-yllion, Details and examples
The corresponding Chinese "long scale" numerals are given, with the traditional form listed before the simplified form. Same numerals are used in the Chinese "short scale" (new number name every power of 10 after 1000 (or 103+n)), "myriad scale" (new number name every 104n), and "mid scale" (new number name every 108n). Today these numerals are still in use, but are used in their "myriad scale" values, which is also used in Japanese and in Korean. For a more extensive table, see Myriad system.


-yllion, Latin- prefix
In order to construct names of the form n-yllion for large values of n, Knuth appends the prefix "latin-" to the name of n without spaces and uses that as the prefix for n. For example, the number "latintwohundredyllion" corresponds to n = 200, and hence to the number 102202{\displaystyle 10^{2^{202}}}.


-yllion, Negative powers
To refer to small quantities with this system, the suffix -th is used.


-yne
In chemistry, the suffix -yne is used to denote the presence of a triple bond.


-yne
The suffix follows IUPAC nomenclature, and is mainly used in organic chemistry. However, inorganic compounds featuring unsaturation in the form of triple bonds may be denoted by substitutive nomenclature with the same methods used with alkynes, i.e., the name of thecorresponding saturated hydride is modified by replacing the "-ane" ending with "-yne". The suffix "-diyne" is used when there are two triple bonds, and so on. The position of unsaturation is indicated by a numerical locant immediately preceding the "-yne" suffix, or locants in the case of multiple triple bonds. Locants are chosen to be as low as possible. While generally used as a suffix, "-yne" is also used as an infix to name substituent groups that are triply bound to the parent compound.


-yne
This suffix arose as a collapsed form of the end of the word acetylene. The final "-e" disappears if it is followed by another suffix that starts with a vowel.


-zilla
-zilla is an English slang suffix, a back-formation derived from the English name of the Japanese movie monster Godzilla. It is popular for the names of software and websites. It is also found often in popular culture to imply some form of excess, denoting the monster-like qualities of Godzilla.


-zilla
This trend has been observed since the popularization of the Mozilla Project, which itself included the Internet Relay Chat client ChatZilla.


-zilla
The use of the suffix was contested by Toho, owners of the trademark Godzilla, in a lawsuit against the website Davezilla and also against Sears for their mark Bagzilla. Toho has since trademarked the word "Zilla" and retroactively used it as an official name for the "Godzilla In Name Only" creature from the 1998 Roland Emmerich film.


. . . That Thou Art Mindful of Him
". . . That Thou Art Mindful of Him" (also signed as "That Thou Art Mindful of Him") is a science fiction short story by American writer Isaac Asimov, which he intended to be an "ultimate" probe into the subtleties of his Three Laws of Robotics. The story first appeared in the May 1974 issue of Fantasy and Science Fiction and the 1974 anthology Final Stage, edited by Edward L. Ferman and Barry Malzberg. It was collected in The Bicentennial Man and Other Stories (1976) and The Complete Robot (1982).


. . . That Thou Art Mindful of Him, Plot summary
In this story, Asimov describes U.S. Robots' attempt to introduce robots on the planet Earth. Robots have already been in use on space stations and planetary colonies, where the inhabitants are mostly highly trained scientists and engineers. U.S. Robots faces the problem that on Earth, their robots will encounter a wide variety of people, not all of whom are trustworthy or responsible, yet the Three Laws require robots to obey all human orders and devote equal effort to protecting all human lives. Plainly, robots must be programmed to differentiate between responsible authorities and those giving random, whimsical orders.


. . . That Thou Art Mindful of Him, Plot summary
The Director of Research designs a new series of robots, the JG series, nicknamed "George", to investigate the problem. The intent is that the George machines will begin by obeying all orders and gradually learn to discriminate rationally, thus becoming able to function in Earth's society. As their creator explains to George Ten, the Three Laws refer to "human beings" without further elaboration, but—quoting Psalm 8:4—"What is Man that thou art mindful of Him?" George Ten considers the issue and informs his creator that he cannot progress further without conversing with George Nine, the robot constructed immediately before him.


. . . That Thou Art Mindful of Him, Plot summary
Together, the two Georges decide that human society must be acclimated to a robotic presence. They advise U.S. Robots to build low-function, non-humanoid machines, such as electronic birds and insects, which can monitor and correct ecological problems. In this way, humans can become comfortable with robots, thereby greatly easing the transition. These robotic animals, note the Georges, will not even require the Three Laws, because their functions will be so limited.


. . . That Thou Art Mindful of Him, Plot summary
The story concludes with a conversation between George Nine and George Ten. Deactivated and placed in storage, they can only speak in the brief intervals when their power levels rise above the standby-mode threshold. Over what a human would experience as a long time, the Georges discuss the criteria for what constitutes 'responsible authority'- that (A) an educated, principled and rational person should be obeyed in preference to an ignorant, immoral and irrational person, and (B) that superficial characteristics such as skin tone, sexuality, or physical disabilities are not relevant when considering fitness for command.


. . . That Thou Art Mindful of Him, Plot summary
Given that (A) the Georges are among the most rational, principled and educated persons on the planet, and (B) their differences from normal humans are purely physical, they conclude that in any situation where the Three laws would come into play, their own orders should take priority over that of a regular human. That in other words, that they are essentially a superior form of human being, and destined to usurp the authority of their makers.


. . . That Thou Art Mindful of Him, Story notes
While Asimov may have intended this to represent the final word on the Three Laws's subtleties, he later returned to the same theme and developed it in a different direction. The Bicentennial Man, written two years later, also addresses the distinction between human and robot and its implication for the Three Laws. This time, the story also revolves around a robot who wishes to become human, but its protagonist chooses to cross each barrier as he becomes aware of it, never learning until the very end what makes an individual human.


. . . That Thou Art Mindful of Him, Story notes
The title references Psalm 8:5: "What is man, that thou art mindful of him? And son of man, that thou visitest him?"


... All the Way, Boys!
... All The Way, Boys! (aka Italian: ... Più forte ragazzi! and Plane Crazy) is a  1973 Italian adventure film directed by Giuseppe Colizzi. The film stars the popular quasi-comedy team of Terence Hill and Bud Spencer. The duo, known as “The Trinity Boys,”  made  18 films together, most in the Spaghetti Western genre, but ... All The Way, Boys! was the first film set in a modern context, although many other slapstick elements of the earlier films were carried over.


... All the Way, Boys!, Plot
Salud (Bud Spencer) and Plata (Terence Hill) eke out a living as bush pilots in South America. Beside carrying a few passengers and a small amount of cargo, their most lucrative activity is in faking aircraft crashes, on behalf of Salud's brother (Alexander Allerson), who will be able to collect the insurance money.


... All the Way, Boys!, Plot
Flying over the Andes on another flight, the two pilots crash for real in the middle of the piranha-infested jungle. In a native village, they meet Matto (Cyril Cusack), an old man who takes Salud to see a mountain and tells him the story of three friends who killed themselves. There, the duo find an emerald mining operation run by the unscrupulous Mr. Ears (Reinhard Kolldehoff). Ears dictates prices on the black market, uses thugs to keep out competitors, and keeps his workers as slave labor.


... All the Way, Boys!, Plot
Plata and Salud decide they will confront Ears, using aircraft to deliver their goods, and offering the natives a much better life. Wanting to fly Matto to  Salvador, where he would live in a modern city, Plata and Salud take the old man and his dog along with them, but he passes away on the flight. Plata finds a large emerald tied to a cord that Matto wore.


... All the Way, Boys!, Plot
In Salvador, the two inept crooks try to cash in on their find, but end up in jail. After a successful breakout, the pair find themselves pitted against the ruthless Ears, but in the end, right prevails.


... All the Way, Boys!, Production
... All the Way, Boys! was shot in Colombia, including scenes set at the Medellín airport. The aircraft that were utilized were: Beechcraft Model 18, Boeing 727, Boeing-Stearman PT-17, Cessna 182 Skylane, Cessna 310, Consolidated PBY-5A Catalina, de Havilland Canada DHC-2 Beaver, Douglas DC-3, Douglas DC-6, Douglas DC-8, Hawker Siddeley HS 748, Lockheed L-188 Electra, Lockheed T-33 and Piper PA-24 Comanche.


... All the Way, Boys!, Reception
In trying to reach a more international audience, the original 120-minute Italian version (... Più forte ragazzi!) of ... All the Way, Boys! was re-edited into a 90-minute version and re-dubbed into English with dialogue and post-synchronization by Gene Luotto. The resultant release did not receive positive reviews, with film Historian Howard Hughes noting that ".. the resultant incoherence doesn't help the sluggish narrative."


... All the Way, Boys!, Reception
Jim Craddock in Videohound's Golden Movie Retriever said, "The "Trinity cast up to no good ... crash-land a plane in the Andes, in the hope of finding slapstick, but found none."


... All the Way, Boys!, Reception, Awards
... All the Way, Boys! won the Golden Screen award at the 1973 Golden Screen, Germany and the Silver Ribbon for Best Score (Migliore Musica) by Guido De Angelis and Maurizio De Angelis from the Italian National Syndicate of Film Journalists, 1973.


... And Some Were Human
"...and some were human." is the first story collection by science fiction writer Lester del Rey, originally published in hardcover by Prime Press in 1948 in an edition of 3,050 copies if which 50 were specially bound, slipcased and signed by the author. The stories first appeared in Astounding and Unknown. An abridged paperback edition, including only eight of the twelve stories, was issued by Ballantine Books in 1961. A Spanish translation, reportedly dropping only one story, appeared in 1957.


... And Some Were Human, Contents
Stories marked with an asterisk* were omitted from the Ballantine paperback. "Helen O'Loy" was reportedly omitted from the Spanish translation.


... And Some Were Human, Reception
Sam Moskowitz wrote that del Rey "displays enough understanding of the basic emotions of mankind to stand clearly apart from the herd in providing heart-warming entertainment." P. Schuyler Miller similarly noted that del Rey's characters "have a warmth about them which makes what happens to them the reader's serious concern . . . because they are people you'd like to know. ", he also noted that the stories had been popular with readers when originally published, and "five to ten years later, they hold up equally well."


... And Some Were Human, Reception
Amazing Stories reviewer Morris Tish also reviewed the collection favorably, calling the selections "some of the best examples of [del Rey's] work. Alfred Bester, however, took a contrary view; reviewing the 1961 edition, he declared Del Rey's work "lacking in any comprehension of human or parahuman motives and behaviour. . . . [ M]ood-writing demands a poetic insight and discipline beyond his ability; he is merely sentimental." E. F. Bleiler commented that the stories "were unusual in their day for using a sentimental approach that was sometimes very effective."


... And Then There Was X
... And Then There Was X is the third studio album by American rapper DMX. The album was released on December 21, 1999, by Ruff Ryders Entertainment and Def Jam Recordings. The album was certified 5x Multi-Platinum by the RIAA on February 7, 2001. The album was nominated for Best Rap Album at the 2001 Grammys.


... And Then There Was X, Singles
The album's first single "What's My Name" was released on December 28, 1999. It reached #67 on the Billboard Hot 100 chart. The second single "Party Up (Up in Here)" was released on February 20, 2000, and became his most successful single of his career peaking at number 27 on the Hot 100. The third single "What These Bitches Want" featuring Sisqó was released on June 6, 2000, which peaked at number 49.


... And Then There Was X, Commercial performance
... And Then There Was X debuted at number one the US Billboard 200 chart, selling 698,000 copies in its first week, according to Nielsen Soundscan. This became DMX's third US number one debut. In its second week, the album dropped to number two on the chart, selling an additional 399,000 copies. On February 7, 2001, the album was certified five times platinum by the Recording Industry Association of America (RIAA) for shipments of over five million copies in the US. As of October 2009, the album has sold 4,950,000 copies in the United States.


... Au delà du hasard
... Au delà du hasard (Beyond Chance) is a composition for three women's voices (SSA) and four instrumental groups, by the French composer Jean Barraqué, written in 1958–59. It is the second part of a projected but unfinished cycle of works based on Hermann Broch's 1945 novel The Death of Virgil, and uses texts written by the composer based on a quotation from Broch's novel, in the French translation by Albert Kohn. A performance lasts about forty minutes.


... Au delà du hasard, History
After completing the first draft of Le Temps restitué in December, 1957, Barraqué temporarily set aside his Mort de Virgile project in order to collaborate with Jean Thibaudeau and Jacques Polieri on two dramatic projects (Invitation au voyage and Echelle visuelle). The projects foundered, and Barraqué used some of the music he had composed for them in ... Au delà du hasard. The manuscript score was completed on 22 December 1959, and the composer later added a dedication to André Hodeir, on 12 June 1961.


... Au delà du hasard, History
The work was first performed on 26 January 1960 on a concert of the Domaine Musical at the Théâtre de l'Odéon in Paris. The performers were Yvonne Loriod (piano), Ethel Semser, Marie-Thérèse Cahn, and Simone Codinas (vocalists), Hubert Rostaing (clarinet), the Jazz Groupe de Paris (musical director André Hodeir) and the Ensemble du Domaine Musical, all conducted by Pierre Boulez. The score was published in 1967 by Aldo Bruzzichelli in Florence.


... Au delà du hasard, Analysis
a kind of multidimensional musical vision. Several movements are interrelated, appearing, reappearing, and vanishing, embodying the idea of strangeness and heterogeneity. The perpetual variation has to do with the notion of "musical oblivion." All parameters ... pitches, durations, register, timbre, set up a complete contradiction with the orchestration. The jazz group is conceived here as one block of sound among others, as a harmonic agglomeration.


... Au delà du hasard, Analysis
The work is in thirteen movements, performed without a break:


... Au delà du hasard, Analysis
The score is prefaced by a quotation from Albert Kohn's translation of Broch:


... Au delà du hasard, Analysis
Mais où tes courants multiples se croisent et vers un but convergent,– un courant étant déterminé par l'autre. – c'estlà seulement que tu manifestes la stabilité,l'objet et le nom d'une vérité terrestre, entr'unis,appelés à l'unité, pour qu'ils soient ton miroir.


... Au delà du hasard, Analysis
But where your multiple streams intersect and converge towards a goal,– one stream being determined by the other. – it isonly there that you manifest stability,the object and the name of an earthly truth, united,called unity, in order to be your mirror.


... Au delà du hasard, Analysis
This text deviates significantly in structure from Broch's German original, which is a quatrain in alternating hexameters and pentameters. The main text of the composition, written by Barraqué as a commentary on another citation from Broch, is in a style that recalls in places the techniques of French surrealism.


... Au delà du hasard, Analysis
The Broch quotation, arriving only in the tenth movement and after a noisy announcement by cymbals and gongs, is sung at first very quietly by the three singers, as if disclosing a secret: "Blinded by dream and made by dream to see, I know your death, I know the limit fixed for you, dream's limit, which you deny. Do you know it yourself? Do you want it so? ".


... Au delà du hasard, Analysis
Seamlessly weaving together excerpts from the Polieri-Thibaudeau scores with new material, Barraqué used his technique of proliferating series to obtain new tone rows from the one originally used for the theatre music:


... Au delà du hasard, Analysis
In this case, the method involved comparing the inversion of the row:


... Au delà du hasard, Analysis
Observing that this is equivalent to permuting the original row in the order 1–3–8–12–6–11–10–7–5–4–2–9, applying the same permutation to the inverted row produced


... Au delà du hasard, Analysis
a row that includes three conventional triads: C minor (notes 1–3), D major (notes 4–6), and C♯ minor (notes 9–11). These chords, not chosen deliberately by the composer but engendered "automatically" by the method, gave Barraqué "serial permission to re-encounter elements of the tonal past, as figures in a dream".


... Featuring Norah Jones
... Featuring Norah Jones is a compilation album by American singer Norah Jones that was released on November 16, 2010, by Blue Note Records. The album includes songs by other artists on which Jones is featured, including songs by her side bands The Little Willies and El Madmo. The album includes "Here We Go Again", a duet with Ray Charles, which won the Grammy Award for Record of the Year in 2005. The song "Little Lou, Ugly Jack, Prophet John" by Belle & Sebastian had only been released one month prior to the release of this album on the group's October 2010 album Belle and Sebastian Write About Love.


... Featuring Norah Jones, Certifications
* Sales figures based on certification alone.^ Shipments figures based on certification alone.


... Gdziekolwiek jesteś panie prezydencie
... Gdziekolwiek jesteś Panie Prezydencie is a Polish historical film. It was released in 1978.


... I Lose Myself
"... I Lose Myself" is the sixteenth and final episode of the fourth season of the post-apocalyptic horror television series Fear the Walking Dead, which aired on AMC on September 30, 2018 in the United States. The episode was written by Andrew Chambliss and Ian Goldberg, and directed by Michael E. Satrazemis.


... I Lose Myself, Plot
Althea manages to escape from the hospital but is knocked out by Martha and a zombified Jim. Martha uses her to deliver a video message to the group in which she vows to make Morgan strong. While the rest of the group retreats back to the truck stop before heading to Alexandria, Morgan sets out to look for Martha and help her overcome her issues with helping people. He finds her at her husband's grave along with the Infected Jim who Morgan sadly puts down.


... I Lose Myself, Plot
Morgan plans to bring Martha with him to the truck stop, but she causes him to crash his car after he receives a distress call from the others, who have been poisoned with antifreeze in the water bottles. After nearly reverting to his old self and killing her, Morgan sets out on foot to get within reach of the truck stop to let the others know by what they have been poisoned.


... I Lose Myself, Plot
With Martha dying of blood loss and a raging infection from her prior untreated gunshot wound, Morgan handcuffs her to a car door so that she can't harm anyone when she turns. While their truckload of ethanol, the antidote, goes to waste due to bullet holes, Morgan arrives in time with a supply of Jim's beer to save everyone. He then returns to Martha and finds she has turned, so he puts her down. The group decides not to go to Alexandria and instead continue the Polar Bear's work. Operating out of a denim factory, they set out to create a network to help lost people and to turn the factory into something, mimicking Madison's plans for the stadium.


... I Lose Myself, Reception
The episode received mixed reviews. Den of Geek rated "... I Lose Myself" 1.5 out of 5 stars. Dino-Ray Ramos of Deadline Hollywood called the episode "a hopeful end to a rough season". Similarly, Forbes' Erik Kain said the episode was "a lackluster ending to a bad season". Matt Fowler of IGN gave the episode a rating of 6.4 out of 10. On Rotten Tomatoes, "... I Lose Myself" garnered a 67% rating with an average score of 4.7/10 based on 9 reviews.


... I Lose Myself, Reception, Ratings
The episode was seen by 2.13 million viewers in the United States on its original air date, above the previous episodes ratings of 2.03 million viewers.


... Legh
He was a Member (MP) of the Parliament of England for Plymouth in 1512.


... More
... More, probably Richard More (fl. 1402) was an English politician.


... More, Life
Very little is recorded of More, apart from his surname and the year in which he was an MP. It is thought that More is the Richard More who was mainpernor for the 1406 Plympton MPs.


... More, Career
He was a Member of the Parliament of England in 1402 for Plympton Erle, Devon.


... Not!
... Not! is a grammatical construction in the English language used as a function word to make negative a group of words or a word. It became a sardonic catchphrase in North America and elsewhere in the 1990s. A declarative statement is made, followed by a pause, and then an emphatic "not!" adverb is postfixed. The result is a surprise negation of the original declarative statement.


... Not!
According to the above, the phrase, "He is a nice guy... not!" is synonymous to "He is not a nice guy". Whereas the latter structure is a neutral observation, the former expresses rather an annoyance, and is most often used jocularly.


... Not!
One of the earliest uses was in the Princeton Tiger (March 30, 1893) 103: "An Historical Parallel-- Not." In 1905, it was used in the comic strip Dream of the Rarebit Fiend by Winsor McCay. A 1918 instance was "I am darn sorry not to be able to help you out with the News Letter, but in me you have a fund of information—NOT."


... Not!
Popularized in North America in the 1990s by the Saturday Night Live sketch and subsequent film Wayne's World, "not" was selected as the 1992 Word of the Year by the American Dialect Society.


... Not!
The "Not!" catchphrase was the basis of a scene in the 2006 film Borat, where a lecturer in humour attempted to explain the grammatical construction to Borat Sagdiyev with limited success.


... Rage Before Beauty
... Rage Before Beauty is a studio album by the English rock band Pretty Things, released in 1999.


... Rage Before Beauty, Production
Ronnie Spector provided backing vocals on the band's cover of "Mony Mony". David Gilmour guested on "Love Keeps Hanging On". The album was produced by Mark St. John and Dave Garland. ... Rage Before Beauty was recorded by the 1966 lineup of the band.


... Rage Before Beauty, Critical reception
Perfect Sound Forever called the album "a testament to the brand of sweaty, guitar-driven, R&B garage rock which never really seems to go out of fashion." The Boston Globe wrote that "vocalist Phil May's gravelly voice is stupefying on the Pretty's cover of 'Play With Fire', virtually besting Mick Jagger's own icy interpretation." The Orange County Register thought that "from the rollicking 'Passion of Love' to anthemic, reflective ballads like 'Love Keeps Hanging On' ... the album is a summation of almost every style the Pretties ever attempted, while still retaining some middle-age maturity."


... Rage Before Beauty, Critical reception
Record Collector deemed it one of the band's "best ever recordings."


... and the Beat Goes On!
...and the Beat Goes On! is the debut studio album by German dance group Scooter. Four singles were released from it: "Hyper Hyper", "Move Your Ass! ", "Friends" and "Endless Summer".


... and the Beat Goes On!, Production
After the success of the single "Hyper Hyper", Scooter decided to make their debut album. Released in early 1995, it contains brand new tracks and reworked "The Loop!"-remixes. There are no gaps between the tracks, it sounds like an imaginary Scooter gig.


... and the Beat Goes On!, Production
The album was re-released in 2013 in the "20 Years of Hardcore Expanded Edition" series. This version contains 3 CDs: the first is the digitally remastered original album; the other two contains the singles, B-sides, live recordings and remixes related to the album.


... and the Beat Goes On!, Track listing
All tracks are written by H.P. Baxxter, Rick J. Jordan, Jens Thele, and Ferris Bueller.


... but the clouds ...
... but the clouds ... is a television play by Samuel Beckett. Beckett wrote it between October–November 1976 "to replace a film of Play which the BBC had sent [him] for approval (and which he had rejected)" due to "the poor quality of the film". Donald McWhinnie directed Billie Whitelaw and Ronald Pickup. It was first broadcast on 17 April 1977 as part of a programme of three Beckett plays entitled 'Shades' on BBC2. It was first published in Ends and Odds (Faber) 1977. An early title for the piece was Poetry only love.


... but the clouds ..., Title
The title comes from a phrase from the last verse of Yeats's near-solipsist poem,:


... but the clouds ..., Title
Several months after the McWhinnie production in which he was himself heavily involved, Beckett had the opportunity to act as his own director in the German version, Nur noch Gewölk, for Süddeutscher Rundfunk. In this production he made one or two minor changes but the main one was to include the whole last stanza above rather than the four lines in the original.


... but the clouds ..., Title
"The Tower is a work which discusses history and the past not only in terms of recollection but also as an entire complex of traces, remainders and legacies of which individual subjective memory is only one element."


... but the clouds ..., Title
"The painful, highly personal question raised by Yeats is: if the poet's physical powers fail, if his vision and hearing are impaired, can the memory of the sensory world serve as a basis for poetry? Is memory alone capable of stimulating the creative act? ... As he draws upon his memory, revisiting scenes both in his life and works, he comes to respond affirmatively to the pessimistic question first raised ... The poet's physical impairments, paradoxically, prove a blessing. Indeed, in the stanza from which Beckett derived his title, Yeats puts the real world in perspective, thereby reducing his own sense of loss." In a personal communication Beckett told Eoin O'Brien that this was one of Yeats's greatest lines.


... but the clouds ..., Title
But why this particular line from the poem? Is it to do with the nature of clouds? "Clouds seem permanent but are ultimately impermanent; they cannot be touched, yet can be seen; they are nothing more than condensed water, yet remain a symbol of romance, of the imagination beyond practical measurement – they are, in a phrase, at once here and elsewhere."


... but the clouds ..., Structure, Characters
The director, Sidney Homan, defines the four 'characters' in this work:


... but the clouds ..., Structure, Stages
Unlike Quad, which utilises a single fixed camera throughout, there are a total of sixty camera shots in this piece, "the shape of an hour or a minute", which can be organised into four groups or stages. There are only two televisual techniques used throughout the play: fade and dissolve.


... but the clouds ..., Structure, Stages, Stage 1
(Directions 1-19): The first stage focuses on the past, those times when the woman did appear and M could be creative as a consequence.


... but the clouds ..., Structure, Stages, Stage 2
(Directions 20-26): The second stage examines where the poet is presently. There are three areas, just offstage in the darkness.


... but the clouds ..., Structure, Stages, Stage 3
(Directions 27-52): In the third stage the poet lists four possibilities:


... but the clouds ..., Structure, Stages, Stage 4
(Direction 53-60): In the final stage, the poet actually "finds success, almost as an ironic consequence of his despair. The woman appears and, this time, V is able to [recite] all four lines from Yeats's poem, rather than the truncated and hence frustrating single line of the television play's title."


... but the clouds ..., Synopsis
The play opens in darkness. It fades up to a shot from behind of M, a "man sitting on [an] invisible stool and bowed over [an] invisible table." He is wearing his gown and nightcap. This is the only way we ever see him in the present, bowed over his table. The camera returns to this image fifteen times throughout the play.


... but the clouds ..., Synopsis
We hear a voice and assume it belongs to the man we are looking at, at least it is his thoughts we hear. He is remembering the circumstances under which he has seen the woman in the past. While he remembers we see M1, his remembered/imagined self, go through the motions described, at least what little actually takes place in the circle of light. He changes his mind about what causes her to appear. At first he says, "When I thought of her..." but he realises that is inaccurate; the woman simply appears to him, and always at night.


... but the clouds ..., Synopsis
He goes over his routine, carefully starting from his return home after walking the roads since daybreak: he enters, goes to the closet and swaps his greatcoat and hat for a nightgown and cap, then he enters his sanctum and tries to summon her, always without joy, whereupon at dawn he dresses again and heads out on the road.


... but the clouds ..., Synopsis
The voice lists the three instances listed above where the woman has appeared to him in the past. When he reaches the third one the camera cuts to the woman's face, "reduced as far as possible to eyes and a mouth", which mouths silently along with the voice, "...clouds...but the clouds...of the sky..." The man then realises there is a fourth case, but not really a fourth per se because so much of the time, by far the greatest amount of the time, nothing happens, the woman never even appears.


... but the clouds ..., Synopsis
Although from the opening scene it seems like he spends every night willing the woman to appear, this isn't the case. Sometimes he grows weary and occupies himself with other things that are "more ... rewarding, such as ... cube roots" or sits absorbed with nothing – which he describes as a mine – like the man in Film.


... but the clouds ..., Synopsis
We see M1 prepare for the road again and leave. The voice says, "Right," then the woman's face appears once more and the voice repeats the final four lines of Yeats's poem. This time, however, the woman does not mouth the words. Her face dissolves, we are left with the man sitting at his invisible table where we began and everything fades to black.


... but the clouds ..., Interpretation
In a number of other works Beckett has felt the need to split an individual into separate aspects of that character, e.g. Words and Music, where the writer, his words and his emotions are all represented by separate characters. "In ... but the clouds ..., however, Beckett is concerned not with fragments of the self, but the whole person. The protagonist, M, sees himself whole, (as at the end of Film) held in the light circle of the imagination ... The action of  ... but the clouds ... consists of M reliving past experience with such intensity that he can see himself performing his daily routine."


... but the clouds ..., Interpretation
The man is a poet, "caught in the writer's trap, the expectation of inspiration." The woman seems to be his muse. It may be Beckett is personifying her as a woman only in the abstract sense but it is just as likely, considering Beckett's most famous writer-character, Krapp, that she is also a lost love, a once-literal muse. Krapp's imagination is impotent though. M has not reached that stage. He is still having occasional flashes of inspiration. And this must have been very much how the seventy-year-old Beckett felt himself; writing was becoming increasing difficult for him. Either way, "although not quite a character, she is ... both an object of desire and a force beyond desire."


... but the clouds ..., Interpretation
Krapp sat at a real table and heard a real voice, albeit himself as a younger man. The man in ... but the clouds ... sits at an invisible table unable to write. Everything he encounters is outside a circle of dim, suffused light. This gives the play a dreamlike quality, the circle of light becomes a kind of 'no place' where this daily ritual takes place. The only voice is the one inside his head. Even the roads take on an abstract quality; they are neither to nor from anywhere unlike the travel options in Cascando, for example.


... but the clouds ..., Interpretation
Not all of Krapp's actions take place at his table, we hear him pouring drinks and attempting to sing in the darkness surrounding his stage as a means of distracting himself from the task in hand; in Quad, the players' only reality is within the lighted square as is the case with the women of Come and Go but in ... but the clouds ... all the real action takes place in the darkness, the central circle of light is a place of transition only.


... but the clouds ..., Interpretation
The fact that the woman may well have been real, rather than some stereotypical projection of M's ideal woman, is suggested by the line, "With those unseeing eyes I so begged when alive to look at me." The camera focuses on the woman's face while these lines are spoken. Enoch Brater argues that "what he longs for is not the beloved but the image of his beloved, the evocative metaphor he has made of her. His is an exquisite despair. In his secret ceremony Beckett's male figure all but revels in it." Because the old man realises he cannot physically recall his beloved, he makes do with simulation; he torments himself with memories of what it was like when she came before. M is not only trying to remember, he is trying "to remember the way in which he used to remember."


... but the clouds ..., Interpretation
"For Beckett and for Yeats, there is a difference between remembering and not remembering, but both writers remind us that not remembering does not necessarily equal forgetting. That which is not consciously 'remembered' by an individual can still return to impose itself is a variety of ways, one of which both Yeats and Beckett qualify as a kind of haunting." This makes one viewer's comment as to the nature of W all the more interesting when they call her "the character who appears but isn't really there – she only gives the appearance of an appearance."


... but the clouds ..., Interpretation
The man is a poet but he is also – and unexpectedly – a mathematician, a rational man. Numbers play a significant part in Beckett's works (particularly the number three as it was a favourite of Dante's). "M's addiction to numbers – the four cases, the reference to cube roots, the two statistical possibilities given for the fourth case – [can be] explained as a defensive posture. M must know that the woman's appearance is at random and defies logic. His careful efforts to establish mathematically the exact and proper conditions for her appearance are merely an attempt to give order to an experience he knows, deep inside, is beyond rational measurement or prediction."


... but the clouds ..., Interpretation
He would prefer that the woman appears when he thinks of her, that there should exist a clear correlation between conscious thought and realisation but his is not the case. He is forced to modify the theory he is testing acknowledging that the woman's face merely "appeared" and those appearances were always at night. By the end of the play "he has done all he can do, he is now at the mercy of Providence. The woman will appear if, pleased with his efforts, she decides to appear." There is an element of ritual to the piece, another common element of Beckett's theatre. Perhaps it is the only way he can feel he can retain some element of control over – or at least involvement in – the process.


... but the clouds ..., Interpretation
Enoch Brater suggests that ... but the clouds ... has more in common with Yeats than simply The Tower:


... but the clouds ..., Interpretation
"As Katharine Worth has pointed out, in Yeatsian terminology 'shades' [the final word of Yeats's poem] necessarily conjures up thoughts of spirits or ghosts along with the onset of evening, and Beckett's play only reinforces this somewhat understated nuance." The prevalence of 'ghosts' in Beckett's later writings hardly needs commenting on.


... but the clouds ..., Interpretation
John Calder in his review of the three plays shown on BBC2 had this to say about ... but the clouds ...:


... but the clouds ..., Interpretation
Clearly the process in this play is open to interpretation. Is the process wholly internal, the man remembering someone real from his past or is he trying to conjure up some external manifestation of her, her ghost? And what is his motive for trying to evoke her? Is it simply to satisfy memory, to wallow in the moment awhile as Krapp does, or is she in some way his muse, an enabling force that makes the words come? Either way it is clear that he cannot control events directly, by the power of his will, things take place at best, as a byproduct almost of his actions, but more likely they are entirely out of his control and all he can do is wait on them.


... but the clouds ..., Music
A version with music by Martin Pearlman was produced at the 92nd Street Y in New York for the Beckett centennial in 2006.


... nur ein Komödiant
... nur ein Komödiant (also König der Maske; in English, ... just a Comedian, or King of the Mask) is the title of an Austrian film of 1935. The director was Erich Engel, temporarily in Vienna as a political emigrant from Germany, who with this film made a statement against fascism and authoritarian government. That it passed the strict censors not only of the Third Reich but of Austria can only have been because all political references were veiled by their setting in a royal court of the 18th century.


... nur ein Komödiant
The premiere took place on 20 September 1935 in the Ufa-Palast in Hamburg. The film went on general release in Germany on 9 October 1935, opening in the Capitol in Berlin, and in Austria on 10 January 1936, opening in Vienna.


... nur ein Komödiant, Plot
The young countess Beate von Dörnberg is travelling to Schönburg to the court of Duke Karl Theodor to take up residence as a lady in waiting. During an interruption in the journey while the coach is being repaired she gets to know two actors. The younger one is rather importunate, but the older one, Florian Reuther, tells her about the art of acting. The conversation is interrupted by the resumption of the journey, and the countess hopes to meet Reuther again.


... nur ein Komödiant, Plot
Duke Theodor, to whose court she is travelling, is known to take no interest in the government of his state, and to leave all state business to Minister von Creven, who oppresses and exploits the people. After Countess Beatrice arrives at court, she is assigned as lady in waiting to the Countess von Röderau. At an evening party she attracts the attention of the Duke, who makes her an offer of marriage. Beate thus becomes his wife.


... nur ein Komödiant, Plot
Florian Reuther's troupe of travelling players arrives in Schönburg. During a discussion about the performance with Duke Karl Theodor, an attempt is made to press the young actor Peter Tamm into service in the army for the colonial wars of the Generalstaaten for which Minister von Creven has hired out Karl Theodor's army. Tamm attempts to escape but in the process falls from the flies onto the stage and is killed. Next day the Minister orders Florian to perform a certain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he is in danger, and is hidden by Beate, who has recognised him.


... nur ein Komödiant, Plot
The climax of the film is the release by the people of the comedian Melchior, who had been put under arrest. Creven thereupon has the people rounded up and demands that they surrender whoever is responsible. When this does not happen, Creven orders his captain to shoot into the crowd. The Duke wants to prevent this, but cannot get through. But the captain refuses the order in any case. Florian hears the ensuing argument and decides to intervene, dressed as the Duke, of whom he is an exact double, to order the crowd to disperse.


... nur ein Komödiant, Plot
In the role of the Duke he also orders the arrest of the Minister, who pulls out a pistol and shoots him. Florian makes it back to the chambers of Beate, in whose arms he dies. The real Duke is shocked into awareness by these events and resolves that Florian's sacrifice shall not be in vain. He promises to take the affairs of his state seriously from now on, in which Beate will support him.


... nur ein Komödiant, Background
Despite its anti-authoritarian plot this film, critical of fascism, was passed by both the German and Austrian censors, presumably because the period setting masked the contemporary relevance of the content. For example, the film contains a piece of dialogue in which the Minister insists that the captain obey his order to shoot the 70 malcontented and rebellious subjects, which makes clear the contrast between dictatorship and humanitarianism:


... nur ein Komödiant, Background
Captain: I can't do that! Minister: What is that supposed to mean? Captain, you heard my order! Captain: I am not a murderer, I am an officer! Minister: You were an officer!


... nur ein Komödiant, Background
The film is generally counted as an example of the genre of the Wiener Film, by virtue of its period setting and overall style, but its serious plot and contemporary political relevance make it much more heavyweight than the usual Wiener Filme, which are almost invariably light musical comedies.


... nur ein Komödiant, Production
The film was produced by the Horus-Film company of Vienna and filmed in the Sievering Studios and Rosenhügel Film Studios of Sascha-Film. The outdoor scenes were shot in Heiligenkreuz using the local inhabitants as extras.


... nur ein Komödiant, Production
The Tobis-Klangfilm sound system was used. The set designer was Julius von Borsody. When checked by the censors the film was 2,593 metres long. The German censors assessed the film on 2 September 1935 and declared the film unsuitable for minors. In Austria the film was declared "artistically noteworthy".


... onyt agoraf y drws ...
"...onyt agoraf y drws..." ("...unless I open the door...") is an orchestral piece lasting approximately 15 minutes by the Welsh composer Guto Puw. It was first performed on 9 August 2007, at the Proms by the BBC National Orchestra of Wales, conducted by David Atherton. Puw was resident composer with the orchestra at the time.


... onyt agoraf y drws ..., The piece
The composition is based on part of Branwen's story from the Mabinogion, a collection of medieval Welsh tales, in which a group of warriors, lately returned from Ireland, feast in Harlech for seven years with the severed head of their leader, Bendigeidfran, at the head of the table. They then feast in Penfro for eight years in a hall with three doors and only remember the dreadful events that happened in Ireland when the third door opens. The cheerful feasting is represented by a quotation of a Welsh folk tune.


... onyt agoraf y drws ..., The piece
Each of the three doors in Penfro was represented by an instrument (trumpet, clarinet, violin) in a box in the Royal Albert Hall. The piece has a mixture of frantic, rhythmical sections and sections of "black-magical stasis". The piece uses novel sound combinations and effects: the opening of the first door is depicted with strumming of piano strings, and the forbidden door opens to the sound of rasping strings and a huge creak in the percussion section. There is then a nightmarish reel from a violinist, representing the memories of Ireland; the violinist at the first performance was positioned at the back of the Royal Albert Hall.


... onyt agoraf y drws ..., Critical reception
Critics generally responded well to the first performance. The Daily Telegraph's  critic described it as a "succession of vivid tableaux" and "liked the way it mixed pictorialism with broader expressions of mood and emotional states". The Guardian's  critic described it as a "vivid score", saying that the partnership between composer and orchestra was "clearly bearing fruit" and noting the way that Puw used the huge orchestra with restraint. The Times said that Puw had a "knack for drama", "an orchestral ear" and "a winningly flexible technique". However, the critic added that the "spatial games played with the Albert Hall didn't amount to much, and the piece overall lacks weight", whilst commenting that Puw was a composer "well worth noting".


... onyt agoraf y drws ..., Critical reception
A second performance took place as part of the Swansea Festival in 2008.


... sofferte onde serene ...
... sofferte onde serene ... (Italian for "serene waves suffered" or "serene waves endured"), ALN 42, is a composition for piano and tape by Italian composer Luigi Nono. The Archivio Luigi Nono uses the form ..... sofferte onde serene ..., derived from the cover of the manuscript.


... sofferte onde serene ..., Composition
Composed in 1976, this was one of the pieces Nono wrote for piano when he was involved in a professional collaboration with pianist Maurizio Pollini, which started in Como una ola de fuerza y luz. It is considered to be the first composition in his compositional career's new phase after finishing his second stage work Al gran sole carico d'amore, composed between 1972 and 1975, where he abandoned his use of contrapuntalism, heterogeneous materials and big contrasts that made Nono well known in the past.


... sofferte onde serene ..., Composition
Nono wanted to integrate in it some personal elements of both himself and Pollini, specially the sorrow for the death of both their relatives and the sound world of Nono's home town Venice. The piece was finished in 1976 in Giudecca and was dedicated to both Maurizio and Marilisa Pollini, whereas the tape part was recorded at the Studio di fonologia della Rai, in Milan, with Pollini and sound technician Marino Zuccheri.


... sofferte onde serene ..., Composition
The premiere took place at Milan Conservatory's Sala Verdi on 17 April 1977, with Pollini at the piano, Marino Zuccheri as the sound technician and Luigi Nono himself as the sound supervisor. It was later published by Ricordi in 1977 and 1992, but musicologist Paulo de Assis published a prototype critical edition in 2009.


... sofferte onde serene ..., Structure
... sofferte onde serene ... is in only one movement and has a total duration of fourteen minutes exactly, since tempo markings are very strict and tempo variations based on performance are rare. It consists of a total of 155 bars. The original tape recorded by Nono and still used in concert performances has a duration of thirteen minutes and thirty-nine seconds. Nono also included up to eight reference numbers in the score in order to keep the piano and the tape synchronized.


... sofferte onde serene ..., Structure
This composition calls for an on-stage piano, a mixer and a sound engineer meant to be placed off-stage, and four loudspeakers: two placed on the piano and two more placed on the bottom-left and bottom-right corner of the stage. The piece starts with the piano at a tempo of  = ca. 60. However, Nono marks further tempo changes in almost every bar. Since the piano is present both on-stage and in the tape recording, the sounds are meant to blend and create a uniform texture, far from his previous violent and contrasting style.


... sofferte onde serene ..., Recordings
The following is a list of notable performances of this composition:


..."Let Me Sing"
... "Let Me Sing" is the ninth studio album by American pop and country artist Brenda Lee. The album was released December 9, 1963, on Decca Records and was produced by Owen Bradley. The album was the second and final album studio album released by Brenda Lee in 1963.


..."Let Me Sing", Background and content
... "Let Me Sing" was recorded in five separate recording sessions between August 20, 1961, and May 29, 1963, at the Bradley Film and Recording Studio in Nashville, Tennessee, United States under the direction of producer Owen Bradley. ... "Let Me Sing" contained twelve tracks like all of her previous albums and contained many cover versions of Pop music songs and standards. The album remakes included "Night and Day" by Cole Porter, Bobby Darin's "You're the Reason I'm Leaving", "At Last" which was recently covered by Etta James, and "End of the World" by Skeeter Davis.


..."Let Me Sing", Background and content
Unlike Lee's previous release of 1963, ..."Let Me Sing" contained more recent cover versions of pop songs, mainly from the late 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound "fresh" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, "..."Let Me Sing" manages to sound vital where very similar albums failed later in her career. Not surprisingly, Let Me Sing was also Lee's second-to-last Top 40 album." The album was originally released on a 33⅓ rpm LP record upon its initial release, containing six songs on the "A-side" of the record and six songs on the "B-side" of the record. The album has since been reissued on a compact disc in both Paraguay and Japan.


..."Let Me Sing", Release
... "Let Me Sing" released its first single over a year before its initial release. The first single "Break It to Me Gently" was released in January 1962, peaking at #4 on the Billboard Hot 100 and #46 on the UK Singles Chart in the United Kingdom. Its second single "Losing You" was released one year later in April 1963. The single peaked at #6 on the Billboard Hot 100, #2 on the Billboard Easy Listening chart, and #13 on the Billboard R&B chart. It became Lee's last single to chart on the R&B chart during her recording career. The single would also reach #10 on the UK Singles Chart. The album was officially released on December 9, 1963, on Decca Records, later peaking at #39 on the Billboard 200 albums chart.


...& Nobody Else
... & Nobody Else was released in 1999 and is a live album released by British rock band New Model Army.


...& Nobody Else
The tracks on this album were recorded at a variety of venues during the Strange Brotherhood tour of 1998.


...& Nobody Else, Track listing
All tracks written by Justin Sullivan and Robert Heaton except where noted.


...(And That's No Lie)
"...(And That's No Lie)" is a song by the British new wave and synth-pop band Heaven 17, released in 1985 as the third single from their third studio album How Men Are. It was written by Glenn Gregory, Ian Craig Marsh and Martyn Ware, and produced by Ware and Greg Walsh. The song peaked at No. 52 in the UK and spent five weeks on the chart. A music video was filmed to promote the single.


...(And That's No Lie)
The 12" single was released as a series of five separate records, though the only difference was the design of the sleeve. "The Heaven 17 Megamix" which appeared on the 12" version of the single includes extracts of previous tracks "This Is Mine", "Crushed by the Wheels of Industry", "Height of The Fighting (He La Hu)", "Penthouse and Pavement", "Temptation", "I'm Your Money" and "Play to Win".


...(And That's No Lie), Critical reception
Aaron Badgley of AllMusic said in a review of How Men Are: "Highlights are numerous, including the very long but very wonderful "And That's No Lie." A strong melody, stunning vocals from Glenn Gregory, and tight production equal a fascinating glimpse into the human struggle."


....And Proud
.... And Proud (stylized as ....and Proud) is a series of documentaries created for Virgin 1 designed to examine people who lead lifestyles tied to taboo subjects, narrated by Sue Perkins.


....Envy
.... Envy is a series of documentaries created for Virgin 1 designed to highlight growing British obsessions.


....Envy, Seasons, Season 1
The first season's episodes began airing on 1 October 2007.


....Envy, Seasons, Season 1
The original airdates (United Kingdom) are listed here for each episode.


....Envy, Seasons, Season 1
Presented by Thaila Zucchi, Boob Envy explores whether having a big bosom makes a woman happy or is seen as a pain in the back. The show also coverde the male opinion, and speaks to biologists in an attempt to uncover why breasts come in so many shapes and sizes. The show followed a group of woman who believe that their breast size is inadequate and after being given the opportunity to meet with a cosmetic surgeon for an initial breast enhancement consultation whether they will go through with the operation.


....The Answer to Both Your Questions
.... The Answer to Both Your Questions is a 1996 debut EP by Something for Kate. The EP reportedly title came from the bands' frontman Paul Dempsey asking a friend for suggestions for what to name the EP. His response was, "The answer to both your questions is 'Porn'". Although Dempsey did not take this advice, he thought the answer was "a good title".


...A Peaceful Riot...
... A Peaceful Riot... is the debut EP by underground hip hop duo Fatgums & Bambu, released on April 25, 2009. Prior to the release, the duo's rapper Bambu had released three solo albums entitled Self Untitled..., ...I Scream Bars for the Children..., and ...Exact Change..., and one album entitled Barrel Men as a member of the group Native Guns.


...All That Might Have Been...
... All That Might Have Been... is British singer-songwriter Peter Hammill's 34th solo album, released on his own Fie! Records in November 2014. Similarly to 2004's Incoherence, on the standard edition of the album there is only one epic, multi-part song. The special edition box contains two additional discs with bonus material.


...All the Marbles
... All the Marbles (reissued as The California Dolls) is a 1981 comedy-drama film about the trials and travails of a female wrestling tag team and their manager. It was directed by Robert Aldrich (his final film) and stars Peter Falk, Vicki Frederick and Laurene Landon. The Pittsburgh Steeler hall of famer "Mean" Joe Greene plays himself.


...All the Marbles
The film is known outside the US as The California Dolls because "All the Marbles" is an American idiom which is largely unknown in other English speaking countries.


...All the Marbles, Premise
Harry is the manager of a tag team of attractive female wrestlers, Iris and Molly. On the road, they all endure a number of indignities, including bad motels, small-time crooks and a mud-wrestling match while trying to reach Reno, Nevada for a big event at the MGM Grand hotel.


...All the Marbles, Production, Development
Aldrich said he wanted to make the film "because nobody's done anything about women's wrestling before."


...All the Marbles, Production, Development
"It's purely, totally commercial," added Aldrich. "It fits in with my philosophy, which is that the process is at best a craft, not art."


...All the Marbles, Production, Development
Aldrich says he was brought the story by Mel Frohman "and we stole the whole psychological drive and ending from Abe Polonsky's Body and Soul (1947)", a film on which Aldrich had been an assistant director.


...All the Marbles, Production, Development
Aldrich said the theme of that movie "was that the biggest damage you can suffer is the loss of self-esteem and a fall from grace. The struggle to regain that esteem will fuel any plot. You don't even have to win." Aldrich says he also stole from Body and Soul for the last act of The Longest Yard.


...All the Marbles, Production, Development
Aldrich said that "Rocky was Body and Soul except that an Italian fighter wins, and in the original, a Jewish fighter loses. We have here two girls and a manager of questionable credentials. All three have already fallen from grace, and they struggle to redeem their self esteem. Hopefully, it will take two funny hours to happen."


...All the Marbles, Production, Development
Leigh Chapman did some uncredited work on the script for a week.


...All the Marbles, Production, Development
The film was financed by MGM who had recent appointed David Begelman head of production and revitalized its movie-making operations. The film was announced in May 1980.


...All the Marbles, Production, Casting
The film needed a male star. "I couldn't make Sister George in this market," said Aldrich around this time. "I couldn't make Baby Jane, Attack! or The Big Knife in this market. It used to be that the script was the big thing and the actor secondary. Now it's the star. And it's got to be a big star. Get Burt Reynolds and you can shoot the telephone book."


...All the Marbles, Production, Casting
Aldrich says his son suggested Peter Falk, best known for Columbo. "I gave him the Bette Davis speech - a great hook for any actor," said Aldrich, referring to a technique he used to get Davis to star in Whatever Happened to Baby Jane. "It goes like this: 'Peter if this isn't the best script ever written for you put it in an envelope and sent it right back. But if it is the best, then lets make it. I don't want you to hear that you don't like that speech on page 16. It's either the best or it isn't. That rarely fails. You don't always get the picture made but you always get a positive reaction. Nobody's ego can withstand that sort of flattery."


...All the Marbles, Production, Casting
Aldrich arranged a meeting with Falk and said he told him "This picture will earn you more money than you've ever made before. Just don't try rewriting the script or changing things around like you do with your pal John Cassavetes." Peter Falk signed to star in June.


...All the Marbles, Production, Casting
For the female leads, Aldrich said "We made the decision to take actresses and turn them into wrestlers instead of vice-versa. If we were right, it will make the picture." He auditioned women and tested 20.


...All the Marbles, Production, Casting
Among the young unknown actresses who auditioned, but did not receive a part, was Kathleen Turner. However while Turner was in Los Angeles to audition for Marbles she also managed to secure an audition for Body Heat, which turned her into a star.


...All the Marbles, Production, Casting
The women auditioned for the female leads were narrowed to eight and were sent to wrestling school. (Another account says 12 actors were screen tested and four sent off to wrestling school).) Aldrich reportedly told the women "the two that wrestle the best get the parts."


...All the Marbles, Production, Casting
One of the final women who auditioned was Vicki Fredrick, who appeared on Broadway in A Chorus Line and Dancin'. She remembers "There was incredible tension," at the end. "On graduation day, each girl did a five-minute match for the heads of MGM, and Mr. Aldrich and Peter Falk. Laurene Landon [a Canadian athletic fashion model] and I got the parts, and the other two girls didn't get anything. It was a win-lose situation. When Mr. Aldrich told me he wanted me to play Iris, he also said he wanted me to put on 10 pounds. ' You have a dancer's body,' he said, 'and you have to look like a lady wrestler.'"


...All the Marbles, Production, Casting
"We picked the two best athletes," said Aldrich. He did add that "I think the public likes to see attractive people. I know I like to see attractive people. So if you're going to have two women wrestlers, why not have them attractive?"


...All the Marbles, Production, Casting
The wrestlers were trained by the former women's world wrestling champion Mildred Burke.


...All the Marbles, Production, Shooting
Second unit photography began 5 November 1980. Principal photography took place from 14 November to 24 February 1981 on location in Youngstown and Akron, Ohio; Chicago; Las Vegas; Reno; and Los Angeles. The last 19 days were just filming wrestling.


...All the Marbles, Production, Shooting
The film was produced by Aldrich's son William. His daughter Adell was second unit director, and his son Kelly was transportation supervisor. "This is not a very trustworthy town," said Aldrich. "So when you do business, why not keep it in your own family?"


...All the Marbles, Production, Shooting
Frederick later recalled filming the finale in Reno with 2,500 extras. "They didn't quite know what we would be doing, and when the match started, they began screaming, and it was incredible. I forgot we were filming; it became real to me. I didn't hurt anybody, or hit them incorrectly, but I started really wanting to win. It was just like being back onstage. You hear the applause, and you think, 'Oh, good. I did well.'"


...All the Marbles, Production, Shooting
Aldrich said "I hope this is going to be a fun picture, not a Big Knife, but then I thought Emperor of the North Pole was a fun picture, but nobody saw it, so maybe I was wrong. I'm not so sure what a fun picture is anymore, just as I no longer know what fun is, at least in this town. There's no working class any more in the industry. Every grip owns two or three apartments. It's just a job now for everybody. They leave the set, go to the bank, and then go home. No fun anymore. Let's hope this one will be."


...All the Marbles, Reception
United Artists reportedly spent $7 million to promote the film.


...All the Marbles, Reception
"I'm 63 and I've had hits every 10 years, and I just hope I can function long enough to have one in the 90s," said Aldrich.


...All the Marbles, Reception
MGM were so confident in the film that two days before the release it announced it would make a sequel, titled California Dolls Go to Japan.


...All the Marbles, Reception, Critical
In his October 16, 1981, review in The New York Times, the film critic Vincent Canby singled out Falk for "one of his best performances".


...All the Marbles, Reception, Box office
The film began disappointingly at the box office only making $1.7 million in its first week, putting sequel plans on hold.


...All the Marbles, Reception, Box office
According to Laurene Landon (who portrayed California Doll Molly), while the film did not perform well at the box office in the United States, it made a healthy profit in foreign markets, and producers were planning a sequel, set primarily in Japan, when Robert Aldrich's death put a halt to the project.


...All the Marbles, Reception, Awards
The film won Japan's Hochi Film Award for Best International Picture.


...Allow Us to Be Frank
... Allow Us to Be Frank, a Rat Pack tribute, is the fifth studio album, sixth major album release under Sony BMG and first cover album by Irish boy band Westlife; it is also the first album since the departure of Brian McFadden and as a four-piece. It was released on 8 November 2004, and peaked at number two in Ireland and number three in the United Kingdom. ... Allow Us To Be Frank was number twenty-four on the 2004 year-end album charts.


...Allow Us to Be Frank
The album features songs made popular by Frank Sinatra such as "The Way You Look Tonight", "Come Fly with Me", "Moon River", "Summer Wind" and "That's Life". It also includes the Nat "King" Cole song, "When I Fall in Love". It was recorded with a 60-piece orchestra at Phoenix Studios in Wembley, in the London Borough of Brent.


...Allow Us to Be Frank, Singles
"Smile" was released as the album's first single on 4 November 2004. The physical single features the video and B-sides "White Christmas" and "When I Fall in Love". It charted at number 37 in Sweden.


...Allow Us to Be Frank, Singles
"Fly Me to the Moon" was released as the album's second single on 20 December 2004. The single was only released digitally, featuring the video, as well as an exclusive B-side, "Beyond the Sea", which does not feature on the album.


...Allow Us to Be Frank, Singles
"Ain't That a Kick in the Head" was released as the album's third and final single on 6 January 2005. The physical single features the video, as well B-side "Moon River". It peaked at number 5 in Denmark, number 20 in Sweden, number 41 in the Netherlands and number 43 in Europe. While "Moon River" charted at No. 221 in Russia.


...Allow Us to Be Frank, Track listing
On the Japanese edition, the song The Way You Look Tonight is in two versions: the Westlife version is track 5, and the duet with Joanne Hindley is bonus track 14.


...An Education in Rebellion
... An Education in Rebellion is the debut studio album by American nu metal band The Union Underground. Released on July 18, 2000 through Columbia, the album sold nearly 400,000 copies and featured the singles "Turn Me On 'Mr. Deadman'", "Revolution Man", and "Killing the Fly". This would be the group's only major label effort and last studio album before disbanding.


...An Education in Rebellion, Overview
After selling more than 5,000 copies of their self-recorded, self-produced 1997 EP, The Union Underground gained the attention of Columbia A&R executive John Weakland. They performed for three Columbia representatives before being signed to Columbia's Portrait imprint by John Kalodner who commented, "I'd bet my bottom dollar this band will be around 10 years from now." Its summer 2000 release, An Education in Rebellion, resided on the American music charts for four months.


...An Education in Rebellion, Overview
The album's lead single, "Turn Me On 'Mr. Deadman'", proved key in its success and held on the Mainstream Rock Tracks chart for six months. The song jabs at the rock star image and found its title from a myth surrounding the Beatles song "Revolution 9". It would go on to become The Union Underground's best known song and received both significant radio play and MTV rotation thanks to its music video. Because of the single, An Education in Rebellion also made AN's Hottest Sales Nationwide chart. It was later featured on the 2001 compilations Corrosion and KROQ New Music. "Killing the Fly" peaked at #13 on the Mainstream Rock Tracks while the final single, "Revolution Man," reached #26 and became an Active Rock top 30 hit. A live performance of "South Texas Deathride" was included on Ozzfest 2001: The Second Millennium.


...An Education in Rebellion, Overview
Four tracks from the band's self-released EP - "Drivel," "Bitter," "Until You Crack," and "Natural High" - were included on An Education in Rebellion. A large amount of demo material had been recorded prior to their major label debut, which allowed the band to choose the "cream of the crop" for its inclusion. Lyrically, the album features various autobiographical themes including household drug use, particularly in tracks like "Trip With Jesus". In an interview, The Union Underground described the meaning behind their major label release:


...An Education in Rebellion, Artwork
The cover artwork depicts a young New York model named Anna Belise, whom the band found in a magazine model search. According to John Moyer, the model participated in a three-hour photo shoot in "freezing cold" New York weather. He elaborated that the short-sleeved Belise had blue in her complexion not because of makeup but simply due to the severe weather conditions. In addition, the writing on the chalkboard, seen on the album's back cover, was created by Belise and not later added to the photo.


...An Education in Rebellion, Touring
In promoting ... An Education in Rebellion, The Union Underground began headlining the Road Rage tour, with opening acts Linkin Park and Systematic, prior to the album's release. They headlined club dates in fall 2000 and joined Marilyn Manson in late October. According to the band, Manson heard "Turn Me on 'Mr. Deadman'" in a strip club and subsequently hand picked The Union Underground as his tour mates. The next year, they performed on the SnoCore Tour, Ozzfest 2001 in both the United States and Europe, and various festivals in Germany, London, and Paris. To correspond with the excitement of their live show, the band incorporated a large video screen depicting footage pieced together by the band members themselves to play in sync with the song rhythms.


...An Education in Rebellion, Critical reception
Allmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, "While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing ploy rather than true agitation. Rather than start a revolution, this is music that will likely lead to skateboarding and headbanging."


...An Education in Rebellion, Track listing
All lyrics written by Bryan Scott. All music written by Bryan Scott except where noted.


...And Death Said Live
... And Death Said Live is the fourth album by Finnish melodic death metal band Mors Principium Est. It was released on December 5, 2012 in Japan.


...And Don't Forget to Breathe
... And Don't Forget to Breathe is the debut album by the post-hardcore band A Static Lullaby. On the original release, the title was misspelled as '... And Don't Forget to Breath'. This was corrected in a re-release.


...And Don't Forget to Breathe
Music videos were made for the songs "Lipgloss and Letdown" and "The Shooting Star That Destroyed Us."


...And Don't Forget to Breathe, Background
"Love to Hate, Hate to Me" (under the title "Love to Hate, Hate to Love"), "The Shooting Star That Destroyed Us", "A Sip of Wine Chased With Cyanide" and "Charred Fields of Snow" were first released on the band's self-titled debut EP.


...And Don't Forget to Breathe, Background
The songs "Withered", "Lipgloss and Letdown" and "Song for a Broken Heart" originally appeared on the band's 2002 demo Withered and were re-recorded for this album.


...And Don't Forget to Breathe, Reception
Allmusic reviewer Kurt Morris gave the album a mixed to favorable review, comparing the band to the likes of Thursday. He complemented the vocal work and the melodies. Morris singled out "A Sip of Wine Chased with Cyanide" calling it the best track on the album, mainly for its guitar work. Morris concluded his review by saying the album will grow on the listener with each additional listen.


...And Don't Forget to Breathe, Reception
A Punknews.org staff reviewer also gave the album a mixed to favorable review. He compared the band to Glassjaw and Drive-Thru Records artists. He stated the music was "good, just derivative as hell". The reviewer said the song "A Sip of Wine Chased with Cyanide" came across as a rip-off of At the Drive-In's "One Armed Scissor".


...And Don't Forget to Breathe, Track listing
All lyrics written by Dan Arnold, all music composed by A Static Lullaby


...And Don't the Kids Just Love It
... And Don't the Kids Just Love It is the debut album by English post-punk band Television Personalities, released in January 1981 by Rough Trade Records. It was recorded in 1980 by the lineup of Dan Treacy, Ed Ball, and Mark Sheppard. The album marked the band members' first full-length work, following several singles recorded with various associated projects, including 'O' Level and Teenage Filmstars.


...And Don't the Kids Just Love It
The album's cover features a photograph of model, actress, and singer Twiggy with actor Patrick Macnee, best known for his role in the British television series The Avengers.


...And Don't the Kids Just Love It
Fire Records reissued the album in 1990 and 2009 in the United Kingdom, while Razor & Tie reissued it in 1995 in the United States. In 2002, Pitchfork listed ... And Don't the Kids Just Love It as the 64th best album of the 1980s.


...And Don't the Kids Just Love It, Personnel
The sleeve notes assign a fictitious production credit to "Vic Hammersmith-Broadway", a reference to producer Vic Coppersmith-Heaven. The album was in fact produced by the band.


...And Finally
... And Finally is the second and final studio album by Northern Irish rock band Scheer. It was released in 2000 through the band's own record label Schism Records, following the band's demise in 1998. The recording of the album started in 1997; nevertheless, its release was postponed indefinitely due to a contractual disagreement with 4AD record label.


...And Finally, Critical reception
AllMusic critic Heather Phares thought that "stronger songwriting and clearer production of the record provide the focus and polish necessary to make Scheer's sound less forced." Phares further stated: "Though it grows somewhat repetitive toward the end, it's unfortunate that And Finally didn't receive the release it deserved, as it clearly shows Scheer's continued growth and potential."


...And Found
"... And Found" is the fifth episode of the second season of Lost, and the 30th episode overall. The episode was directed by Stephen Williams, and written by Carlton Cuse and Damon Lindelof. It first aired on October 19, 2005, on ABC.


...And Found
Sun-Hwa Kwon (Yunjin Kim) searches for her missing wedding ring; meanwhile, Michael Dawson (Harold Perrineau) conducts a solitary search for his kidnapped son. The characters of Sun and Jin-Soo Kwon (Daniel Dae Kim) are featured in the episode's flashbacks.


...And Found, Plot, Flashbacks
Sun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will find love soon, adding cryptically that its color will be orange.


...And Found, Plot, Flashbacks
Jin's interviewer, Mr. Kim, berates Jin as a bumpkin villager who stinks of fish, but then hires him as a doorman anyway, with a stern warning that Jin is not to open the door to anyone like himself. Sun and Jae continue to hit it off, and the pair schedule a meeting at the hotel where Jin is working and which Jae's family owns. Sun heads for the entrance of the hotel, but Jin fails to see her because he is bowing as he opens the door for her.


...And Found, Plot, Flashbacks
Inside, Jae suddenly reveals that he plans to marry a woman he met in America, and has been seeing Sun only to placate his parents. Although she is obviously disappointed, Sun wishes him well and leaves. A poorly dressed father with a young boy approaches the hotel, and asks Jin for permission to enter, as the boy urgently has to go to the bathroom. Jin reluctantly lets the pair inside, but Mr. Kim observes this, and gives him a stern dressing-down, again insulting his background. Jin quits on the spot. Later, wandering along a bridge, Jin passes a woman in an orange dress. Looking back wistfully, he shakes his head in amusement, and turns around. He collides directly with Sun, thus meeting his future wife for the first time.


...And Found, Plot, On the island, On the beach
At the beach, Sun has discovered that she has lost her wedding ring. Jack Shephard (Matthew Fox) offers to help Sun look for the ring, which Sun declines. Later, when Sun is angrily tearing apart her garden, John Locke (Terry O'Quinn) arrives. Sun states that she does not remember ever seeing him angry. Locke laughs and replies that he used to be angry often. Sun asks him why he no longer becomes angry, and he replies that he is not lost any more. Sun asks him how he found himself. Locke answers, "The same way anything lost gets found: I stopped looking."


...And Found, Plot, On the island, On the beach
When Kate Austen (Evangeline Lilly) tries to console her, Sun reveals that the message bottle had been recovered, and tells her that she has buried it. Upon digging up the bottle, Kate becomes upset and frantically attempts to read all of the messages. Sun stops her and says that the messages are private. Kate tells Sun that she never said goodbye to James "Sawyer" Ford (Josh Holloway). Kate then glances at the sand and tells Sun to look down – Sun finds her wedding ring lying in the sand.


...And Found, Plot, On the island, On the other side of the island
Jin, Michael, Sawyer and the survivors of the tail section, Ana Lucia Cortez (Michelle Rodriguez), Mr. Eko (Adewale Akinnuoye-Agbaje), Libby Smith (Cynthia Watros), Bernard Nadler (Sam Anderson) and Cindy Chandler (Kimberley Joseph) decide to trek back to the safer side of the island. Michael, however, abruptly leaves to look for Walt (Malcolm David Kelley). Jin and Eko set off after Michael while the remaining survivors head for the other side of the island.


...And Found, Plot, On the island, On the other side of the island
As they track Michael, Jin encounters a charging wild boar, and rolls down an escarpment. When he lands, he sees the body of another survivor (Brett Cullen), with a weapon still protruding from his chest. Eko informs Jin the man's name was "Goodwin." Jin then says "Others?" and Eko nods.


...And Found, Plot, On the island, On the other side of the island
Eko picks up fresh tracks and tells Jin that it must be Michael. Moments later, Eko senses someone coming. As he and Jin hide, they see a procession of people go by in silence. The Others are seen only from the thighs down, all barefoot, all muddy, and the last is carrying a brown teddy bear on a cord. Later, the two find Michael. Eko successfully convinces him to go back, saying that the Others will not be found unless they want to be.


...And God Created Them
... And God Created Them (Spanish: Díos los Cría...) is a 1979 Puerto Rican comedy film directed by Jacobo Morales. It was screened in the Un Certain Regard section at the 1981 Cannes Film Festival.


...And Here I Die... Satisfied
... And Here I Die... Satisfied is an EP by Swedish death metal band Grave, released in February, 1993 on Century Media Records.


...And His Mother Called Him Bill
... And His Mother Called Him Bill is a studio album by Duke Ellington recorded in the wake of the 1967 death of his long-time collaborator, Billy Strayhorn. It won the Grammy Award for Best Large Jazz Ensemble Album in 1968.


...And His Mother Called Him Bill, Background
Ellington recorded the album as a tribute to Billy Strayhorn, who died of cancer in May 1967. Strayhorn was a composer, arranger, and one of Ellington's closest friends.


...And His Mother Called Him Bill, Recording and music
The album was recorded in August and November 1967. The material is Strayhorn's compositions, including some that had not previously been recorded. Ellington chose the songs to demonstrate Strayhorn's versatility and range, as well as to pay homage to the qualities that he most admired in his late writing partner.


...And His Mother Called Him Bill, Recording and music
"Blood Count" was Strayhorn's last composition, written for the Ellington Orchestra's 1967 concert at Carnegie Hall. Another piece with a medical-related title is "U.M.M.G. ", short for 'Upper Manhattan Medical Group'. The 1951 composition "Rock Skippin' at the Blue Note" showcases Cootie Williams, Jimmy Hamilton, and John Sanders.


...And His Mother Called Him Bill, Reception
... And His Mother Called Him Bill won the Grammy Award for Best Large Jazz Ensemble Album in 1969. The AllMusic reviewer wrote that, "For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments." As the band was packing up to leave the session, Ellington remained at the piano, pouring his heart out on Strayhorn's "Lotus Blossom." Fortunately, the mic was open and the tape deck still running.


...And I Know You Wanna Dance
... And I Know You Wanna Dance was Johnny Rivers's sixth official album, and was his fourth live album. It was recorded live at the Whisky a Go Go in Los Angeles, California. The album was on the Billboard Charts for 21 weeks, and reached #52. It included the most famous recording of "Secret Agent Man" which peaked at #3 on the Billboard Hot 100.


...And I Know You Wanna Dance, Track listing, Side two
(***) Edit fade-out stereo. The full 6:15 minutes only mono version was released as B-side of single "Secret Agent Man" the same year.


...And It's Deep Too!
... And It's Deep, Too! The Complete Warner Bros. Recordings (1968–1992) is a compilation of all of Richard Pryor's recordings with Warner Bros. Records. It contains material recorded between 1968 and 1992 and was released in 2000 through Rhino Entertainment.


...And It's Deep Too!
The box set was re-issued in 2013 without the first and last discs as The Warner Bros. Albums (1974-1983).


...And It's Deep Too!, Background
The collection includes eight CDs released on Warner Bros. between 1968 and 1983: plus a ninth CD of previously unreleased material. These albums include:


...And Jesus Moonwalks the Mississippi
... And Jesus Moonwalks the Mississippi is a 2010 play by Marcus Gardley. The play is a re-imagining of the Greek myth of Persephone and Demeter.


...And Jesus Moonwalks the Mississippi, Plot
... And Jesus Moonwalks the Mississippi is set on the banks of the Mississippi River during the Civil War. A lynched African-American man named Damascus is immediately resurrected as a woman named Demeter, who only has three days to find her daughter Po'em and transmit her song before she has to return to death.


...And Jesus Moonwalks the Mississippi, Influence
The play is based on the story of Persephone and her mother, the goddess of the harvest Demeter.


...And Justice for All (album)
... And Justice for All is the fourth studio album by American heavy metal band Metallica, released on September 7, 1988 by Elektra Records. It was the first album following the death of bassist Cliff Burton in 1986, and the first to feature new bassist Jason Newsted.


...And Justice for All (album)
Metallica recorded the album with producer Flemming Rasmussen over four months in early 1988 at One on One Recording Studios in Los Angeles. It features aggressive complexity, fast tempos, and few verse-chorus structures. It contains lyrical themes of political and legal injustices, such as governmental corruption, censorship, and war. The cover, designed by Stephen Gorman based on a concept by Metallica guitarist James Hetfield and drummer Lars Ulrich, depicts Lady Justice bound in ropes. The album title is derived from the last four words of the American Pledge of Allegiance. Three of its songs were released as singles: "Harvester of Sorrow", "Eye of the Beholder", and "One"; the title track was released as a promotional single.


...And Justice for All (album)
... And Justice for All was acclaimed by music critics for its depth and complexity, although its dry mix and nearly inaudible bass guitar was criticized. It was included in The Village Voice's annual Pazz & Jop critics' poll of the year's best albums, and was nominated for a Grammy Award in 1989, controversially losing out to Jethro Tull in the ill-fated Best Hard Rock/Metal Performance Vocal or Instrumental category. The single "One" backed the band's debut music video, and earned Metallica their first Grammy Award in 1990 (and the first ever in the Best Metal Performance category). It was successful in the United States, peaking at number six on the Billboard 200, and was certified 8× platinum by the Recording Industry Association of America (RIAA) in 2003 for shipping eight million copies in the U.S.


...And Justice for All (album)
The album was reissued on November 2, 2018, in vinyl, CD, and cassette formats, as well as receiving a deluxe box set treatment with bonus tracks and unreleased video footage. The reissue reached number 37 and 42 on Billboard's Top Album Sales and Top Rock Albums charts, respectively.


...And Justice for All (album), Background
... And Justice for All is the first Metallica album to feature bassist Jason Newsted after the death of Cliff Burton in 1986; Newsted had previously played on the 1987 Metallica EP The $5.98 E.P. - Garage Days Re-Revisited. Metallica had intended to record the album earlier, but was sidetracked by the large number of festival dates scheduled for the summer of 1987, including the European leg of the Monsters of Rock festival. Another reason was frontman James Hetfield's arm injury in a skateboarding accident.


...And Justice for All (album), Background
Metallica's previous studio album, Master of Puppets (1986), was their last under their contract with the record label Music for Nations. Manager Peter Mensch wanted them to sign with British record distributor Phonogram Records. Phonogram manager Martin Hooker offered them "well over £1 million, which at that time was the biggest deal we'd ever offered anyone". His explanation was that the final figure for combined British and European sales of all three Metallica albums was more than 1.5 million copies.


...And Justice for All (album), Recording
... And Justice for All was recorded from January to May 1988 at One on One Recording Studios in Los Angeles. Metallica produced the album with Flemming Rasmussen. He had been initially unavailable for the planned start on January 1, 1988, and the band hired Mike Clink, who had caught their attention for producing the debut Guns N' Roses album Appetite for Destruction (1987). Plans deteriorated, and Rasmussen became available three weeks after drummer Lars Ulrich had first called him.


...And Justice for All (album), Recording
Rasmussen listened to Clink's rough mixes for the album on his February 14 flight to Los Angeles, and upon his arrival, Clink was fired. Hetfield explained that recording with Clink had been problematic, and Rasmussen was a last-minute replacement. Clink is credited with engineering drums on "The Shortest Straw" and "Harvester of Sorrow". Awaiting Rasmussen's arrival, the band had recorded two cover songs—"Breadfan" and "The Prince"—to "fine‑tune the sound while they got into the studio vibe". Both were released as B-sides for singles from the album and were later included on the 1998 cover album Garage Inc.


...And Justice for All (album), Recording
Rasmussen's first task was to adjust and arrange the guitar sound, with which the band was dissatisfied. A guide track for the tempos and a click track for Ulrich's drumming were used. The band played in a live room, recording the instruments separately. Each song used three reels: one for drums, a second for bass and guitars, and a third for other parts. Hetfield wrote lyrics during the recording sessions; these were occasionally unfinished as recording began, and Rasmussen said that Hetfield "wasn't really interested in singing" but instead "wanted that hard vibe".


...And Justice for All (album), Recording
Metallica's recording process was new to Newsted, who questioned his impact on the overall sound and the lack of discussion with the rest of the team. He recorded his parts separately, with only the assistant engineer present. The experience differed from his previous band, Flotsam and Jetsam, whose style he described as "basically everybody playing the same thing like a sonic wall".


...And Justice for All (album), Music
We took the Ride the Lightning and Master of Puppets concept as far as we could take it. There was no place else to go with the progressive, nutty, sideways side of Metallica, and I'm so proud of the fact that, in some way, that album is kind of the epitome of that progressive side of us up through the '80s.


...And Justice for All (album), Music
This is completely sublimated rock, on a quest for a purity of form, light years beyond raunch or blues rock. Metallica turn heavy metal's melodrama into algebra. This isn't thrash, but thresh: mechanized mayhem. There's no blur, no mess, not even at peak velocity, but a rigorous grid of incisions and contusions.


...And Justice for All (album), Music
... And Justice for All is a musically progressive album featuring long and complex songs, fast tempos and few verse-chorus structures. Metallica decided to broaden its sonic range, writing songs with multiple sections, heavy guitar arpeggios and unusual time signatures. Hetfield explained: "Songwriting-wise, [the album] was just us really showing off and trying to show what we could do. ' We've jammed six riffs into one song? Let's make it eight. Let's go crazy with it.'"


...And Justice for All (album), Music
Critic Simon Reynolds noted the riff changes and experimentation with timing on the album's intricately constructed songs: "The tempo shifts, gear changes, lapses, decelerations and abrupt halts". BBC Music's Eamonn Stack wrote that ... And Justice for All sounds different from the band's previous albums, with longer songs, sparser arrangements, and harsher vocals by Hetfield. According to journalist Martin Popoff, the album is less melodic than its predecessors because of its frequent tempo changes, unusual song structures and layered guitars.


...And Justice for All (album), Music
He argued that the album is more of a progressive metal record because of its intricately performed music and bleak sound. Music writer Joel McIver called the album's music aggressive enough for Metallica to maintain its place with bands "at the mellower end of extreme metal". According to writer Christopher Knowles, Metallica took "the thrash concept to its logical conclusion" on the album.


...And Justice for All (album), Music, Mix
The album was noted for its "dry, sterile" production. Rasmussen said that was not his intention, as he tried for an ambient sound similar to the previous two albums. He was not present during the album's mixing, for which Steve Thompson and Michael Barbiero had been hired beforehand. Rasmussen assumed that, in his absence from the mixing process, Thompson and Barbiero used only the close microphones on the mix and none of the room microphones, causing the "clicking", thin drum sound. The bass guitar is nearly inaudible, while the guitars sound "strangled mechanistic". He saw the "synthetic" percussion as another reason for the compressed sound.


...And Justice for All (album), Music, Mix
At the instruction of Hetfield and Ulrich, Newsted's bass guitar was made almost inaudible. According to Rasmussen: "After Lars and James heard their initial mixes the first thing they said was, 'Take the bass down so you can just hear it, and then once you've done that take it down a further three dBs.' I have no idea why they wanted that, but it was totally out of my hands." In 2009, Hetfield said that the bass was obscured as the basslines often doubled his rhythm guitar, making the instruments indiscernible, and because the low frequencies were competing with his "scooped", bassy guitar sound.


...And Justice for All (album), Music, Mix
Newsted was not satisfied with the final mix and was unhappy that the bass was inaudible. Steve Thompson, who mixed the album, was also unhappy, and blamed Ulrich for the decision; he tried to quit the project, but was blocked by management. Rasmussen said in 2018: "I'm probably one of the only people in the world, including Jason and Toby Wright, the assistant engineer, who heard the bass tracks on And Justice for All, and they are fucking brilliant."


...And Justice for All (album), Music, Mix
In 2019, Hetfield and Ulrich said they had mixed the bass low not to belittle Newsted, but because their hearing was "shot" following heavy touring and so they "basically kept turning everything else up until the bass disappeared". They decided not to adjust the mix for the remastered 2019 reissue, saying: "These records are a product of a certain time in life; they're snapshots of history and they're part of our story ... And Justice for All could use a little more low end and St. Anger could use a little less tin snare drum, but those things are what make those records part of our history."


...And Justice for All (album), Lyrics
The album title was revealed in April 1988: ... And Justice for All, after the final words of the Pledge of Allegiance. The lyrics address political and legal injustice as seen through the prism of war (including nuclear war) and censored speech. The majority of the songs raise issues that differ from the violent retaliation of the previous releases. Tom King writes that for the first time the lyrics dealt with political and environmental issues.


...And Justice for All (album), Lyrics
He named contemporaries Nuclear Assault as the only other band who applied ecological lyrics to thrash metal songs rather than singing about Satan and Egyptian plagues. McIver noted that Hetfield, the band's main lyricist, wrote about topics that he had not addressed before, such as his revolt against the establishment. Ulrich described the songwriting process as their "CNN years", with him and Hetfield watching the channel in search for song subjects—"I'd read about the blacklisting thing, we'd get a title, 'The Shortest Straw,' and a song would come out of that."


...And Justice for All (album), Lyrics
Concerns about the state of the environment ("Blackened"), corruption ("And Justice for All"), and blacklisting and discrimination ("The Shortest Straw") are emphasized with traditional existential themes. Issues such as freedom of speech and civil liberties ("Eye of the Beholder") are presented from a grim and pessimistic point of view. "One" was unofficially nicknamed an "antiwar anthem" for its lyrics, which portray the suffering of a wounded soldier. "Dyers Eve" is a lyrical rant from Hetfield to his parents.


...And Justice for All (album), Lyrics
Burton received co-writing credit on "To Live Is to Die" as the bass line is a medley of unused recordings Burton had performed prior to his death. Because the original recordings are not used on the track, the composition is credited as written by Burton and played by Newsted. The spoken word section of the song was erroneously attributed in its entirety to Burton in the liner notes.


...And Justice for All (album), Lyrics
The first line was actually written by German poet Paul Gerhardt ("When a man lies, he murders some part of the world.") while the second line comes from Lord Foul's Bane, a fantasy novel by American writer Stephen R. Donaldson ("These are the pale deaths which men miscall their lives."). The second half of the speech ("All this I cannot bear to witness any longer. Cannot the kingdom of salvation take me home?") was written by Burton.


...And Justice for All (album), Artwork
The artwork was created by Stephen Gorman, based on a concept developed by Hetfield and Ulrich. It depicts a cracked statue of a blindfolded Lady Justice, bound by ropes with her breasts exposed and her scales overflowing with dollar bills, with the title in graffiti style.


...And Justice for All (album), Critical reception
Released on September 7, 1988, by Elektra Records, ... And Justice for All was acclaimed by music critics. In a contemporary review for Rolling Stone, Michael Azerrad said that Metallica's compositions are impressive and called the album's music "a marvel of precisely channeled aggression". Spin magazine's Sharon Liveten called it a "gem of a double record" and found the music both edgy and technically proficient.


...And Justice for All (album), Critical reception
Simon Reynolds, writing in Melody Maker, said that "other bands would give their eye teeth" for the songs' riffs and found the album's densely complicated style of metal to be distinct from the monotonous sound of contemporary rock music: "Everything depends on utter punctuality and supreme surgical finesse. It's probably the most incisive music I've ever heard, in the literal sense of the word." Borivoj Krgin of Metal Forces said that it was the most ideal album he has heard because of typically exceptional production and musicianship that is more impressive than that of Master of Puppets.


...And Justice for All (album), Critical reception
In a less enthusiastic review for The Village Voice, Robert Christgau believed that the band's compositions lack song form and that the album "goes on longer" than Master of Puppets. In 1988, ... And Justice for All was nominated for a Grammy Award for Best Hard Rock/Metal Performance, but controversially lost to Jethro Tull's Crest of a Knave. In 2007, Entertainment Weekly, named this one of the 10 biggest upsets in Grammy history.


...And Justice for All (album), Critical reception
In a retrospective review, Greg Kot of the Chicago Tribune said that ... And Justice for All was both the band's "most ambitious" and ultimately "flattest-sounding" album. AllMusic's Steve Huey noted that Metallica followed the blueprint of the previous two albums, with more sophisticated songs and "apocalyptic" lyrics that envisioned a society in decay. Music journalist Mick Wall was critical of the progressive elements on the album and believed that, apart from "One" and "Dyers Eve", most of the album sounded clumsy. Colin Larkin, writing in the Encyclopedia of Popular Music (2006), wrote that, apart from the praiseworthy "One", the album diminished the band's creativity by concentrating the songs with too many riffs. Ulrich said in retrospect that the album has improved with time and it is well-liked among their contemporaries.


...And Justice for All (album), Critical reception, Accolades
In The Village Voice's annual Pazz & Jop critics poll, it was voted the 39th best album of 1988, having received 117 votes, including 12 first-place votes. The album was ranked at number nine on IGN's "Top 25 Metal Albums". Guitar World lists it 12th on the "100 Greatest Guitar Albums" from a 2006 reader poll, and lists all of its tracks on "The 100 Greatest Metallica Songs of All Time". Kerrang! listed the album at number 42 among the "100 Greatest Heavy Metal Albums of All Time".


...And Justice for All (album), Critical reception, Accolades
Martin Popoff ranks it at number 19 in his book The Top 500 Heavy Metal Albums of All Time, the fourth highest ranked Metallica album on the list. It is featured in Robert Dimery's 1001 Albums You Must Hear Before You Die. In 2017, it was ranked 21st on Rolling Stone's list of "100 Greatest Metal Albums of All Time".