive singer/songwriter rock star, arrives late for a concert. He is drunk, sings a couple of songs, and walks off stage. John's entourage, including his manager Brian, takes him to a bar where Esther Hoffman is singing. One of John's fans finds him there and starts a fight. Esther grabs John and helps him escape out a back door.

They go to Esther's, but she invites him to come back for breakfast. Over breakfast (pepperoni pizza), she agrees to go to a concert with him. After arriving by helicopter, John rides a motorbike around the stage, snags a cable and crashes off the front of the stage. John is taken away by ambulance and his entourage leave in the helicopter forgetting Esther.

Afterwards, John is resting at home by his pool. A radio DJ, Bebe Jesus, hovers over the pool in a helicopter and invites John to his studio. John gets angry and shoots at the helicopter. Bebe Jesus then threatens to never play John's songs. Later, John goes to the radio station with a case of whiskey to make peace with Bebe Jesus. The disc jockey does not accept John's apology and calls John an alcoholic over the air. Esther happens to be at the radio station at the same time, taping a commercial. John takes Esther to his mansion and writes her name on the wall with a can of spray paint. There, they make love, have a bubble bath together, and he listens to her playing his piano. She thinks no one would be able to sing to the tune she has written, but he makes up some lyrics and starts singing.

At his next concert, John gets Esther on stage to sing. Although the audience boos when she starts to sing, she wins them over. Later, she tells John she wants them to get married. John replies that he's no good for her, but she persists, and they marry. John takes Esther to a plot of land he has out west where they build a simple house. She wants a tour co-starring with him, but he thinks she should do the tour on her own. Esther's career takes off, eclipsing his.

John returns to the studio thinking of restarting his career. He's told by Bobbie that the band has gone on without him and have renamed themselves. To save face, John asks Bobbie to tell them that he's found some new artists to work with and wishes them luck.

At home alone, John begins to write a new song. As he sings, he is constantly interrupted by the telephone. Someone asks for Esther and wants to know whether he is her secretary. When Esther returns home, she wants to find out how it went with the band and John tells her it didn't work out. He changes the subject to find out about Esther's day and goes through the messages he's taken for her, one of which is that she's up for a Grammy Award.

At the Grammy Awards, Esther wins for best female performance. While she is giving her acceptance speech, John arrives late, drunk and makes a scene. Later, Esther tries to talk Brian into giving John a last chance. John is writing songs again but in a different way. Brian calls on John and likes the new songs, but suggests John release some of his old hits along with the new songs. However, John wants to go with the new work only, so he turns down the offer.

Back at his LA mansion, John finds Quentin, a magazine writer, swimming half-naked in his swimming pool. She says she would do anything to get an exclusive interview. Initially he thinks it's with him, but she confirms it's an interview with Esther that she wants. When Esther arrives soon after, she finds them in bed together. Quentin tries to interview Esther, but John tells Quentin to get out. Esther and John fight with another, him telling her “I love you” and she “I hate you”, until Esther confesses that she does love him. They return to their small home out west, where they have been happiest.

One day, John wakes early and tells Esther he's going to pick up Brian from the airport. Esther asks him to hurry back. John leaves the house with a beer in hand and drives off in his flashy sports car. He leaves playing his track “Watch Closely Now” but gets bored and puts on one of Esther's songs. He continues to drink his beer, while driving too fast and recklessly.

In the next scene, a police dispatch is discussing an accident. The shell of a red sports car is on its side. A helicopter lands at the scene and Esther and Brian run out towards John, whose dead body is covered by a blanket. Esther asks for another blanket and cleans his face. She lies down on John and while crying she asks him what is she supposed to do without him. He is taken away in an ambulance.

Back at the LA mansion, Esther hears John's voice calling out for someone to answer the telephone. But she discovers it's just a tape of the old songwriting session during which the telephone had interrupted his singing. She cries on the step in the now empty house, saying that he was a liar and he wasn't supposed to leave her.

The final scene is what seems to be a memorial concert for John. Esther walks out and is introduced as Esther Hoffman-Howard. The audience raises candles as a tribute to her late husband. She sings the song John wrote for her “With One More Look at You” and then ends with his famous track, “Watch Closely Now”, done in her own style. At the last beat of the song, Esther spreads her arms wide and looks up to the heavens.

    as Esther Hoffman Howard as John Norman Howard as Bobbie Ritchie as Brian Wexler as Freddie Lowenstein as Gary Danziger as One (of the Oreos) as Two (of the Oreos) as Photographer as Quentin as Herself as Himself
  • Uncle Rudy as Mo as Groupie (uncredited) as Marty (uncredited) as Justice of the Peace (uncredited) as Manager (uncredited)

Directed by Frank Pierson, the film updates the original story and screenplay of William A. Wellman and Robert Carson with additional contributions by Pierson, John Gregory Dunne and Joan Didion. It also features Gary Busey and Sally Kirkland. Venetta Fields and Clydie King perform as Streisand's backing vocalists "The Oreos". Kristofferson's then-wife Rita Coolidge and Tony Orlando appear briefly as themselves.

The earlier films had portrayed the behind-the-scenes world of Hollywood filmmaking. However, this version adapted the story to the music business. For example, the 1937 and 1954 films each portrayed the lead female character winning an Academy Award, while the 1976 and 2018 versions depicted the heroine winning a Grammy Award instead.

A Star Is Born was co-produced by Streisand and her then-partner Jon Peters for Barwood Films and Warner Brothers, with Peters and Streisand as producers and Streisand as executive producer. Among actors considered for the male lead were Neil Diamond and Marlon Brando. Streisand and Peters wanted Elvis Presley for the role: they met with Elvis and discussed the film, and he was interested in taking the part, thinking it would revive his film career. Elvis' manager, Colonel Tom Parker, insisted Elvis have top billing and asked for a substantial sum of money for the role, even though he had not had an acting role since 1969, and people were unsure what kind of box office draw he would be. This effectively ended Elvis's involvement with the project. Parker also did not want to have Elvis portrayed as having a show business career in decline because this was far from the truth, with Elvis playing to packed auditoriums wherever he toured in the States. Diamond, who knew Streisand and had attended high school with her at Erasmus Hall High School in Brooklyn, was also seriously considered but had to decline due to his extensive concert commitments, and Kristofferson got the part of John Norman Howard.

Kristofferson denied modelling his character on Jim Morrison: "That's a good idea but it's not true. I don't think I ever met Morrison. A lot of people said we looked alike – shirts off, beards – but that washed-up rock star was more about me." [3]

The film cost around $6 million to produce. Its soundtrack album was also an international success, reaching number 1 in many countries and selling nearly 15 million copies worldwide. It featured the ballad "Evergreen (Love Theme from A Star Is Born)", which became one of the biggest hits of Streisand's career, spending three weeks at number one in the United States, and peaking at number three in the United Kingdom.

The filming locations included many in Arizona such as downtown Tucson, Tucson Community Center, Sonoita and Tempe, [4] including Sun Devil Stadium. [5] Streisand's wardrobe was selected from her own personal clothing. The film credit reads: "Miss Streisand's clothes from. her closet". The film was choreographed by David Winters of West Side Story fame, who worked closely with Streisand to perfect the movie's dancing sequences. [6] [7]

Box office Edit

The film entered general release in the United States on December 19, 1976. [1] It grossed $80 million at the U.S. box office, [2] making it the 2nd highest grossing picture of 1976.

Critical reception Edit

On review aggregator website Rotten Tomatoes, the film received an approval rating of 36% based on 39 reviews, with an average rating of 5.24/10. The site's consensus states "A lack of memorable music, chemistry between its leads, and an overlong runtime prompts this modish iteration of A Star is Born to fizzle out quickly." [8] On Metacritic, the film has a weighted average score of 58 out of 100 based on 8 critics, indicating "mixed or average reviews". [9]

Roger Ebert gave the film two and a half stars out of four, writing in his review, "There is, to begin with, no denying Barbra Streisand's enormous talent. At the end of 'A Star Is Born' the camera stays on her for one unbroken shot of seven or eight minutes, and she sings her heart out, and we concede that she's one of the great stars of the movies, one of the elemental presences. I thought Miss Streisand was distractingly miscast in the role, and yet I forgave her everything when she sang." [10] Gene Siskel also gave the film two and a half stars, calling it "a lumbering love story made palatable by Streisand's superb singing." [11] Variety was positive, calling Streisand's performance "her finest screen work to date, while Kris Kristofferson's portrayal of her failing benefactor realizes all the promise first shown five years ago in 'Cisco Pike.' Jon Peters' production is outstanding, and Frank Pierson's direction is brilliant." [12] Vincent Canby of The New York Times called it "a transistorized remake, louder than ever, but very small in terms of its being about anything whatsoever." He also noted that Kristofferson "walks through the film looking very bored." [13] Charles Champlin of the Los Angeles Times wrote, "The treatment of Streisand is so ceaselessly close up and reverential from the start that there really seems nowhere to go but further up, and little of the mutuality of need that is essential to a love, or a love story . A half-hour in, I wrote 'a star is boring' in my notes, and was not later persuaded I'd been wrong." [14] Gary Arnold of The Washington Post suggested that the film "should be retitled 'A Star is Embalmed" or "A Star is Entombed' or simply 'A Star is Lost' . One loses sight of the ostensible dramatic tragedy, because the real tragedy appears to be Streisand's misuse of her talent." [15] Geoff Brown of The Monthly Film Bulletin faulted the film for "Streisand's failure to convince as a rock star, even when singing the docile brand of rock supplied here. Luckily, Kris Kristofferson makes a far better impression. His eyes have the proper faraway look that betokens a mind besotted either with booze or love, and he drifts toward his destiny with none of James Mason's fireworks but with a great deal of quiet charm." [16]

In Mad (magazine) issue #193 dated September '77, the movie was parodied in their "Rock of Aged Dept." as "A Star's a Bomb." (https://www.comics.org/issue/93993/)

Awards and honors Edit

Award Category Nominee(s) Result
Academy Awards [17] Best Cinematography Robert Surtees Nominated
Best Original Score Roger Kellaway Nominated
Best Original Song "Evergreen (Love Theme from A Star Is Born)" – Barbra Streisand and Paul Williams Won
Best Sound Robert Knudson, Dan Wallin, Robert Glass and Tom Overton Nominated
ASCAP Film and Television Music Awards Most Performed Feature Film Standards "Evergreen (Love Theme from A Star Is Born)" – Barbra Streisand and Paul Williams Won
British Academy Film Awards Anthony Asquith Award for Film Music Paul Williams, Barbra Streisand, Kenny Ascher, Rupert Holmes, Leon Russell, Kenny Loggins,
Alan Bergman, Marilyn Bergman and Donna Weiss
Nominated
Best Sound Track Robert Glass, Robert Knudson, Marvin Kosberg, Tom Overton, Joseph Von Stroheim and Dan Wallin Nominated
Golden Globe Awards [18] Best Motion Picture – Musical or Comedy A Star Is Born Won
Best Actor in a Motion Picture – Musical or Comedy Kris Kristofferson Won
Best Actress in a Motion Picture – Musical or Comedy Barbra Streisand Won
Best Original Score – Motion Picture Kenny Ascher and Paul Williams Won
Best Original Song – Motion Picture "Evergreen (Love Theme from A Star Is Born)" – Barbra Streisand and Paul Williams Won
Grammy Awards Best Original Score Written for a Motion Picture or a Television Special Kenny Ascher, Alan Bergman, Marilyn Bergman, Rupert Holmes, Leon Russell, Barbra Streisand,
Donna Weiss, Paul Williams and Kenny Loggins
Nominated

In the 1937 and 1954 versions, Janet Gaynor and Judy Garland were each depicted on screen as winning an Academy Award, yet neither won for their film in real life (though Gaynor and Streisand had won Oscars before, and Garland had won an Academy Juvenile Award). In this film, Barbra Streisand is instead depicted as winning a Grammy Award (in real life, the film's song "Evergreen" won her both a Grammy Award for Song of the Year and an Academy Award for Best Original Song).

According to at least one Streisand biography [ vague ] , unhappy with a few of Frank Pierson's scenes, Streisand later directed them herself (a claim also made for 1979's The Main Event), adding to the rumors that she and Pierson clashed constantly during production.

The film is recognized by American Film Institute in these lists:

A Star Is Born was the second remake of the original 1937 drama, the prior being the 1954 musical starring Judy Garland and James Mason. The story was also adapted as the 2013 Bollywood film Aashiqui 2. Bradley Cooper later starred, directed, co-wrote, and co-produced a 2018 retelling, with Lady Gaga co-starring and composing new music for the film. [20] All four of the official "A Star is Born" movies have been nominated for at least four Academy Awards. [21]

In 2006, the Region 1 DVD was released in North America in Dolby Digital 5.1 sound with various extras, including a full-length commentary by Barbra Streisand, 16 minutes of never-before-seen and additional footage, and the original wardrobe test. In 2007, the Region 2 DVD with the same extras was released in Germany. In 2008, the Region 4 DVD was released in Australia, the content of which appears to be the same as the Region 1 edition. The DVD has yet to be released in any other region.

Warner Bros. released the film worldwide on the Blu-ray format on February 6, 2013. The DVD and Blu-ray reissues were released as manufacture-on-demand titles on May 14, 2019 by Warner Archive Collection who also reissued the DVD and Blu-ray formats for the 1954 adaption that day.

The soundtrack album to the film was released by Columbia Records in 1976.


It Smelled Like Gen X Spirit

How a “unisex” fragrance, as CK One was called in the ’90s, became the scent of a generation.

Your ears were actually burning.

You had to stay on the phone for an hour, two hours, to feel the burn.

That’s what happened when your ear cartilage became red and irritated from cupping the hard-plastic receiver so long. Not every friendship translated to chemistry on the phone. But what a rush when it did: The conversation could go anywhere it was mental improv. You had the feeling that, connected over miles by a wire, you were the only two people alive. For me, the epic phone calls peaked in college and early adulthood, and dwindled with the rise of cellphones. There were the billable minutes to worry about, and brain cancer. Now, the only phone calls I have are with my mother, on Sundays. — Steven Kurutz

It’s easy to forget that “The Real World” started out as a documentary —

if not an artsy one, at least vaguely art adjacent, with its initial cast members being a dancer, two singers, a rapper, a filmmaker, a poet and, um, Eric Nies. By modern reality TV standards it’s incredibly boring and poorly constructed, but as a document of hot youngs in 1992, it’s remarkable. TV may have never seen a better embodiment of Gen X slackerdom than Andre, whose band was called, with utter seriousness, Reigndance. Also of note: The rapper Heather B spends the season recording her album, “The System Sucks.” A lot of people would still agree. — Dan Nosowitz

The technology of pagers moved fast, and the commercial market was flooded with Motorola’s version for a shining moment. You could send your friends “911 192 2”: meaning, “it’s an emergency meet me at Dick’s Bar which is at 192 Second Ave.” This was really helpful when the only other way to find your friends was … psychically? — Choire Sicha


Fully 36 years old and nursing a high ankle sprain, James is into year two of his elder title contention phase with the Lakers and his tendency to grandly narrativize everything he accomplishes has kicked into as high of a gear as we've ever seen from a player.


An Unexpected Solution To Claudia&rsquos Problem

It might not have been Claudia&rsquos first choice, but her sister suggested that her teenage daughter, J&rsquoAnn, take care of Ava during Claudia&rsquos absence. Claudia loved her niece and knew she was a responsible, mature girl, but she still did not immediately love the idea of leaving her 2 month old with a teenager.

With her sister&rsquos repeated reassurances, Claudia decided to keep the option open as a last resort. At the time, Claudia could not shake the sinking feeling and anxiety in the back of her mind about a 15-year-old watching her newborn baby. She worried that her gut instinct might inevitably be proven correct. Either way, she was about to find out.


Interview: Roger Kellaway


Today is Roger Kellaway’s 80th birthday (happy birthday, Roger!). Roger is an exceptional jazz pianist with a stunning technique who appears on many of my favorite jazz albums, including Oliver Nelson’s More Blues and the Abstract Truth (1964), Wes Montgomery’s Bumpin’ (1965) and Sonny Rollins’s Alfie (1966). His leadership albums also are extraordinary, so much so you can’t believe your ears.

To celebrate his birthday, Roger will appear at New York’s Birdland Theater on November 15 and 16 (at 7 and 9:45 p.m.). He’ll be backed by guitarist Ron Ben-Hur and bassist Jay Leonhart. He’ll also appear that evening upstairs (at 8:30 and 11 p.m.) as a special guest with the Django Reinhardt Festival. For tickets and information, go here.


Roger also has a new CD out&mdashThe Many Open Minds of Roger Kellaway (IPO), featuring Roger on piano, Bruce Forman on guitar and Dan Lutz on bass. It was recorded live at the Jazz Bakery in 2009. You’ll find it here or here. You can listen here

Recently I had a chance to catch up with Roger…


JazzWax: What was life like in the 1940s when you grew up in Waban, Mass.?

Roger Kellaway: Waban was a small New England town with one policeman, one drugstore, one bank, one market, one shoe-repair store, one barbershop, one library and one community center where we used to watch Laurel & Hardy movies on Saturday mornings for a nickel. Locomotive trains up there were still powered by steam. At some point, I started playing a little guitar.

JW: When did you start taking piano lessons?
RK: I began formal piano lessons at age 7. At age 11, I discovered George Shearing&rsquos I&rsquoll Remember April. I bought the sheet music. and the song became my piano solo for several years. After Shearing, I listened to pianists Billy Taylor, Oscar Peterson and Horace Silver. My listening habits were mostly classical but I quickly added jazz and big bands. In junior high school, eight kids tried out for the piano in the orchestra. So I started playing the upright bass. I taught myself how to play. Four years later, I played fourth bass in the Massachusetts All-State Orchestra under Frederick Fennell.


JW: Did you play jazz bass during this period?

RK: Yes, in the King&rsquos Men, our local band. Dick Sudhalter was in the band playing cornet. I continued on the bass until I arrived in New York in 1960. At that time, I sat in on bass with Jimmy Giuffre (above) and Jim Hall. Jimmy offered me the gig, but due to complications in my personal life, I decided not to do it. I often think back to that time and realize that Jimmy’s next band was with pianist Paul Bley and bassist Steve Swallow.

JW: Who was most helpful to you early on?
RK: In school, I had two influences pushing me in two different directions. First, was Dick Sudhalter, pushing me toward Dixieland. His father had played alto sax in early Dixieland bands. Dick was strongly influenced by Bix Beiderbecke. The second influence was Dave Schreier who played tenor sax and was pushing me toward modern jazz.


JW: Who were you listening to most at this point?

RK: Igor Stravinsky and other Russian composers. I also discovered Fats Waller. Two other strong musical influences at the New England Conservatory were multi-instrumentalists Dick Wetmore and Leroy &ldquoSam&rdquo Parkins. Dick played cornet, baritone horn and violin. He had the most beautiful lyrical style of playing on all three instruments. I played bass with him at Boston&rsquos Hotel Buckminister in the basement where we played a mixture of Dixieland and modern jazz. However, every other Sunday featured the beginnings of jazz and poetry. Someone would read poet E.E. Cummings, and we’d accompany the reader with improvisations based on some of Dick’s 12-tone rows. Needless to say, by this point, I was listening to Dixieland followed by Arnold Schoenberg.


JW: What else can you share about Sam Parkins?
RK: Sam played tenor sax and clarinet. I played bass with him at a Dixieland gig on Cape Cod. The drummer was Tommy Benford, who had been around the world twice with Fats Waller. Tommy’s drum solos, to me, were more interesting than Max Roach&rsquos. By then I was a Clifford Brown and Max Roach fan. At the end of the Cape Cod gig, Sam and I drove to his house in Brookline, Mass. I stayed overnight, and for hours we improvised four-handed atonal sonatas on his piano. All of these events with Dick and Sam were playing and listening moments more than teacher-student moments. Playing with Dick and Sam provided me with a different lesson. As I listened closely to how they played, I figured out how to accompany them and reach the highest musical experience. [Photo above of Sam Parkins courtesy of Ed Berger]


JW: Do you remember much from one of your first recordings, the album with Mark Murphy? That was some group of musicians.

RK: You’re referring to Mark Murphy&rsquos That&rsquos How I Love the Blues for Riverside in 1962. That was a sensational moment in my life. However, the first recording I did with Mark was a Gene Lees song, Fly Away My Sadness backed by the Al Cohn Orchestra. I’m not sure the recording was ever released. [Here’s the Mark Murphy Riverside single It’s Like Love and Fly Away, My Sadness…]


JW: What made Ben Webster special?

RK: Ben Webster and I never hung out together, so I got to know him only on recording sessions. How do you accompany Ben Webster? You listen to his every note and phrase, and stay out of the way of his gorgeous sound. I recorded three albums with Ben: More, with Clark Terry, on which I wrote all of the arrangements More Blues and the Abstract Truth and See You at the Fair. I played on half the latter album, loving the tracks with piano and disliking intensely the two tracks that I had to play electric harpsichord&mdashan early synthesizer experience. The keyboard&rsquos action was so loose that it was difficult to control.


JW: More Blues and the Abstract Truth has a wonderful cinematic feel. What was arranger Oliver Nelson like to work with?

RK: More Blues and the Abstract Truth is one of my very favorite albums, along with Sonny Rollins&rsquos Alfie and Wes Montgomery&rsquos Bumpin&rsquo. The title track was the hardest chart. We took it home to work on and recorded it the next day. All the other tracks were done in one take. At this time in New York, studio players could sight-read the music and make it sound as if they had been playing it for weeks. The studio scene was highly energetic and passionate then, especially for someone like Oliver. His music made you feel that way. So, the end results were high-quality music. Oliver, this nice and gentle guy, would give a simple downbeat and unleash all of this sun power. What a sound!


JW: What did you think of Wes Montgomery? You’re on two of his albums.

RK: Wes was pretty quiet. He didn&rsquot say much. For Bumpin’, we rehearsed for four days, giving Wes an opportunity to memorize the music, since he didn&rsquot read music. The rehearsals were supervised by
Don Sebesky, who later arranged the strings and harp overdubs. My second Wes encounter was a gig at New York’s Half Note, where I would spend 2½ years with the Clark Terry/Bob Brookmeyer quintet.


JW: How did you wind up on the gig?

RK: I was subbing for Wynton Kelly. This was just after Bumpin&rsquo was released. For some reason, Wynton couldn’t make it. He must have liked my work on Bumpin’ and recommended me for the gig. What a happy moment. The bass player was Paul Chambers and the drummer was Jimmie Smith. What a wonderful time. That was the only opportunity I had to play with Paul. I played later with Smith on an album called Just Friends with Zoot Sims and Harry &ldquoSweets&rdquo Edison. The bass player was John Heard.

JW: Montgomery&rsquos Goin&rsquo Out of My Head was a big turning point in jazz-pop. What do you recall from that session?
RK: I don’t have any memory of the session. Except for the opening left-hand octaves, there’s not enough piano in the mix to tell whether it’s me or Herbie Hancock. I know I played on half of the album. But, those tracks were taken from the Bumpin&rsquo recording sessions&mdasheven the outtakes from that album.

JW: Who were you listening to during your period in New York?
RK: In the early 1960s, my listening habits were shape-shifting again, adding Olivier Messiaen, Lucciano Berio, John Cage, Edgar Varese and various avant-garde composers of electronic music and musique concrète.


JW: What do you remember about Sonny Rollins&rsquos Alfie album?

RK: Alfie was another one of my favorites. Can you imagine&mdashSonny Rollins and Oliver Nelson? Everything on the session was sheer joy. Track #4, Transition Theme, has two of my piano solos. In the middle of Sonny’s solo, he stopped playing and moved off-mike. When I saw him do this, I grabbed the space for a second piano solo.


JW: Trombonist J.J. Johnson&rsquos Betwixt and Between in 1968 with trombonist Kai Winding has an unusual sound.

RK: I played piano and electric keyboard on there. I arranged Just a Funky Old Vegetable Bin. It’s unfortunate that the style of the album didn’t give me much of a chance to play with J.J. or Kai Winding.


JW: How did you come to work as singer Bobby Darin&rsquos music director?

RK: I was coming off a year as musical director for comedian Jack E Leonard. Jack used to be a dancer and he always liked a band behind him. Drummer Stan Levey recommended me to Bobby. I rehearsed a few tunes with Bobby on a Thursday and got the gig. We were to open at the Flamingo Hotel in Las Vegas the following Tuesday. He sang me a concept he had for The Shadow of Your Smile. Then he asked me to check his files for the arrangement. I searched but didn&rsquot find the chart. When I told him no such arrangement existed in his file, he said, without skipping a beat, &ldquoWell, there will be by next Tuesday.&rdquo That was Bobby. [Photo above, from left, of Michael Kollendor, Roger Kellaway, Tony Ensiago and Chuck Domanico on Bobby Darin’s world tour in 1967]


JW: How did the Dr. Dolittle album come together?

RK: Bobby was very direct and clear about what he wanted musically and how he wanted the stage show to be handled. I took a lot of musical dictation from him for the first year regarding several arrangements. Then, out of the blue, in 1967, he called me and had me join him in his suite at the Flamingo. He presented me with Leslie Bricusse and Lionel Newman&rsquos music to the Dr. Doolittle film that came out that year. We found his keys on each tune. Then he gave me the name of the recording studio and the instrumentation&mdasha 35-piece orchestra. He said we&rsquod be recording in three weeks. With just one year of experience under my belt, I delivered the arrangements for what would become Bobby Darin Sings Dr. Doolittle. I&rsquom still extremely proud of the album and my arrangements.


JW: What do you think of Darin?

RK: Bobby will always be one of the greatest performers I ever worked with. He swung with ease, he used to stage with ease, he related to the audience with ease and confidence. He walked on and every move was perfection. What a teacher. I learned my stage timing from Bobby Darin. And Jack E. Leonard.


JW: How did your fabulous cello quartet album in 1970 evolve? Those three albums remain gorgeous.

RK: In 1969 I was writing pieces for cello and piano. I wanted to play piano against original cello music. Edgar Lustgarten was my favorite studio cellist, so I asked him to come by my house and play through my new pieces with me. He agreed. In my mind, that was the beginning of my cello quartet albums.

JW: Were the musicians carefully selected?
RK: Absolutely. I picked Chuck Domanico on bass and Emil Richards on percussion. I wanted the group to express the sound of wood. Also, three of us could improvise in unusual time signatures. For example, Sunrise, from my first album, Roger Kellaway Cello Quartet (1970) is in 15/8 and Esque from the same album is in 5/4.


JW: Why call it a cello quartet when there&rsquos only one cellist?

RK: The music I was writing for this group was put in a stack I called &ldquoCello Quartet.&rdquo The other stack was called &ldquoSax Quartet,&rdquo relating to my group with Tom Scott. So, I kept the name &ldquoCello Quartet.&rdquo Remember, Bartok had a piece called Clarinet Trio that didn’t feature three clarinets. Along the way, I met Steve Goldman, who said he’d like to produce the album. I was with A&M records at the time, so, I took the idea to Herb Alpert. He said, &ldquoGo,&rdquo and the Cello Quartetwas born.


JW: How did you get the job writing Remembering You, the closing theme to TV’s All in the Family?

RK: Dave Grusin had just finished a film with Bud Yorkin, a partner of Norman Lear. Given his schedule, Dave didn’t have time for this TV sitcom project. So he recommended me. I read the pilot script and wrote a theme song, not knowing they had already hired Lee Adams and Charles Straus to write Those Were The Days. I drove into Hollywood and played my song on the cello for director John Rich, Norman Lear and Carroll O&rsquoConnor.

JW: What did they think?
RK: They loved it immediately. I recorded it on piano. So, the first six episodes had an end credit with two songs&mdashLee Adams and Charles Straus for Those Were the Days and Roger Kellaway and Carroll O’Connor for Remembering You. My wife, Jorjana, suggested I go to Norman Lear and tell him that we didn&rsquot need Adams/Straus on the end-theme credits. All in the Family was the first TV show to have an opening theme and a different closing theme. [Here it is…]

JW: What are five of your favorite Roger Kellaway albums and why?
RK: The Roger Kellaway Cello Quartet (A&M/1970). This is an important album in my life. Because of this album, I began being called the &ldquofather of crossover.&rdquo I’ll take it!


In Japan
(All Art Jazz/1986). This is my first Japanese CD. The original title of the album was Kellaway Plays Broadway, but our Japanese producers thought that Kellaway and Broadway was too rhyme-y.”

Meets the Duo (Chiaroscuro/1992). This was my first opportunity to record with the piano-guitar-bass format. It was a wonderful group&mdashme with guitarist Gene Bertoncini and bassist Michael Moore. I had played duo with Michael for two years, and Michael played duo with Gene for about five years.

Live At Maybeck Recital Hall, Vol. 11 (Concord/1991). This is one of my favorite solo piano CDs.

Inside & Out (Concord/1995) was recorded with cornetist Ruby Braff. I first met Ruby when I was a teenager. So this CD links to my childhood. I love how much music we made together.

Albums with Red Mitchell. Red was my partner for eight years. We made eight CDs together. I loved every one of them.


Heroes
(IPO/2005) is my tribute to the old Oscar Peterson Trio. It won the French Jazz Academy’s Classic Jazz Prize.

Duke at the Roadhouse (IPO/2012). Here I recorded with Eddie Daniels on clarinet and James Holland on cello. It won the French Jazz Academy’s Grand Prix Award.

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The 22-year-old from Milford, Ohio, downplayed the seriousness of the pandemic telling a TV news crew in Miami last week that 'we're just out here having a good time. Whatever happens, happens.'

'If I get corona, I get corona. At the end of the day, I'm not gonna let it stop me from partying,' Sluder said during the TV interview.

Sluder has since had some time to rethink he original comment.

'Our generation may feel invincible, like I did when I commented, but we have a responsibility to listen and follow the recommendations in our communities,' Sluder wrote.

Brady Sluder said in an Instagram post that he was owning up to his mistakes and he didn't realize the impact of his words

'I will continue to reflect and learn from this and continue to play for our well-being. I deeply apologize from the bottom of my heart for my insensitivity and unawareness of my actions.'

Sluder has said said he does not want to endanger the elderly and other people who may be at-risk people in his life.

'I'm not asking for your forgiveness or pity. I want to use this as motivation to become a better person, a better son, a better friend, and a better citizen…Don't be arrogant and think you're invincible like myself,' he wrote in his post.

In a second note posted to Instagram, Sluder continued with his apology.

'I’ve done a lot of things in my life that I’m not proud of. I’ve failed, I’ve let down, and I’ve made plenty of mistakes. I can’t apologize enough to the people i’ve offended and the lives I’ve insulted. I’m not asking for your forgiveness, or pity. I want to use this as motivation to become a better person, a better son, a better friend, and a better citizen. Listen to your communities and do as health officials say. Life is precious. Don’t be arrogant and think you’re invincible like myself. I’ve learned from these trying times and I’ve felt the repercussions to the fullest. Unfortunately, simply apologizing doesn’t justify my behavior. I’m simply owning up to my mistakes and taking full responsibility for my actions. Thank you for your time, and stay safe everyone.'

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Three of those students returned to campus after their spring break travels.

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The University of Tampa shared this notice saying the students had traveled together with other UT students for spring break before testing positive for the virus

The university had switched to online classes last week on March 17 and students have been instructed to leave campus.

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Millennials on Spring Break go wild during the COVID-19 outbreak at the beach in Miami


Mircea Eliade and Joseph Campbell

When considering the theorists Mircea Eliade and Joseph Campbell, it is not difficult to recognize similarities in their theories of religious thought. Comparisons can be made between them in regards to their methods of analyzing separate traditions as well as their attempts to draw universal conclusions from them. Not only do these two theorists demonstrate the ability to take unrelated traditions and create a new way of viewing them as part of a larger picture, but they also resemble each other in how later theorists consider their work. Both men inspired a change in the way religion was thought about by the public, and both have earned the criticism of modern and feminist scholars.

Mircea Eliade has long been considered an influential figure in the field of Religious Studies, and while some modern theorists tend to minimize the relevance of his ideas in light of recent developments in the subject, Eliade undoubtedly revolutionized the way religion was studied and taught for many years. He wrote works of both fiction and non-fiction, and is known for developing original terms and concepts unique to his personal theory. Expressions such as hierophany, axis mundi, and hierogamy are used to illustrate his ideas on what he refers to as “sacred time,” “sacred space,” and “archaic man.”

Eliade’s concept of sacred time refers to the mythical time when chaos converted into the beginning of creation. This notion of time is a cyclical one in which humans live according to a model of endless regeneration reflected by the seasons symbolizing birth, mid-age, old-age, death, and birth again.

The idea of sacred space describes Eliade’s concept of hierophany, or the manifestation of the sacred into the profane world. Instances of hierophany can be seen in various traditions and include the burning bush of the Old Testament, Ayer’s Rock in Australia, and the linga stones of India. Eliade’s primary example of sacred space is the axis mundi, a world center which connects the higher and lower realms. To Eliade, each axis mundi serves as the center of the world: “Every temple or palace-and, by extension, every sacred city or royal residence-is a Sacred Mountain, thus becoming a Center…the meeting point of heaven, earth, and hell.” (Eliade 12)

According to Eliade, there is an immense difference between how archaic and modern man view the world in connection to sacred time and sacred space. Archaic man exists in a primitive world, in which he conceives of time in a cyclical fashion and derives meaning through repetition of the acts of the gods. By reenacting the original events, archaic man is able to stay connected through ritual to the sacred time of creation as well as to the gods. In Eliade’s words, ”every creation repeats the preeminent cosmogonic act, the creation of the world.” (18) One example of this type of reenactment is something that Eliade calls the hierogamy, or sacred marriage. In his words, “by consummating ritual union with the goddess…the divine union assures terrestrial fecundity…(and) the world is regenerated each time the hierogamy is imitated”. (26)

In contrast to the archaic model, modern man exists within a historical timeline in which time moves in only one direction, from beginning to end, and the central object of meaning is the individual. In this reality, God is a distant figure who intervenes in the lives of a select few in order to create significant events which cannot be repeated. Eliade speculates that this way of thinking started with the onset of the Abrahamic traditions, and as a result, modern man has lost the relationship to the cosmos that kept his archaic counterpart centered and connected to the sacred time of creation. It is this disconnect which creates what modern man experiences as the “terror of history”(139), in which man no longer achieves meaning by being part of the cosmic process, but is forced to tolerate his own powerlessness and the dreadful events and suffering which befall humanity.

Although Eliade’s theories earned him respect and attention during his early career, his work has drawn critical response in more recent years. In his paper The Wobbling Pivot, J.Z. Smith takes issue with several of Eliade’s positions. Referring to Eliade’s concept of the “eternal repetition of the cosmogonic act” (Eliade 62), Smith debates whether all creation acts are something that archaic man would have wanted to reenact. He explains:

Many of the first times described in myth-particularly those dealing with the origin of death, sickness, illness, sin, and evil may well be existentially repeated in the human condition itself but they are neither celebrated nor ritually repeated. (Smith 145)

Furthermore, he points out that Eliade sometimes takes a less than objective position when it comes to his own terms and theories. For example:

This focus on the explicit presence of the term ‘Center’ leads Eliade at times to employ questionable interpretations of his material…[and] at other times leads him to ignore texts which do contain important elements of the ‘Center’ pattern but never explicitly use the term. (144-145)

Next, he examines Eliade’s categories of “archaic” and “modern” and the “related distinction between cyclical-mythic time and linear-historical time.” (148) He draws the conclusion that “[t]his dichotomy does not seem to do justice to the rich patterns of temporal significance which have been discovered in various cultures”. (148) It appears that despite retaining an appreciation for the immense contributions Eliade has made to the historical study of religion, Smith remains unconvinced that his theories are fully applicable to the present state of the field of Religious Studies today.

Like Smith, Carol P. Christ also takes a critical approach to what she considers Eliade’s outdated ideas in her article Mircea Eliade and the Feminist Paradigm Shift, this time paying special attention to the male-centered bias, which informs his writings. She posits:

Careful analysis of Mircea Eliade’s a history of religious ideas will show that androcentric assumptions are deeply structured into Eliade’s conceptions of the nature and origin of religion. These biases make it virtually impossible for him to recognize the importance of women and Goddesses in the history of religion. (Christ 79)

Throughout the article Christ expresses her resentment at Eliade’s preference for the male-oriented aspects of history, as well as to his assumption that the roles of males have more successfully promoted the survival of the species. She states, “By focusing on meat-eating as decisive to human survival, Eliade values the contributions of ‘man the hunter’ while devaluing the contributions of ‘woman the gatherer.’” (83) Throughout her writing, Christ meticulously dissects Eliade’s words, analyzing dismissive phrases and pointing out his inability to acknowledge the feminist perspective. More so than Smith, she seems fed up with his theories and urges the reader to move beyond the paradigm he presents. She concludes: “The history of religion which Eliade tells is distorted by dualism, idealism, and false universalization of male experience…Once this bias is unmasked, we can never again read his work…as a “true” or “objective” telling of the history of religion.” (94)

Like Eliade, Joseph Campbell provided a new interpretation of the study of religion that tended to draw universal conclusions across multiple traditions and garnered him vast public attention. In The Hero With a Thousand Faces , Campbell explores his theory regarding the monomyth, an idea that has influenced a multitude of popular works such as George Lucas’ Star Wars, The Matrix, and Harry Potter and can be recognized in the stories of the lives of both the Buddha and Jesus Christ.

According to Campbell, the monomyth, or hero’s journey, provides a motif which recurs throughout countless mythologies. The structure of this universal myth contains three primary stages referred to as Separation, Initiation, and Return through which we are able to trace the hero regardless of his culture of origin. Campbell explains, “The archetypes to be discovered and assimilated are precisely those that have inspired, throughout the annals of human culture, the basic images of ritual, mythology, and vision.” (Campbell 18)

In her article The Myth of Joseph Campbell, Mary Lefkowitz expresses her dissatisfaction with the attention Campbell has received as a result of the popular televised interview with Bill Moyers, “The Power of Myth.” She seems concerned that, beyond advocating a “selfish materialism when he recommended to his viewers that the each ‘follow their own bliss,’” (429) he is sometimes inaccurate in his analysis of specific myths and, like Eliade, he is guilty of minimizing the role of women in his hero theme. She makes it clear from the beginning that she “doesn’t [think] Campbell should be considered as an objective authority on the subject he professes,” (429) first and foremost, because he is not a professor, never having finished his doctorate, a fact often cited by critics of Campbellian theory. In her opinion, Campbell’s particular view was easily accepted because, she declares “Campbell could tell a good story…[and] he was knowledgeable about what we didn’t have time (or inclination) to discover for ourselves.” (429)

In addition to her concern over Campbell’s credentials, Lefkowitz places emphasis on the fact that Campbell’s universal hero premise may not be all it’s cracked up to be. Like Jonathan Z. Smith’s critique of Eliade, Lefkowitz is concerned that “Campbell tends to make the details of ancient narratives conform to his own interpretations”. (431) She cites several specific examples of Greek myths that expose Campbell’s tendency to “overlook details or occasionally get…a mythological fact wrong” (431) in order to portray these myths in a more universal light. Indeed, Lefkowitz states, “[I]t suits Campbell’s purpose best to show that all heroes, whatever their background, are more or less alike at least in the pattern of their lives and the nature of their aspirations”. (431)

In regard to the feminist perspective, Lefkowitz hones in on what she considers his lack of attention to the female in his breakdown of the predominantly male hero in mythology. She seems especially troubled by his portrayal of women as passive. She explains: “they are not so much actors in the story as ideals or goals, entities from whom knowledge or life may be taken, or who will produce and nourish the hero’s progeny”. (Campbell, The Power of Myth 125), Lefkowitz counters with the idea that it is “the female body that Campbell wishes to celebrate, and not the force of the female will or determination of mind” (Lefkowitz 433). Even as heroes, women lack the self-sufficiency of the male: “Often women seem to learn only sometime after their first confrontation with men, whether physical or political” (433). Furthermore, Lefkowitz adds, even the choice for a woman to become a hero does not seem to be her own, unlike the active choice for boys who “need to intend to be men…the decisive moments in a woman’s life are…, in a sense, inflicted on her” (433).

Finally, as she closes her argument, Lefkowitz reminds the reader that, due to particular trends in the study of religion, namely a move towards universalism, Campbell’s message is especially easy to swallow. She warns that while Joseph Campbell has succeeded in expanding the types of religious subject matter the common person is exposed to, “no one should hope to find in [his theory] an authoritative guide to any religion other than Campbell’s own” (434).

Both Mircea Eliade and Joseph Campbell have made significant contributions to the field of religious studies Eliade, as a visionary who taught us to look at religion in a new way, and Campbell, who made world religions and mythology attainable for the public. However, while both of these men deserve our respect for breaking new ground and forming new paradigms, they also have their limitations in regards to how they should be applied today.

About Tito Ferguson

Although I am originally from Texas, I have called Georgia my home for twelve years. In 2007, I returned to school (Georgia State University) and earned a BA in Religious Studies with a minor in Psychology in December of 2010. I graduated with honors and received the Robert Arrington award in Religious studies for the 2010-2011 school year. My interests include New Religious Movements, Psychology and Religion, and Mythology. I live in West Georgia with my son and am thinking about returning to school for a graduate degree in the near future.


  • New Zogby Analytics poll found President Donald Trump is said to be making gains with base voters, particularly NASCAR fans and Walmart shoppers
  • Data also found that Trump would still be beaten at the polls if he was up against Oprah Winfrey or Michelle Obama
  • However, Trump has also experienced a small increase in support from key democratic groups including Millennials, independents and women
  • In terms of seasoned politicians, Trump has made some gains on Joe Biden, Bernie Sanders and Elizabeth Warren

Published: 01:33 BST, 29 May 2018 | Updated: 13:52 BST, 29 May 2018

President Donald Trump is increasing his support among voters in some key areas but he would still lose the 2020 election to the likes of Michelle Obama or Oprah Winfrey, according to a new poll.

A new survey from Zogby Analytics found that Trump is said to be making gains with his base voters, particularly NASCAR fans and Walmart shoppers.

He is also experiencing a small increase in support from key democratic groups including Millennials, independents and women.

But the data, obtained in a nationwide online survey of 881 likely voters, found that Trump would still be beaten at the polls if he went up against either Michelle Obama or Oprah.

A new survey from Zogby Analytics found that Donald Trump would be beaten at the polls if he went up against either Michelle Obama or Oprah in the 2020 election

Even thought the talk show Queen has denied she is running, Oprah still leads 53 percent to 47 percent.

The former First Lady's lead over Trump is 48 percent to 39 percent.

'Oprah continues to win a majority or plurality among almost every sub-group, including Democratic stalwarts, such as younger voters, African Americans, Hispanics, Asians, women and independents,' the survey stated.

In terms of seasoned politicians, Trump has made some gains on the likes of former Vice President Joe Biden and senators Elizabeth Warren and Bernie Sanders.

But Trump still trails behind them in voter support, according to the poll.

'President Trump struggles against Biden because Biden beats the president with his base of voters-those who frequently shop at Walmart (43 percent to 42 percent) and voters with no college education (Biden leads 44 percent to 40 percent), while Trump wins 53 percent to 39 percent with NASCAR fans,' the poll states.

The survey from Zogby Analytics was obtained in a nationwide online survey of 881 likely voters and has a margin of error of plus or minus 3.2 percentage points

'All these categories have tightened between the two candidates since January, but Biden still leads with most groups, especially important groups that are favorable to Trump.'

Sanders' lead over Trump dropped and is now at 48 percent to 42 percent. Warren also saw her lead cut and sits now at 43 percent to 37 percent.


Watch the video: Stephen Colbert infamous Trump rant (December 2021).