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Other professionals in the autism community are coming to the same conclusion, and research is shedding light on the hidden abilities within this population. Professionals have generally agreed that about 50% of individuals with autism will never speak. Catherine Lord, a University of Michigan pioneer in autism research, is suggesting we may be way off the mark. In her 2004 study sample of children diagnosed and treated at age two, only 14% remained nonverbal by age nine, and 35-45% could speak fluently.

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Our current perceptions about nonverbal individuals with autism are also being stretched by people on the spectrum, like Tito and others, who are coming forth and writing about their rich Inner worlds, their abilities, and bit by bit, deflating the notion that not being able to speak means having nothing to say. Through the Increased use of augmentative and alternative communication aids with nonverbal individuals, we are discovering that many children with autism have taught themselves to read, some in more than one language; that these individuals are highly aware of then surroundings and have self-learned far more than parents and teachers imagine. It's their bodies that don't work, not their minds.

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And these individuals have a lot to say. Amanda Baggs is one such woman, and her nine-minute YouTube clip, "In My Language," is illummating to all who watch it. (https://www.youtube.com/watch?v=JnylM1hI2jc).? As it opens we see her rocking back and forth, flapping her hands in front of a large window. She goes through a series of odd repetitive behaviors, all the while accompanied by an almost eerie hum. Swatting at a necklace with her hand, slapping a sheet of paper against a window, running her hand over a computer keyboard, flicking a metal band against a door knob. Then the words "A Translation" appear on the screen, and the twenty-seven-year-old nonverbal autistic mesmerizes us with a highly articulate explanation of her thoughts and her actions. She explains how touch, taste, and smell provide her with a "constant conversation" with her environment. She challenges our neurotypical way of thinking about nonverbal individuals in a manner that cannot be ignored. And I, for one, applaud her and others who are speaking out about what it means, and doesn't mean, to be nonverbal people with autism. It's about time.

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In our interactions with nonverbal individuals with autism, it is critical that we accurately determine their level of ability and challenge, and not automatically make assumptions based on their verbal language capabilities, nor their IQ scores. It is true that many highly impaired individuals with autism exist who also have accompanying mental retardation. But that percentage may be far smaller than what we currently assume.

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Slow Processing of Information

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For most nonverbal and impaired individuals with ASD, the brain processes information very slowly. They may have fewer input channels open to receive information, or their connections may work like dial-up rather than high-speed internet connections. They need much more time to switch gears between different tasks. In autism and many other developmental disorders, attention-shifting is slow, and nonverbal impaired individuals are often slower than individuals with milder forms of autism. In her lectures, Lorna King, one of the early pioneers in using sensory integration, warned all therapists attending her meetings about a phenomenon called "clipping." Clipping can occur in both verbal and nonverbal individuals. Attention-shifting can be so slow that the person may miss half the information the teacher is trying to convey to them. This is most likely to happen when the child's attention has to be shifted to a new task. For example, if I said to a child playing with his toy "The juice is on the table" the child may hear only "on the table." To avoid this problem, the parent or teacher should first capture the child's attention with a phrase like, "Tommy, I need to tell you something." Then deliver the instruction or important information. If half of the first phrase is "clipped" it does not matter, because now the input channel is open and the statement about the juice can get through.

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Temple Grandin "The Way I See It: A Personal Look at Autism & Asperger's" (2011)

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Psycho may well be the most overly familiar motion picture in history.

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There are innumerable essays, books, college courses, academic symposia, fan clubs, and Web sites devoted to extolling and analyzing the film. But when Hitchcock first presented Psycho to his agents, his staff, and Paramount, he framed it as a simple, low-budget American shocker, in the style of his TV series, which would provide a breather from more lavish grandiose productions.

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Galleys of Robert Bloch's novel had circulated at Paramount back in mid-February 1959, but the weird yarn about a psycho killer who runs a lonely roadside motel was promptly rejected by studio readers as too ghoulish and posing insurmountable problems for censorship. Hitchcock's office routinely saw the reader reports, but the director's antenna shot up when Anthony Boucher, in his New York Times crime-fiction column of April 19, 1959, praised the novel as "chillingly effective." Hitchcock, a devotee of Boucher's column, asked his assistant, Peggy Robertson, to him a copy of the book.

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Bloch, a Wisconsin author little known outside pulp-fiction circles, had been inspired by the real-life case of Ed Gein, a Plainfield, Wisconsin, farmer arrested in 1957 for grave robbing, cannibalism, and murder. A search of Gein's property revealed the remains of an indefinite number of female victims who had been cut up, eviscerated, and cannibalized; their skins, skulls, and body parts were displayed throughout his home. The investigation revealed that Gein, who adorned himself in garments made from the flesh of his victims, had had a tormented, perhaps incestuous relationship with his mother, whose death triggered his spree.

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The basic facts of the Gein case were spun by Bloch into a macabre suspense story about a fat, lonely middle-aged tippler who has killed his other and stuffed her corpse. One rainy night, a young woman who has stolen forty thousand dollars arrives at the motel he runs; he rents her a room, then spies on her through a peephole as she prepares for a shower. Dressed grotesquely in his mother's clothes, he surprises her with a visit.

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"Mary started to scream, and then the curtains parted further and a hand appeared, holding a butcher's knife. It was the knife that, a moment later, cut off her scream."

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Hitchcock liked to boast about playing the emotions of audiences as though they were notes on a organ, but when he read Psycho he must have recognized his own inner music surging through him. It was The Lodger as the Landlord of a motel; it was a phantasmagoria with a scary mansion, stairwell, and dark basement; it was a Peeping Tom and a screaming Jane; it was the world's worst bathroom nightmare, mingling nudity and blood; it was a plunging knife in the muscled grip of a man dressed, bizarrely, as his own mother. It is no exaggeration to say that Hitchcock had been waiting for Psycho - working up to it - all his life.

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Late in April, MCA quietly arranged to option the screen rights - so quietly that the author had no idea who the buyer of his book might be. Only later did Bloch learn that Psycho was going to be immortalized by Alfred Hitchcock; like some other authors of books used for Hitchcock films, he always resented the price: a low, blind bid of nine thousand dollars.

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According to Rebello, these "risque elements" were, as usual, Hitchcock's deliberate" ruse to divert the censors from more crucial concerns." And sure enough, when Paramount submitted Stefano's draft, Code officials said it would be impossible to approve such a film, predicting that if Hitchcock did not modify the objectionable scenes - especially the lunch-hour tryst, the toilet flushing, and the shower scene - Psycho would also be condemned by local censors and the Catholic Church's Legion of Decency.

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Yet Stefano's script was thoughtful as well as intentionally provocative.

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One example is the crucial supper scene, the only time Norman and Marion have a meaningful interchange and forge a connection. Norman talks about his hobby of taxidermy and voices qualms about his mother, yet takes offense when Marion suggests that perhaps Mrs. Bates should be put in an institution. "She's not crazy!" he blurts angrily.

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The book and film versions of that scene aren't vastly different, except Stefano's script puts the characters in an office den, a room eerily presided over by Norman's collection of stuffed birds. "The [stuffed] owl, for instance, has another connotation," Hitchcock informed Truffaut. "Owls belong to the night world; they are watchers, and this appeals to Perkins's masochism. He knows the birds and he knows that they're watching him all the time. He can see his own guilt reflected in their knowing eyes."

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But the conversational "duet" between Norman and Marion is longer in the film, more substantive, and it boasts some of Stefano's finest dialogue - helping to lift Psycho out of the category of cheap horror almost into the realm of philosophy.

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When Norman tells Marion she doesn't look as though she's had many empty moments in her life, she insists she's had her share. "I'm looking for a private island," Marion admits ruefully.

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"You know what I think?" counters Norman. "I think that we're all in private traps, clamped in them, and none of us can ever get out. We scratch and claw but only at the air, only at each other, and for all of it, we never budge an inch."

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Marion says yes, but (thinking of the money she has stolen) adds that sometimes people deliberately step into their own traps. Norman replies that he was born into his trap, but doesn't mind anymore. Marion says he ought to mind, and asks gently, wouldn't it be better to put his demanding mother someplace safe?

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"But she's harmless!" insists an agitated Norman. "She's as harmless as one of those stuffed birds."

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Apologetically, Marion says she meant no offense.

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"People always mean well," Norman continues resentfully. "They cluck their thick tongues and shake their heads and 'suggest,' oh so very delicately. It's not as if she were a maniac - a raving thing. She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you?"

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Patrick McGilligan "Alfred Hitchcock: A Life in Darkness and Light" (2003)

Abstain from Beans

(Pythagoras)

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Which is of course attributed to Pythagoras.? And you may think it odd that that a man can live in history a thousand and thousand of years on the basis of two statements.? One, that the square of the hypotenuse is equal to the sum of the square on the other two sides, the other, abstain from beans.

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Now, obviously it could not have been said by Pythagoras.? It would have been very out of character. It was in fact said by Euclid, who was also in the geometry business.

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Now, if you can think back to the very early days of geometry, in the days of Euclid, who was inventing it at that time.? Before him there was no geometry.

There was five angles in a square, five right angles, before he straightened it out.

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But of course, he, first of all, started with acute angles and so on, then you got the geometry of angular things. And then came the problem on inventing the geometry of curved things.

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But they ran into great difficulty in working out this particular kind of geometry because there was no such thing as compasses in those days.

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Well, they started by drawing round the outline of a pea, which made a very nice little small circle, not quite big enough to work in. And somebody remembered, all right, we'll do it with an orange.? And they drew round an orange.?

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And they drew round an orange and so, we have all the geometrical laws about circles, about radiuses and radii and diameters and pi and things.

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And then comes this very advanced geometry about ovals.?

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Now, how do you draw an oval when you haven't got the proper equipment?

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The only way you can draw an oval is draw around a haricot bean.? Well, this worked very well, except again, you have no room to work within the outline of a haricot bean.

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If, for example, you want to drop a perpendicular, you just cannot drop a perpendicular in that space. There's not room to swing a radii.

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And it might very well have been that geometry would have stopped there, and then so there'd be no more geometry. All the school children that learn geometry now would have had to have four extra periods of English literature instead. And that would have meant the end of a program like this.

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But Euclid suddenly, who thought this out and was not going let this thing finish, because he knew he was onto something good and said, "I'm going to think it out." And, as you know who knew all the angles

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They were all working around these haricot beans, drawing like mad around haricot beans

He suddenly raised his hand and said, "I've got it. Abstain from beans."

And triumphantly he held up a watermelon.

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Denis Norden 580702b

download at http://www.mediafire.com/download.php?827vkqu4n217yxy

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I keep seeing "chia seed water" all over social media, with influencers saying it helps with constipation, bowel regularity and weight loss. Is that true?

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In a video on TikTok, a woman waves a plastic bottle containing chia seeds, lemon juice and water. She's on her fourth day of drinking the gloop, she says. "Let me tell you something," she adds, "this is, like, the realest thing I've ever learned on the internet. I am the most constipated person I know," but since drinking the chia seeds, she continues, she has "never been so regular."

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On TikTok, views for videos about "the internal shower," as the drink has been called, number in the millions. Chia seed water is made from simple ingredients: just a tablespoon or two of chia seeds, water and perhaps a squeeze of lemon juice for taste. Yet it has been said to have big benefits, helping with bloating and irregularity and stimulating weight loss.

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To an extent, these claims are true, said Amanda Lynett, a dietitian specializing in gastroenterology and hepatology at Michigan Medicine. Thanks to the high fiber content, chia seeds are one of her go-to dietary recommendations for people with constipation.

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Experts say that no matter how you consume chia seeds ?- whether sprinkled onto oatmeal or yogurt, or mixed into puddings, baked goods or smoothies - they'll still help your digestion. There's good research in general showing that dietary fiber ?- an essential nutrient abundant in chia seeds - can help.

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A two-tablespoon serving of dry chia seeds contains nearly 10 grams of fiber, over twice the amount in a medium Red Delicious apple, and a good portion of the recommended 21 to 38 grams most people should eat a day.

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Chia seeds contain both soluble and insoluble fiber, said Dr. Sophie M. Balzora, a gastroenterologist at NYU Langone Health. Soluble fiber forms a gel-like substance when it dissolves in water and can help keep your stool soft, while insoluble fiber adds mass to your bowel movements, making them bulkier and easier to pass, Dr. Balzora said.

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Ms. Lynett added that chia seeds can also help reduce bloating and discomfort.

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This laxative-like effect isn't unique to chia seeds, said Joanne Slavin, a dietitian and professor of food science and nutrition at the University of Minnesota. Other fiber-rich foods - like nuts and seeds, most fruits and vegetables, and whole grains - can help reduce constipation too; as can staying hydrated and taking supplements like psyllium husk.

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Some on social media have said that chia seed water can also help you lose weight - fast. One woman on TikTok said it helped her lose four pounds in three days.

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Such rapid weight changes are probably a result of losing water weight from going to the bathroom, not of losing body fat, Dr. Balzora said. That weight would most likely come right back after drinking a large glass of water, she added.

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But chia seed water could help you feel full, which could reduce how many calories you consume. "You're going to feel more satiated than someone who had, say, a bagel," Dr. Balzora said.

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Over time, this could contribute to longer-term weight loss.

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Chia seeds in liquid might be easier on your stomach than eating them dry, Ms. Lynett said.

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When soaked in water, they expand and produce a slimy substance called mucilage, said Elvira de Mejia, a professor of food science at the University of Illinois Urbana-Champaign. This is part of what helps to bulk up your stool and keep it soft.

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When you eat chia seeds dry, Ms. Lynett said, that expansion happens in your gut instead of in your glass, potentially leading to bloating and cramping.

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No matter how you consume them, the discomfort you feel from eating chia seeds will depend on how much fiber you're used to eating in general, she said. It may take some experimentation to figure out how many chia seeds mixed into your food or drink will ease your constipation without stomach discomfort.

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Ms. Lynett recommended starting off with one tablespoon (or less) and soaking the seeds in water (or milk to create chia pudding, or adding them to overnight oats or smoothies) until they've visibly expanded.

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If you notice any sudden changes in your typical bowel habits, such as unusual constipation, blood in your stool, vomiting or severe stomach pain, it's a good idea to forget the chia seeds and see a doctor, since these symptoms can sometimes signal a serious condition, Dr. Balzora said. You can start with a primary care doctor, who might then refer you to a gastroenterologist.

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Caroline Hopkins Legaspi

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We lived high off the hog on Fifth Avenue, which was not, of course, Fifth Avenue, New York. It was just a nice middle-class neighborhood. Most of the richer families were building on the opposite mountainside. Helena is a spacious city, climbing up Mount Ascension and Mount Helena from Last Chance Gulch, so we had wonderful, steep streets. When it snowed, you could slide past Judge Cooper's house all the way to the railroad station in the valley part of town. The Coopers lived just below us in a fairly elegant house with an iron fence around it. My parents knew them, but I didn't see much of their son Gary, who was four years older and spent some time at school in England. Later, in Hollywood, we used to laugh about living on the wrong side of town, but, curiously, we seldom talked about our Helena days. That didn't keep him from talking to others about them. According to Edith Goetz, Louis B. Mayer's daughter, Gary would cheerfully describe me "belly bustin' hell-bent for election" down the street past his house.

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Gary Cooper confided she had bright red hair in braids, great big freckles, and a turned-up nose, revealed Myrna's erstwhile co-star, William Powell, after the three converged in Hollywood. She wasn't what a boy might call beautiful, but there was something about her that got to him. He was shy and she was shy, and the most pleasure he got out of the romance was leaning on the Williamses' picket fence listening to Myrna play "The Wedding of the Winds."

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The only time he ever spoke to her in those Helena days was one afternoon when he went to the Williamses' house on an errand for his mother. Mrs. Williams, the soul of Montana hospitality, sent Myrna down to the cellar for a glass of apple jelly. Now, back of the furnace down there was a dark hole that had become a phobia with Myrna. She went down the steps bravely enough, carefully made her way to the jelly shelf, but visions horrible and dank rose from the black hole. "Yo-oo-oow!" shrieked Myrna, falling up the cellar steps, bruising her knees and tearing her stockings.

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"You," remarked Master Cooper, "are a sissy," probably the only ungallant thing Gary Cooper ever said to a lady. Certainly there have been no complaints since. Myrna, completely mortified, chose to forget the entire episode, including Judge Cooper's little boy, as quickly as possible. They met eventually in Hollywood, but by that time Gary had his hands full with the temperamental Lupe Velez, and Myrna was already far gone into the bizarre. Nothing ever came of the Loy-Cooper romance.

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My first beau was another neighbor - John G. Brown, Jr. Actually, he wasn't really my beau. I had a terrible crush on him, but he had no time for me. He would let my girlfriend Ruth Rae ride on the back of his tricycle, while I lust trailed along, very disturbed by the whole thing. On Saturday afternoons, Ruth would ask me to call him up for her, and I like a fool would do it. This went on and on, but he never paid any attention to me at all.

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Years later, when I started at Warner Brothers, who should send me my first fan letter? Johnny Brown! I had played only a few parts, probably the Orientals, but he wanted pictures of me for his room at college. He claimed the whole college wanted to know about me. Well, I thought, this is my revenge for all those years he ignored me.

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James Kotsilibas-Davis (Myrna Loy – Being & Becoming) 1987

It was a personal choice of Kawamata, who seemed to have some odd hidden streak of Anglophilia running through him. Fair Lady had been so decreed because Kawamata had once seen and apparently liked the musical My Fair Lady. Generally Katayama accepted his defeats on nomenclature reasonably well, but in 1970, when the first Japanese sports car arrived in America - the car that Katayama had always wanted - and he saw with horror that it had actually been called the Fair Lady, he and his men simply pried the nametag off the car and replaced it with one using the company's internal designation for the car, 240Z. It was far more appropriate, they decided, and using the company's own designation was the only way he could change the name without being insubordinate. Generally, however, he had lost out on names in the beginning, and normally on sportiness as well, but he was winning on almost everything else. The car was adapted to American conditions, it was economical to drive, and servicing was very good; there were always parts.

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David Halberstam "The Reckoning" (1987)

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WERE YOU EVER ON THE SUMMIT OF CERRO TORRE YOURSELF?

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Twice, both times by helicopter, which took five minutes. The second time I landed on the summit I stepped out of the helicopter with Mezzogiorno, turned around and saw him lying as flat as he could on the ground, his nails dug as deep into the ice as he could get them. I asked what was wrong. "I want to get up but my body won't co-operate," he said meekly. "Give me a little more time." I spoke to Hans Kammerlander - the climber who appears in The Dark Glow of the Mountains and has a small role in Scream of Stone - about the ice cave that had been built at the top of Cerro Torre and stocked with eight days' worth of provisions, in case we needed to take refuge. When Kammerlander saw me walking towards it without holding on to the rope, he grabbed me and said, "If you start to slide, there's nothing anyone can do for you. You will accelerate, then be airborne for a mile." Kammerlander looked me right in the eye. "If that happens," he said, "promise me one thing: enjoy the vista."

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At one point our helicopter took Stefan Glowacz, a cameraman and me up to a ridge not far from Cerro Torre's peak to prepare a sequence. Normally a team of climbers would make extensive preparations, like building an emergency shelter and taking up provisions and equipment, after which the actors and technical crew would follow. A storm had been raging for ten days, but suddenly we had a calm, crystal-clear night, followed by a beautiful morning without wind. The conditions looked so good we made the mistake of flying up there without sending a vanguard. Once we were dropped at the ridge, the three of us started walking towards our location. All of a sudden, out of the corner of my eye, I saw something absolutely outrageous, something I will surely never witness again in my life. Below us, as far as the eye could see, were clouds; they looked like motionless balls of cotton. All of a sudden everything exploded like gigantic atomic bombs. I immediately radioed the helicopter, which was still in sight, and watched as it made a loop towards us. It came as close as 150 feet before the storm hit us like a bullet. The clouds were over us, there was a gust of more than a hundred miles an hour, and the temperature fell thirty degrees. After twenty seconds my moustache was a lump of ice. The helicopter was literally tossed away and we found ourselves alone with no sleeping bags, tents, food or ropes. Nothing except two ice picks. We had to dig ourselves into the snow immediately, otherwise we would have frozen to death within a few hours.

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We spent just over two days and nights in the snow hole. All we had to eat was a small piece of chocolate I had in my pocket. You can get by with nothing to eat for fifty hours, but water is something else; you have to drink at least a gallon of water a day, otherwise your toes and fingers freeze away. Ninety-five per cent of all losses of digits are the result of dehydration. After twenty hours some of my toes were turning black, and the cameraman, a very tough man, was in bad shape. He was running a temperature and having cramps. We used our walkie-talkie only every two hours for a few seconds to save batteries, and radioed down that he wouldn't survive another night. This stark message alarmed our team in the valley and two teams of four climbers were sent out to reach us. The strongest of them became delirious, threw his gloves into the storm, then clicked his fingers, insisting on calling a waiter over so he could pay for his cappuccino. They had to guide him down back to the glacier, but an avalanche swept them down two hundred feet and they had no choice but to dig a snow cave themselves because one of them had lost his sunglasses and showed signs of snow blindness. After fifty hours, the clouds burst open for ten minutes and with this lull in the storm the helicopter was able to pick us up. The pilot was in a panic and couldn't wait until the last person - me - had scrambled inside, so I crouched in a basket outside the helicopter and held on to a metal bar. When we finally touched down, my hand had frozen to the bar. It thawed out after one of the Argentinian climbers urinated on it.

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Werner Herzog? "Werner Herzog A Guide For The Perplexed" (2015)

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My Experience with Teasing and Bullying

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In elementary school, I had friends because the other children enjoyed doing craft projects with me. I was good at making gs that the other children were interested in, projects such as kites or tree houses. My big problems happened in high school.

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In high school, teenagers become purely social beings. Being good at crafts or science projects did not score any points in the social scene. The children's rhyme says, "Sticks and stones will break your bones but words will never hurt you." It's not true; words hurt a lot.

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At first, my response to teasing was anger. I got kicked out of a large girls' school for throwing a book at a girl who called me a "retard." In ninth grade, I went to a small boarding school for gifted but troubled students. Within the first week, the teasing started. They called me "bones" because I was skinny, and "tape recorder." I responded with fists. After a major fistfight in the cafeteria, I had horseback riding privileges revoked. Since I really wanted to ride the horses, I stopped fighting. The consequence for fist fighting had an impact on me.

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However, the strong emotions I felt did not just go away. I had to find an outlet for the emotion - it could not just be shut off. So I started crying when I was teased. I wonder if some of the terrible problems with school shootings would stop if boys could react with tears rather than anger. Teasing has been a major factor in many school shootings. In our society, I think there is too much emphasis on teaching men to be tough.

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Even today I defuse anger by crying. Angry outbursts would not be tolerated at work, but if I have to cry, I can find a private place.

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When I went off to college at Franklin Pierce in New Hampshire, there were many good teachers who helped me. However, teasing was still a problem. They called me "buzzard woman." The turning point came - and the teasing stopped - when the other students found out that I had talents and useful skills that interested them. I became involved in the school talent show, working many hours making scenery, and acting in some of the skits. I made a sign for the Old Palace Theatre, covered with silver glitter, with orange and green lettering. I also sang some funny songs in a screeching voice.

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Until a person participates in activities that are SHARED with other people, the teasing will continue. I strongly recommend that students with autism/AS get involved 'in special interest clubs in some of the areas they naturally excel at, activities such as computers, art, math, karate, etc. These clubs will help provide a refuge from teasing and improve the person's self-esteem. Being with people who share your interests makes socializing easier.

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As I have said many times before, talents need to be developed.? Parents and teachers need to work on expanding the child's range of interests into areas that can be shared with other students. For example, the AS or autistic student may have good art skills, but all he draws are doorknobs. Skills such as drawing need to be broadened. A good first step may be to enroll the student in an art class where drawing other subjects is required. I can remember when I took a pencil sketching class and had to spend the entire two-hour class drawing my own shoe. At college, the other students didn't become interested in my artistic talents until I made scenery for the school show. We all shared a common goal - the show - and I became part of their "group."

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While I made scenery for some of my high school plays, the young teenagers were too socially hyper to appreciate my abilities. Some gifted autistic or Asperger's students may need to be removed from this hyper-social high school scene. Enroll them in a university or community college course where they can be with their intellectual peers. College students are a bit more mature and they recognize and appreciate talents and don't tease as much. In high school, I dropped out of the teenage social scene because it was too hard for me to deal with. It was not until the college talent show that I was able to participate again.

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Temple Grandin "The Way I See It: A Personal Look at Autism & Asperger's" (2011)

Once was completed, the big question was how Hitchcock and Psycho would fare with the Production Code. American society was at a turning point, and the country was shaking off the Eisenhower decade and moving on to the bright new era of the Kennedys. Hollywood censorship was in transition. The director correctly gauged that he had fans and friends among Code officials - chief among them Y. Frank Freeman, who had retained his position as liaison between producers and Code authorities, and Geoffrey Shurlock, the more liberal Englishman who had succeeded Joseph Breen as chief enforcer.

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Two scenes involving Janet Leigh really stuck in the craw of the Hollywood censors: most of the focus, in March and April, was on the postcoital opening and the shower stabbing. Censorship officials couldn't decide which was worse: the opening, with Leigh in her undergarments, or the murder of a seemingly nude Leigh in the shower. Hitchcock approached the negotiations, as usual, like a poker game, shuffling and reshuffling hand.

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Right from the moment he recruited her, Leigh recalled, Hitchcock had alerted the actress as to "how he planned all along to manipulate the censors, by deliberately putting things in so bizarre, he could come back to them and say, 'Tsk-tsk, All right, I'll take that out, but you've got to give me this.' He deliberately inserted more questionable shots in the script, knowing quite well they would be unacceptable," she said, "but with each disallowed one he gained leverage in his bargaining for the ones he had really wanted all along."

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Hitchcock successfully convinced censors, for example, "that the unprecedented shot and sound of a toilet flushing was a vital component of the plot," in Leigh's words, because when Lila found the scrap of paper it substantiated the crime, and proved that Marion had been at the Bates Motel. (Not quite true, as the film makes clear, for Norman has already admitted that she stayed there.) Similarly, he insisted that "Marion's half-clad appearance in the opening shot with her lover Sam was necessary to prove the furtiveness and futility of the affair, which prompted her theft," said Leigh, while "the mixed blood and water gurgling down the drain was the necessary chilling substitute for any blood spurting or bloodstains."

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The censorship board seesawed back and forth over the opening, but went unanimously "berserk" over the shower scene, according to Rebello. Yet they couldn't agree among themselves about what it was, exactly, that upset them. "Three censors saw nudity," Rebello reported in his book; "two did not. Memo from Shurlock office to the Hitchcock office: 'Please take out the nudity.' " The censors demanded a second viewing, and Psycho was returned to them for additional scrutiny. "Now the three board members who HAD seen nudity the previous day did NOT and the two did not now DID."

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The rear shot of Leigh, which he had trumpeted so loudly in the press, was Hitchcock's wild card. The overhead shot of "the lifeless body of Janet Leigh, sprawled over the bathtub, her buttocks exposed," in Rebello's words, was preordained as a casualty. "A perfectly heartbreaking shot," recalled Stefano, who championed the shot after seeing an early version of Psycho, "so poetic and hurtful." When Hitchcock admitted to Stefano that he was dropping the shot to mollify the censors, the writer was infuriated.

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Hitchcock ultimately charmed the Production Code officials, and wore them down. His final maneuver was volunteering to reshoot the opening if he could leave the shower sequence alone - adding the stipulation that the censors had to show up on the set for the reshoot because he was confused as to how to satisfy their objections. The story - perhaps apocryphal - is that the reshoot was scheduled, but the censors never materialized, so nothing was changed. "And," script supervisor Marshal Schlom said, "they finally agreed they didn't see the nudity in the shower sequence which, of course, was there all the time. "

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The Production Code, in the end, voted its approval, and Paramount held its breath for the Catholic Church. The Legion of Decency issued a B - "Morally objectionable in part for all " - which was as low as could be tolerated. But in deference to the Code, the Legion had stopped short of condemning Psycho, and so the Legion's rating amounted to another victory for Hitchcock.

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Patrick McGilligan "Alfred Hitchcock: A Life in Darkness and Light" (2003)

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There's many a slip twixt cup and lip

(trad)

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2230

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There's many a slip twixt the cup and lip.? This was first said some eighty odd years ago in Paris, a very gay city in those days.? It was the time of the great painting movement called the impressionists school.

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The leader of the school, almost the founder of the impressionists , was a painter called Edouard Manet.

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Now Manet had painted his newest picture, Le dejeuner sur l'herbe, and this was a very interesting picture of some gentlemen and some girls having breakfast on the grass at a place in the Bois de Boulogne.

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It's rather an unpleasant sort of glenn. On one side, though you can't see it in the picture is an ornamental sort of goldfish pond with a lot of carp in it. On the other side there's a big tall grotto which was a sort of lover's leap.? And lovers always leaping off this thing to their doom.

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Manet had painted this picture of all the people in the middle and was hanging it and was giving a show THAT very afternoon.

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All the Parisian painters were there, there was Toulouse-Lautrec, conspicuous by his absinthe. There was Monet and there were the famous writers Emile Zola and his beautiful wife Gorgon.

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The picture was unveiled with something of a flourish by Edourd Manet.? And public didn't like it at all. The people in the gallery absolutely hated it.

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There was the cry of "Manet is the root of all evil."

They hated the man.

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And when they looked around, Edouard Manet had completely disappeared.? Monet and the others were terribly worried and thought what had happened. He's done away with himself.? Then they suddenly remembered this picture, Le dejeuner sur l'herbe, and the lover's leap.? And they thought he's either leapt from the lover's leap or drowned himself in the carp pool

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They all ran to the Bois de Boulogne.? One looking in that direction and the other looking in the other direction, and suddenly, I think it was Zola said, "Don't worry all is well. There's Manet asleep twixt the carp and the leaf."

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Frank Muir 580702a

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Martha Raye was an original, and if her knockabout antics quickly dated, they overwhelmed audiences in the 1930s. Sharing a stage with her parents since the age of three, Maggie, as she was known to friends, climbed the lower rungs of show business, desperate to make herself known and liked. She perfected an aggressive and lusty attack, shorn of vanity. She was also a stunning singer, and her powerful rhythmic sense and brassy projection might have earned her a reputation as a Swing Era warbler. Yet she trusted only her comedic ability, a talent recognized by Charlie Chaplin, who cast her as his unsinkable victim in the 1947 Monsieur Verdoux and allowed her to steal their every scene. Maggie's wacky humor was bolstered by a rubbery face centered on a square maw of a mouth and a curvaceous figure that gave a shivery edge to her man-hungry bellow, "O000h boy!"

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While singing at a club outside Los Angeles, she signed up for a Sunday-night turn at the more glamorous Trocadero, where performers on the make entertained performers who could afford places like the Trocadero. In the audience were Jimmy Durante and Joe E. Lewis, who assisted her with friendly heckling, and an astonished Norman Taurog, who offered her a screen test. At Benjamin Glazer's request, Sam Coslow went down to the joint where she was working and volunteered to write a specialty number for her test. The result, "Mister Toscanini," was perfect - ?part fake ballad and part raucous swinger. The test delighted Glazer and Taurog, who resolved to add the song as well as Maggie to the picture. In order to avoid offending a living maestro, however, a change in title was mandated. Reborn as "Mr. Paganini," it became her trademark number. Coslow recalled that at a sneak preview of the picture, Raye's delivery of the song liter-ally stopped the show - the audience cheered until the projectionist reran the scene.

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Gary Giddins, "Bing Crosby: A Pocketful of Dreams - The Early Years 1903 - 1940" (2002)

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But to get back to my relationship with Clark Gable, when I think of it now, considering the way it started, it was curious. We became devoted to each other. We weren't lovers he was in love with Carole Lombard by that time. In fact, after I repelled his initial attack, we eventually became more like siblings. Nobody believes that,' and you can understand why when you consider Lou MacFarlane's line after I pushed him off the porch: "I wouldn't care if he couldn't read." That's how Clark affected women. But our relationship was unique. Oh, he sometimes gave me the macho routine when people were watching, but he changed when we were alone.

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We always used to celebrate together at the end of a picture. Clark insisted on it. Maybe we'd include the director, maybe not. It was just a kind of ritual that the two of us had. We would share a bottle of champagne while he read poetry to me, usually the sonnets of Shakespeare. He loved poetry, and read beautifully, with great sensitivity, but he wouldn't dare let anybody else know it. He was afraid people would think him weak or effeminate and not the tough guy who liked to fish and hunt. I was the only one he trusted. He never wanted me to tell about this, and here I am giving him away; but I never mentioned it while he was alive.

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He had to keep up the masculine image for Carole. Though she joked and teased about it, somehow he kept having to prove it to her. Carole was beautiful and feminine, but she could swear like a stevedore, really take off, and he would just sit back and howl. He loved it, yet it challenged him. That may be why older women generally attracted him. His first two wives were much older. Of course, they helped him: one was a drama coach, the other a rich Texan. But Clark wouldn't marry for those things; he was too independent. I think he lust felt less pressured by them. He more or less continued that through his life. After Carole died, he used to see Dolly O'Brien, who was a lot older. He had some kind of mother fixation, and although I was younger, that's probably what I represented to him.

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James Kotsilibas-Davis & Myrna Loy (Myrna Loy – Being & Becoming) 1987

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The enabler of all this was curiously uncomfortable with what he wrought. Charles Kettering of General Motors, who liked to say, "I am a wrench-and-pliers man," invented what became known as the high-compression engine - one that generated a great deal more power than its predecessors. With more powerful engines, cars could become vastly bigger and carry more of the weighty and often power-consuming optional equipment Americans had come to crave. That was the result of Kettering's invention, but it had not been his intention. He prized efficiency above all else. He had seen the high-compression engine as a means of bringing far greater efficiency to fuel consumption, but this, the last of his many great inventions, was co-opted almost from the start. Instead of bringing an era of greater efficiency, the engine opened the door to an era of unparalleled excess. The age of the gas guzzler had arrived.

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Kettering was the exceptional man, a true American genius. He was born on a farm in Ohio in 1876, and his early years were not easy. Getting an education was hard enough because of his family's scant income - to earn money he had to teach school at the same time he went to it - but it was made much harder by his poor eyesight; it was so bad that he needed someone to read all his textbooks to him, and so it took him six years to graduate from Ohio State. As a brand-new chemical engineer he got a job with the National Cash Register Company in Dayton, where he invented a small motor that allowed cash registers to be operated electrically. The Cadillac people approached him with the suggestion that he adapt the motor to automobiles, to serve as a self-starter, replacing the handcrank. The idea appealed to Kettering; both uses required an engine that could deliver a brief but strong burst of power. Working in the hayloft of a barn with moonlighting fellow engineers from National Cash Register - "the barn gang," they called themselves - he invented a starter motor that took the need for muscle out of starting cars, enabling women and older people to drive. The innovation, introduced in the 1912 Cadillacs, boosted Cadillac's sales from ten thousand to fourteen thousand. The name of the company Kettering set up was Dayton Engineering Laboratories Company, which became known as Delco; in 1916 Delco became part of General Motors, and Kettering soon became GM's head of research.

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David Halberstam "The Reckoning" (1987)

WHY DID LES BLANK CALL HIS FILM BURDEN OF DREAMS?

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Cinema emboldens us. It helps us surmount everyday life and encourages us to take our hopes and desires seriously, to turn them into reality. When things were going badly I headed back to Germany in an attempt to hold together the film's investors. ?They asked me if I was going to continue. "Do you really have the strength and will?" I said, "How can you ask this question? If I abandon this project, I will be a man without dreams. I live my life or I end my life with Fitzcarraldo." It wasn't possible for me to allow myself private feelings of doubt while making the film. I never had the privilege of despair; had I hesitated or panicked for a single second, the entire project would have come tumbling down around me. The final film ended up basically as I had always hoped it would, with the exception of the Mick Jagger character. Months later Claudia Cardinale said to me, "When you came to Rome four years ago you explained your ideas to me and all the difficulties we would have to overcome. Now I've seen the film, and it's exactly as you first described it."

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If you watch Fitzcarraldo and have the courage to push on with your own projects, then the film has accomplished something. If one person walks outside after watching one of my films and no longer feels so alone, I have achieved everything I set out to achieve. When you read a great poem you instantly know there is a profound truth to it. Sometimes there are similar moments of great insight in cinema, when you know you have been illuminated. Perhaps, occasionally, I have achieved such heights with my own films.

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BURDEN OF DREAMS INCLUDES SCENES "FROM THE ORIGINAL VERSION OF FITZCARRALDO, WITH ROBARDS AND JAGGER.

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People are always asking me if they can visit my sets and shoot footage of me at work; I tell them they will experience nothing but an endless chain of banalities. I didn't invite Les to the jungle but he was eager to come down and make a film. At first I was reluctant to have a camera around because there is something distasteful about making films about filmmakers. I don't like being recorded while working. When you cook a meal at home and there is someone staring at your hands, suddenly you're no longer a good cook. Everyone functions differently when being observed, and filmmkers are usually pathetic embarrassments when they appear on film. I include myself here.

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Tom Luddy had shown me some of Les's films, and I loved them instantly, especially Spend It All, which has a scene where a man pulls his own tooth out with a pair of pliers, an image I borrowed for Stroszek. His films document the vanishing marginals of American life in the most vibrant ways. I also loved Les's cooking and general attitude to life. He turned out to be a healthy presence in the jungle. Most of the time he was like a southern bullfrog brooding behind a beer, unobtrusive, always knowing when he should turn on the camera and when there were .. significant moments to capture on film. What I really liked about Les was that he wasn't just monosyllabic; often he was zero-syllabic. He hardly ever spoke a word and somehow managed to blend into the environment. I was also persuaded by his argument that however confident I was about finishing the film, if everything fell apart then thanks to his footage there would at least be some record of this foolhardy quest.

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Les wasn't some court jester who adulated everyone, no matter what they were doing. He had an extraordinarily good eye and brought a considered subjectivity to what he was filming. He was just as interested in watching how the Indians would ferment yucca as he was documenting the production of Fitzcarraldo, and most of the time could be found in the camp where the natives did their cooking. One time at breakfast I explained to him that later in the day there would be a real event: for the first time in months we planned to move the boat up the mountain. "I'm not here to film events," said Les, and he didn't show up. That evening he told me he had spent the day filming an ant carrying a parrot feather. I always liked his attitude, and can look back at the diaries I wrote during production and find a world of observations completely different to what Les was documenting at the same moment.

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Werner Herzog? "Werner Herzog A Guide For The Perplexed" (2015)

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An extreme example is Matthew Whitaker, whom I first saw featured on 60 Minutes. Born prematurely, at twenty-four weeks, Matthew was not expected to survive. He defied the odds. But he became blind as a result of a condition known as attendant retinopathy. When he was three, his grand-father gave him a small electronic keyboard. Matthew immediately started playing it, easily sounding out songs he had heard, such as "Twinkle, Twinkle, Little Star." At the age of five, Matthew became the youngest student to be admitted to the Filomen M. D'Agostino Greenberg Music School for the blind and visually impaired in New York City. His teacher reported that the morn-s? after he attended a concert of her performing a Dvorak piano quintet, she heard him playing not only the piano part but all four parts for strings. Matthew now travels the world playing jazz professionally.

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Temple Grandin "Visual Thinking: The Hidden Gifts of People Who Think in Pictures, Patterns, and Abstractions" (2022)

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For some reason the scene embarrassed Gavin, who resisted playing it with his shirt off. Hitchcock fobbed the actor off on writer Joseph Stefano, who was on the set. "Stefano persuaded him by encouraging him to use that very embarrassment as part of the scene," according to John Russell Taylor's book, "particularly when having an argument while half undressed."

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The embarrassing nature of the scene was aggravated by the fact that it was the first one Gavin acted with Leigh - and unlike, say, The 39 Steps, he and she were not supposed to be "meeting cute." "It isn't easy to say, 'Hello, nice to see you again,' and then hop in the sack and make love, remembered Leigh. "We were bound to be somewhat awkward. I thought we had begun to warm up and were progressing fairly well. "

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After some lackluster takes, Hitchcock beckoned the white-lingerie-clad actress over and complained, "I think you and John could be more passionate! See what you can do!" (According to Rebello, Hitchcock actually instructed Leigh "in discreet but descriptive terms" to "take matters in hand, as it were. Leigh blushed, acquiesced, and Hitchcock got a reasonable facsimile of the required response.") Then, almost as an afterthought. the director strolled over to Gavin and whispered something in his ear, too. tantalizing each performer by giving the other secret advice. "I wouldn't have put it past him to pull my chain, and then to pull John's chain," said Leigh, "just to get the desired results."

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Give Gavin credit: he was struggling with his role. Years later, when Leigh was researching her book Psycho: Behind the Scenes of the Classic Thriller, Gavin told her that his chances weren't improved by the odor he detected on the set. Hitchcock's body odor? he wondered. Or perhaps the director's breath? Or maybe his cigar, as Hitchcock sat there, puffing placidly away, mere inches away from the performers pretending a love scene. And that's the way the tryst opening of Psycho plays: audacious bur awkward, provocative but cold, sexy with a whiff of BO.

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"In a strange way," Leigh argued later, Gavin's passivity "worked for the suspense. Real passion would have justified Marion's theft. But the lack of the complete abandon with Sam might have led some audience members to think, 'I wonder if he really loves her that much?' It made Marion even more sympathetic, which Hitch was very concerned about her being."

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During the filming, however, those who watched the dailies though: they were seeing way too much of the back of Gavin's head, according Rebello's book, whereas, under Hitchcock's more sympathetic tutelage. Leigh was exposing unprecedented parts of her anatomy - while achieving her most immortal performance.

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Leigh was a good sport, who got a kick out of the director's off-color limericks, puns, and pranks. Kim Novak had arrived on the set of Vertigo on the day of her semi nude scene (waking up from her "suicide attempt" in Scottie's apartment), to be greeted by a plucked chicken hanging from her dressing room; her unamused disgust undoubtedly wrecked any second chance Hitchcock might have been giving her. The worst jokes on Leigh seemed to come just moments before her most important scenes - and she found most of them terribly funny.

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Hitchcock had one running gag involving Leigh and Mrs. Bates -? Norman's mother - as he tested the various mummified skeletons created by the effects department. The director "relished scaring me," Leigh wrote in her memoir. "He experimented with the mother's corpse, using me as his gauge. I would return from lunch, open the door to the dressing room, and propped in my chair would be this hideous monstrosity. The horror in my scream registered on his Richter scale, decided his choice of the Madam."

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Hitchcock CARED about Leigh (and the character she was playing), a concern reflected in the way he helped her out, even acting from the sidelines, during the protracted car-driving interludes. In those scenes Marion wears a troubled, guilty face," according to the script, and the director "completely articulated for me what I was thinking," Leigh recalled. " 'Oh-oh,' h'd say, 'there's your boss. He's watching you with a funny look.' "

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The shower stabbing - Leigh's most demanding scene - was scheduled for the week of December 17-23, just before Christmas. "During the day," recalled Leigh, "I was in the throes of being stabbed to death, and at night vas wrapping presents from Santa Claus for the children."

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Darkness and light: Mrs. Bates's knife was a retractable prop. The bathroom, at the director's insistence, was lined with "blinding white tiles" and shining fixtures. Plenty of chocolate syrup, in a squeeze bottle, supplied the dark ?blood. A professional dancer stood by for the more intimate shots (Hitchcock had thrown a publicity lightning bolt when he announced he was planning a "rearview scene of Miss Leigh"), but Leigh herself appeared in most of the shots, wearing flesh-colored moleskin, though it occasionally peeled away under the watery onslaught.

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-Hitch and I discussed the implications [of the scene] at great length," remembered Leigh. "Marion had decided to go back to Phoenix, come clean, and take the consequences, so when she stepped into the tub it was as if she were stepping into the baptismal waters. The spray beating down was purifying the corruption from her mind, purging the evil from soul. She was like a virgin again, tranquil, at peace."

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(The shower as baptism" was an idea Hitchcock extrapolated from Robert Bloch's novel, where Mary Crane decides "that's what she was going to do right now, take a nice, long, hot shower. Get the dirt off as she was going to get the dirt cleaned out of her insides. Come clean, Mary. Come clean as new.")

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In addition to the scene of Arbogast climbing the stairs to meet Mother, Saul Bass had storyboarded the shower sequence, sketching the "high shot with the violins, and suddenly the big head with the brass instruments clashing," in Hitchcock's words - the cuts coming staccato and furious, each lasting mere seconds. The montage conjured up complete nudity and savage violence, even though, as the director tirelessly explained in interviews, it was all an illusion - giving "an impression of a knife slashing, as if tearing at the very screen, ripping the film," in the words of the script.

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Blond dripping hair, dark gaping mouth, blood spattering everywhere. It took seven days to collect the individual shots - seventy-eight pieces of film (Hitchcock could stipulate the exact number for interviewers). Pat Hitchcock O'Connell has said that her mother conceived the precise order of the images. Saul Bass later claimed that he was on the set and actually directed the scene, though of course he didn't - yet it was possible, if unprovable, that Bass was nearby (it would have been like Hitchcock to keep him around).

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The hardest shot was the last one of Marion, dead, "starting with the eye in full frame and gradually easing back to disclose the draped body still clutching the torn curtain, the running water, the entire bathroom," in Leigh's words. They filmed it some twenty times before Hitchcock was satisfied - and then during the postproduction, according to legend, Mrs. Hitchcock detected a blink from the actress, and a freeze shot was ordered.

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Norman Bates, of course, was Marion's costar in that scene. But Anthony Perkins had been let off for the week; he was safely on the East Coast when the shower scene was filmed. The knife-wielding Mother was actually a costumed "double" - stuntwoman Margo Epper. Hitchcock deployed slow motion to cover Leigh's breasts - "the slow shots," the director told Francois Truffaut, then "inserted in the montage so as to give an impression of normal speed." Leigh's lifeless eye was optically enlarged in postproduction, according to Rebello's book, "so that orb appeared to be a perfect 'fit' in the bathtub drain as his camera spiraled down the drain." All of Hitchcock's long experience and magicians hip went into these, his most spectacular forty-five seconds of terrifying illusion.

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After a Christmas break filming resumed on the second half of the film, with Arbogast going to meet Mother and meeting his maker instead, and Lila stumbling upon Mother in the basement.

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Mother herself was a piece of elaborate Hitchcockery. For the film to work, audiences had to think Mother was alive, right up to the climax. Paul Jasmin, an actor friend of Anthony Perkins, offered up his talent for doing an old-lady, Marjorie Main kind of voice; when Mother spoke, sometimes it was Jasmin, sometimes lines that had been looped by actresses Virginia Gregg or Jeanette Nolan (John Mclntire's wife). Hitchcock spliced and melded the voices together, keeping moviegoers guessing until Mother's actual "appearance" as a mummified corpse in a rocking chair. That bit of stagecraft was even more troublesome than the shower sequence.

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"First of all it was very difficult to get Mother to turn," Hilton Green recalled. "A prop man had to be squatting down on the back of his heels, out of sight, turning the chair in unison with the hitting of the light bulb, in sync with the movement of the camera. Trying to get all of that in one precise moment proved extremely tough. Oh, I've never seen Hitch so furious. He looked at the dailies and it wasn't the way he wanted." They had to try it again.

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Only the last voice, with Bates sitting forlornly in jail, his mind subsumed by Mother, is entirely female: "Virginia, with probably a little of Jeanette spliced in," according to Jasmin.

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Hitchcock paid more attention to Mother, some people involved in the production thought, than to Lila and Sam. Joseph Stefano kept arguing that the stars of Part 2 of Psycho deserved "a few seconds of silent memory" at the end, reflecting on what had happened to Marion, but the director was reluctant to stir the ashes. In order to keep the pace moving he cut dialogue Stefano had written for the pair, expressing their feelings of loss.

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That may be one defect of Psycho, and especially of the final scene (among the last Hitchcock filmed, in late January 1960): the psychiatrist's monologue dissecting the psyche of Norman Bates. The scripted version of sequence included exteriors outside the police building, a television crew broadcasting news of Bates's arrest, and a patrolman holding crowds back. Inside, an errand boy brings take-out coffee into the office of the Chief of Police. Sam asks Lila, "It's regular, okay?" and Lila answers pointedly, "I could stand something regular," followed by small talk that would give audiences a chance to decompress.

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Hitchcock didn't want the audience of Psycho to decompress. He wanted the final crescendo, then a quick coda. He shot the coda sequence virtually as scripted, before deciding to eliminate the atmosphere and small talk and focus purely on the psychiatric explanation of Norman's pathological relationship with his mother. Sam and Lila received only terse cutaways. After Simon Oakland, a smooth, authoritative actor, breezed through his lines, Hitchcock brought two months of photography on Psycho to a close on February 1, 1960.

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Patrick McGilligan "Alfred Hitchcock: A Life in Darkness and Light" (2003)

Butchered to make a Roman Holiday

(Byron)

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I don't know if you're at all familiar with Florence.? Well, it's got nothing to do with it, but I thought it was a very good opening.

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Well, there's a housing estate just outside Welling Garden City. And a brand new housing estate, on which there dwelled a family: a wife and a husband.? And the wife was very petite, well-spoken, nicely mannered girl, known to her associates as Butch.

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And she had great troubles at this place because the roads weren't made, and there was a manhole outside her house in which her husband, when coming home from the fish shop? (and he frequented the OTHER place, Holmes's place) used to fall in regularly every night.

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And she badgered the county council to put a lid on this manhole so he wouldn't fall down. But they wouldn't, so she made one of her own, by cutting up an old boiler, which she had. And she put this manhole down over this open manhole.

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And of course, I don't know if you know anything about housing estates, but you can't DO that.? And they said, "You're interfering with the amenities."?

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The Amenities were the people living next door.? And they didn't want a manhole. And they asked this lady, Butch, and her husband to leave.

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And some neighbors were discussing it, and they said, "Why did nice lady called Butch leave?"

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And they said, "They made her leave because she made her own manhole in it."

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"Oh, Butch erred to make her own manhole lid, eh" which if you say it quickly, it sounds like "Butchered to make a Roman Holiday."

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I must point out it doesn't sound VERY much like it now that I come to think of it.

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Denis Norden 580625b

I love my partner, but the rumbling snores keep me awake. Any solutions for people like us?

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Sharing a bed with someone who snores can be a challenge. It's also a common one — up to half of adults in the United States snore regularly, some data suggests, and their partners can suffer. Experts say the first step to getting some rest is understanding what's causing the noise.

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When the muscles that keep your airway open become relaxed while you sleep, your airway can narrow, causing the soft tissues in your throat to vibrate with each breath, said Daniel Vena, an assistant professor of sleep medicine at Harvard Medical School.

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"Those muscles go to sleep when you go to sleep," Dr. Vena said. Also, people who are overweight tend to snore because extra tissues in the tongue and throat can hinder airflow, he said.

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Congestion can also constrict an airway; some people snore because of a cold or allergies, said Dr. Kuljeet K. Gill, a clinical assistant professor of sleep medicine at the Northwestern University Feinberg School of Medicine.

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For partners who snore regularly, the first step is to rule out obstructive sleep apnea. This is a potentially serious condition that occurs when the airway collapses enough during sleep that it blocks airflow, temporarily pausing breathing and causing people to wake up gasping for air. Untreated, sleep apnea can increase the risk for heart disease, Type 2 diabetes and certain cancers.

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Most people with sleep apnea snore, Dr. Vena said. But not all people who snore have sleep apnea, so get a proper diagnosis. A sleep specialist or an ear, nose and throat doctor should be able to help, said Dr. Omar G. Ahmed, an E.N.T. sleep surgeon at Houston Methodist Hospital. Lifestyle changes like losing weight or quitting smoking — or the use of continuous positive airway pressure machines — may also curtail snoring.

in addition, consider these tips:

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DISCOURAGE MOUTH BREATHING

If your partner has a blocked nose, he or she is probably breathing through the mouth instead, Dr. Gill said. That can lead to snoring, she added. To promote nose breathing while sleeping, your partner can apply nasal strips or clear the sinuses with a nasal rinse before bed. If there's a more permanent blockage, like a deviated septum or nasal polyps, surgery might be an option, Dr. Ahmed said.

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PROMOTE SIDE SLEEPING When sleeping on your back, gravity can cause your airway to narrow, which results in snoring, Dr. Vena said. To help your partner, try placing firm pillows behind his or her back, said Heather E. Gunn, an associate professor of psychology at the University of Alabama. Or you can make rolling over uncomfortable by sewing or taping tennis balls or other objects onto the back of a shirt, said Wendy Troxel, a senior behavioral scientist at the RAND Corporation, a think tank whose research includes public health.

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TUNE OUT THE SOUND Covering your ear with a pillow is one way to stifle the noise, but you'd most likely need to adjust it during the night, Dr. Gunn said. Instead, try wearing earplugs, running a fan or playing white noise, she said.

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TRY A SLEEP DIVORCE If all else fails, try sleeping separately from your partner, perhaps in a spare bedroom (if you have one) or on the couch. A "sleep divorce" might seem bad for your relationship at first, Dr. Gunn said. But inadequate rest can also sink a relationship, Dr. Troxel said. Offset the time apart with quality time together during the day.

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Caroline Hopkins Legaspi

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What Baskerville might equally enjoy is a young Australian woman who calls herself Mrs Eaves and likes nothing more than to write all over her body in black marker pen and post the results on YouTube. The most popular video features Mrs Eaves (real name Gemma O'Brien) in gym gear, which leaves a lot of room to inscribe 'Write Here, Right Now' in different letter styles on her flesh, to the accompaniment of the Fatboy Slim song of almost the same name. She sums up her work thus: 'eight hours writing, five marker pens, three baths and two showers'.

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Simon Garfield "Just My Type" (2010)

Katayama gave a small party in March 1964, when total Nissan sales reached five hundred a month, the target that had been set when the company first opened its American operation. Gradually there was a little money for advertising. In the beginning there had been by American standards virtually nothing, simple black-and-white brochures printed in Tokyo with florid English-language descriptions of the cars. Katayama hired a Los Angeles advertising man named John Parker because he was young, did not cost much, and seemed bright. Parker was delighted to take the Nissan account, unlikely though the future for it seemed, because it? offered a rare entry into the automobile field. In the beginning it was fairl primitive work, convincing Tokyo, for example, that its handouts should be printed in America. The budgets were tiny perhaps $50,000 a year at the start. When Nissan needed to shoot still photos for advertising, Parker, his wife, and their son and daughter had served as models. For a long time there was no money for television. The first television commercial was shot in 1963 for a four-wheel-drive wagon called the Nissan Patrol. Parker had no television studio in his company and no film equipment. Hiring a friend who was an L.A. police photographer and who had a 16mm camera, he drove a Patrol into the canyons and they shot a sixty-second commercial for the vehicle; to save money Parker himself was again the model, his film debut. The next year they heard that Roy Rogers, the cowboy actor, liked the Nissan Patrol, and Parker called him up and asked him to do the company's first full-fledged commercial. "I can't offer you any money, Roy," Parker said, "but we'll give you a Patrol, two pickups, and all the glory a man could want." To his surprise Rogers was delighted to participate.? As the cars began to sell, there began to be a budget for TV ads.

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In the fall of 1964 Datsun made it into the list of the to ten importers for the first time, a list absolutely dominated by Volkswagen. VW had 63 percent of the import market with 307,000 cars sold, an average of over 25,000 a month. In July of 1965 Datsun's sales reached 1000 a month. Back in Japan sales were rising quickly, which allowed Nissan to keep cutting the price; success was begetting success. The American market now looked more and more promising, though VW still appeared awesome. Steadily Nissan and then Toyota gained on the other imports. In 1966 Nissan was sixth with total sales of 22,000,

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David Halberstam "The Reckoning" (1987)

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