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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. David Halberstam "The Reckoning" (1987)

WERE YOU EVER ON THE SUMMIT OF CERRO TORRE YOURSELF? 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." 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. 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. Wh

My Experience with Teasing and Bullying 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. 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. 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. 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. 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. 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. 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. 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." 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

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. 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. 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." 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." 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." 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. 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. " The Production Code, in the end, voted its approval, and Paramount held its breath for the C

There's many a slip twixt cup and lip (trad) 2230 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. The leader of the school, almost the founder of the impressionists , was a painter called Edouard Manet. 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. 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. Manet had painted this picture of all the people in the middle and was hanging it and was giving a show THAT very afternoon. 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. 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. There was the cry of "Manet is the root of all evil." They hated the man. 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 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." Frank Muir 580702a

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

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

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. 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. David Halberstam "The Reckoning" (1987)

WHY DID LES BLANK CALL HIS FILM BURDEN OF DREAMS? 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." 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. BURDEN OF DREAMS INCLUDES SCENES "FROM THE ORIGINAL VERSION OF FITZCARRALDO, WITH ROBARDS AND JAGGER. 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. 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. 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 p

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

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." 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. " 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." 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. "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." 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. 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. 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." 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," L

Butchered to make a Roman Holiday (Byron) 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. 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. 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. 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. 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." 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. And some neighbors were discussing it, and they said, "Why did nice lady called Butch leave?" And they said, "They made her leave because she made her own manhole in it." "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." I must point out it doesn't sound VERY much like it now that I come to think of it. Denis Norden 580625b

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

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. 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, David Halberstam "The Reckoning" (1987)

IN INTERVIEWS YOU CLAIMED NO KNOWLEDGE OF ABEL FERRARA AND HIS ORIGINAL BAD LIEUTENANT. Until this very day I haven't seen his film, nor any of his work. A few years after my Bad Lieutenant came out I met Ferrara for the first time, at a film festival, and though we sat down to talk, we didn't do it over a drink because apparently he has problems with alcohol, and I had no desire to provoke anything. It was actually wonderful that even before I started making the film there was accompanying thunder from this man, who said he hoped I would rot in Hell for remaking his film. It was good music in the background, like the manager of a baseball team running out to the umpire, standing five inches from his face, yelling and kicking up dust. That's what people really want to see. At that meeting with Ferrara we laughed so much I barely recall what we talked about. I agreed to do Bad Lieutenant only after the screenwriter, William Finkelstein, gave me a solemn oath his script wasn't a remake. The only thing that connects my film to Ferrara's is that one of the producers owned the rights to the title and was interested in starting a franchise; it was never a question of different "versions." The two films have nothing to do with each other, and the title - which was forced upon me: and which I told the producers would waft after the film like a bad smell - is misleading. Calling it a remake is like saying Mel Gibson's Passion of the Christ is a remake of Pasolini's The Gospel According to St Matthew, though practitioners of "film studies" will surely be ecstatic to find a reference or two in my film to Ferrara's. I call upon the pedantic theoreticians of cmerna to chase after such things. Go for it, losers. The producers sent the script to my agent, but when it comes to negotiating contracts I prefer doing things myself, and chose to face them and their henchmen man to man. At our first meeting I sat with five people from the production company. My first question was, "Are any of you legal counsel for the production?" one of them identified himself. I asked him to stay in the room but not participate in the discussion, then said, "What I have to say here isn't the invention of some industry agent who is trying to sound important. I represent myself here. If you want to be in business with me, I need certain indisputable prerequisites. I decide who the cameraman, editor and composer of this film will be." They quickly accepted this, then asked me for my rate. "What do you mean by 'rate'?" I said. "How much do you get for directing a film?" they said. "What's your price?" My response to such a ridiculous question was the most coherent I could muster: "I'm priceless." How can I answer a question like that in any other way? With a film like The Wild Blue Yonder I paid myself virtually nothing and used mostly my own money, but with Bad Lieutenant I quoted them an exorbitant figure, immediately adding, "I guarantee you I'll finish this film under budget, so in effect you'll be saving money." The main producer wanted to shake on it immediately, but I resisted. I prefer the overnight rule. "If I have a contract in my hands at eight o'clock tomorrow morning," I told them, "we have a deal." I have a general understanding of Hollywood: if you don't have a deal in two days, you won't have it in two years either. The next morning a messenger was at my house with a signed contract, which I looked at carefully for a few minutes, signed without telephoning a lawyer, then handed back for delivery to the producers. I appreciate the value of money and know how to keep costs down because I've been my own producer for so many years. If it's your own money, you had better learn to look after it. I demanded a say on the size of the crew and asked for daily access to the cash flow, which the producers acceded to. I needed to know if I could afford another half a dozen police cars in this shot or twenty more extras in that sequence. People often throw money at problems, but I have always preferred to use vigilance and flexibility in advance, diffusing si

Music and Math Thinkers Patterns instead of pictures dominate the thinking processes of these children. Both music and math are a world of patterns, and children who think this way can have strong associative abilities. They like finding relationships between numbers or musical notes; some children may have savant-type calculation skills or be able to play a piece of music after hearing it just once. Musical talent often emerges without formal instruction. Many of these children can teach themselves if keyboards and other instruments are available. When they grow up, pattern thinkers are often very good at computer programming, engineering, or music. Some of these children should be advanced several grades ahead in math, depending on their abilities, but they may need special education in reading, which may lag behind. Verbal Thinkers These children love lists and numbers. Often they will memorize bus timetables and events in history. Interest areas often include history, geography, weather, and sports statistics. They are not visual thinkers. Parents and teachers can use these interests and talents as motivation for learning less-interesting parts of academics. Some verbal thinkers are whizzes at learning many different foreign languages. I know individuals with verbal thinking skills who have been successfully employed in sales, stage acting, accounting, factual/technical writing, and pharmacology. The thinking patterns of individuals with ASD are markedly different from the way "normal" people think. Because of this, too much emphasis is placed on what they "can't do" and opportunities to capitalize on their different, but often creative and novel, ways of thinking fall by the wayside. While impairments and challenges do exist, greater progress can be made teaching these individuals when parents and teachers work on building the child's strengths and teach in a manner aligned with their basic pattern of thinking. Temple Grandin "The Way I See It: A Personal Look at Autism & Asperger's" (2011)

Another souvenir Hitchcock brought back from Germany was the playful tyranny in his persona; a tyranny that was very German, mingled with playfulness that was very much his own. At Elstree in the late 1920s emerge the first eyewitness accounts of a director who sometimes ruled the set like a fuhrer, manipulating the people and the atmosphere the way he manipulated pieces of film - achieving darkness or light according to his mood. To get what he wanted on film, he was capable of behaving like a dictator, or a circus clown. Like other tales of Hitchcock hubris, these stories have grown and been exaggerated over the years. The penchant for elaborate, sometimes borderline-ugly practical jokes was widespread during this era. Hitchcock was not the only practical joker at B.I.P (or, later, Gaumont); the trend was industrywide. People say, for example, that whenever Monta Bell - an American who was "literary editor" of Chaplin's Woman in Paris before turning director - was on the lot, the madness was rife. Sometimes Hitchcock's "odd behavior" was simply good publicity. Teatime, for example, was a treasured afternoon break, and so it was fodder for the columnists when Hitchcock took to hurling crockery over his shoulder, signaling "Back to work!" after drinking his cuppa. "I always do it when I'm feeling good," Hitchcock explained one time. "I like to get up onto a high rostrum with a camera, and tip the tray over. Or push cups over the edge of a platform. Or just open my hand and let the whole thing drop. Wouldn't you?" The first time he did it, Hitchcock told the press, one of his favorite crew members split his sides with laughter - a sure invitation to repeat performances. Soon he was expected to smash all his teacups. Such eccentricity woke people up, and made for an exclamation mark in an otherwise humdrum day. The crew relished it, which was sensible policy. Hitchcock also hated uninvited visitors to the set, especially members of the general public on courtesy tours (ironic considering his later association with Universal Studios, packager of the most lucrative studio tour in film history). So, when such tours materialized, Hitchcock would switch to German, shouting curses and obscenities - all the more amusing when the visitors were priests accompanied by ecclesiastical students. Most of his practical jokes were innocent: hosting formal dinners with all the food tinged with blue coloring, placing whoopee cushions under the hinds of stuffy guests, plying uptight people with strong drink and watching as they came unglued. Some were elaborate and expensive: tying quantities of kippers onto the bumpers of a victim's fancy car, ordering a load of coal to be dumped on someone's front doorsill. But practical joking was also a matter of one-upmanship - a game Hitchcock was driven to win at all costs. Assistant cameraman Alfred Roome recalled how the director used to poke fun at his posh, beetle-size Austin-Healey, and one day requisitioned the car for a conference with floor manager Richard "Dickie" Beville. Both hefty men, Hitchcock and Beville squeezed inside the vehicle, pointedly annoying Roome, who felt his private vehicle ought to be off-limits. Roome went in search of a smoke pot, found one in storage, placed it underneath the Austin-Healey, and then lit the fuse. "You never saw two fat men get out of a car quicker," recalled Roome. "Hitch never tried anything again on me. He respected you if you hit back. If you didn't, he'd have another go." No question, some of his jokes had a bullying quality that disturbed people. Actors he didn't like or considered "phony" were special targets for sarcasm or pranks. Hitchcock said defensively in a 1972 televised interview that he never meant to harm or denigrate anyone. But everyone knew his jokes were at their worst when a film wasn't going right. Oh, my son couldn't be a murderer, Bruno's mother (Marion Lorne) exclaims in Strangers on a Train; it must be one of his practical jokes. "Sometimes he goes a little too far," she sighs. People reflexively cite the case of Dickie Beville

A Carpenter's known by his chips (Swift) My story starts in a lonely, rather deserted street in a town not a thousand miles from Piccadilly Circus. Wandsworth actually. It's a borough isn't it, not a town, but never mind. There were two fried fish shops in this street. Follow me very carefully here. One was run by a chap called Charlie Holmes. And these fish shops were in deadly rivalry And Charlie Holmes suddenly got all the trade because he'd put a big neon sign outside his fish shop saying, "There's no place like Holmes's" And he got all the trade. And this other chap, old Alf Carpenter, he was absolutely furious at this, so he said to his staff. He only had one staff because they were very small shops, and his staff was the batter man, a chap called Gunga Din. He said to Gunga Din, "Now if you can think of a slogan for my shop that will get all the trade back and I'll make you the chipper." Now although Holmes's place was undoubtedly very good, Old Alf was a very good buyer of spuds. And he really did you a very crisp chip And actually that was the idea that gave Gunga Din the slogan that now Carpenter, of course, sought out, now has all the trade, because there's now a big neon sign outside his shop that says, "A Carpenter is known by his chips." Frank Muir 580625a download at http://www.mediafire.com/download.php?wuibf89ixw5wk3f

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