My son Del pointed this video out to me last night, hoping I wasn't quite as creepy a boss as the one on the vid. This is very funny stuff, and hey seem to have dozens more on You Tube...
---o0o---
Thursday, August 16, 2007
Video/lyrics: The Beatles - I Am The Walrus:::::speculations on Pet Sounds, Sgt. Pepper, Rubber Soul and The Beatles and Beach Boys mutual influence
And we are all, in fact, The Walrus. At this juncture in rock music history, everyone was influencing everyone. It gets pretty circuitous here. . .not all that long before this, Bob Dylan hooked up with The Beatles in London and introduced them to marijuana. But more importantly, he influenced John Lennon with his new work. He was no longer a folkie, but a singer-songwriter creating imagistic, and often, surrealistic, and even Da-da-istic lyrics, densely packed with images, allusions, humor, and callbacks to other musics, past and present.
When McCartney and Lennon heard Pet Sounds, they were stunned. Paul McCartney said: “ It was Pet Sounds that blew me out of the water. I love the album so much. I've just bought my kids each a copy of it for their education in life ... I figure no one is educated musically 'til they've heard that album ... I love the orchestra, the arrangements ... it may be going overboard to say it's the classic of the century ... but to me, it certainly is a total, classic record that is unbeatable in many ways ... I've often played Pet Sounds and cried. I played it to John [Lennon] so much that it would be difficult for him to escape the influence ... it was the record of the time. The thing that really made me sit up and take notice was the bass lines ... and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines. "God Only Knows" is a big favourite of mine ... very emotional, always a bit of a choker for me, that one. On "You Still Believe in Me", I love that melody - that kills me ... that's my favourite, I think ... it's so beautiful right at the end ... comes surging back in these multi-coloured harmonies ... sends shivers up my spine. ”
Eric Clapton said that "I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one."
Elton John thinks that "Pet Sounds is a landmark album. For me to say that I was enthralled would be an understatement. I had never heard such magical sounds, so amazingly recorded. It undoubtedly changed the way that I, and countless others, approached recording. It is a timeless and amazing recording of incredible genius and beauty."
Beatles producer George Martin said that that "Without Pet Sounds, Sgt. Pepper wouldn't have happened... Pepper was an attempt to equal Pet Sounds." After Sgt. Pepper was released, Wilson was so despondent that he went to bed for months. Uh no, he went to bed for years. But that's a story for another day.
Once again, I have taken an ostensibly simple subject--a video of The Beatles I Am The Walrus--and turned it into a bramble of shredded wheat. This is an example of music influencing music influencing more music. Nonetheless, as great as Sgt. Pepper is, I happen to like the follow on album more, while in no way detracting from Sgt. Pepper's monolithic and lasting influence (likewise for Pet Sounds).
The Walrus
by John Lennon and Paul McCartney
I am he as you are he as you are me and we are all together.
See how they run like pigs from a gun, see how they fly.
I'm crying.
Sitting on a cornflake, waiting for the van to come.
Corporation tee-shirt, stupid bloody Tuesday.
MAN, you been a naughty boy, and let your face grow long.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo
Mister City P'liceman sitting
Pretty little policemen in a row.
See how they fly like Lucy in the Sky, see how they run.
I'm crying. I'm cry------------ing,
I'm crying. I'm cry------------ing.
Yellow matter custard, dripping from a dead dog's eye.
Crabalocker fishwife, pornographic priestess,
Boy, you been a naughty girl and let your Knickers down.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo
Sitting in an English garden waiting for the sun.
If the sun don't come, you get a tan
From standing in the English rain.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo coo coo c'choo
Expert texpert choking smokers,
Don't you think the joker laughs at you? (ho ho ho, he, he he, ha, ha, ha)
See how they smile like pigs in a sty, see how they snide.
I'm crying.
Semolina Pilchard, climbing up the Eiffel Tower.
Elementary penguin singing Hare Krishna.
Man, you should have seen them kicking Edgar Allan Poe.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo, coo coo coo c'choo, coo coo c'choo, c'choo coo c'choo c'choo
(rhythmical speaking along with juba's).
Juba juba juba, juba, juba, juba, juba, juba, juba juba. Juba juba.....
(speaking)
--Repeat (eventually juba's will stop) and fade until end.--
during the fade out background vocals:
[Simultaneously:] 'Everybody smokes pot' and 'Oompa, oompa, stick it up your joompa' [jumper]
---o0o---
\
I am in the minority, preferring The Beatles Magical Mystery Tour over their 8th album, Sergeant Pepper's Lonely Hearts Club Band. I'm not denying the massive critical and popular acclaim the album achieved. It was innovative, from its structure to the recording techniques to the fantastic cover collage covering a broad range of pop culture heroes and villains. Sgt. Pepper's influence was massive and almost monolithic, and it actually changed the way other musicians did business.
One of the inspirations for Sergeant Pepper was The Beach Boys' masterpiece Pet Sounds. Interestingly, Pet Sounds was inspired by an earlier Beatles' album, Rubber Soul. When Wilson heard that album, he launched into making an album that cohered the same way as Rubber Soul.
One of the inspirations for Sergeant Pepper was The Beach Boys' masterpiece Pet Sounds. Interestingly, Pet Sounds was inspired by an earlier Beatles' album, Rubber Soul. When Wilson heard that album, he launched into making an album that cohered the same way as Rubber Soul.
Brian Wilson said about Rubber Soul: "I really wasn't quite ready for the unity. It felt like it all belonged together. Rubber Soul was a collection of songs ... that somehow went together like no album ever made before, and I was very impressed. I said, "That's it. I really am challenged to do a great album."
When McCartney and Lennon heard Pet Sounds, they were stunned. Paul McCartney said: “ It was Pet Sounds that blew me out of the water. I love the album so much. I've just bought my kids each a copy of it for their education in life ... I figure no one is educated musically 'til they've heard that album ... I love the orchestra, the arrangements ... it may be going overboard to say it's the classic of the century ... but to me, it certainly is a total, classic record that is unbeatable in many ways ... I've often played Pet Sounds and cried. I played it to John [Lennon] so much that it would be difficult for him to escape the influence ... it was the record of the time. The thing that really made me sit up and take notice was the bass lines ... and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines. "God Only Knows" is a big favourite of mine ... very emotional, always a bit of a choker for me, that one. On "You Still Believe in Me", I love that melody - that kills me ... that's my favourite, I think ... it's so beautiful right at the end ... comes surging back in these multi-coloured harmonies ... sends shivers up my spine. ”
Eric Clapton said that "I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one."
Elton John thinks that "Pet Sounds is a landmark album. For me to say that I was enthralled would be an understatement. I had never heard such magical sounds, so amazingly recorded. It undoubtedly changed the way that I, and countless others, approached recording. It is a timeless and amazing recording of incredible genius and beauty."
Beatles producer George Martin said that that "Without Pet Sounds, Sgt. Pepper wouldn't have happened... Pepper was an attempt to equal Pet Sounds." After Sgt. Pepper was released, Wilson was so despondent that he went to bed for months. Uh no, he went to bed for years. But that's a story for another day.
Once again, I have taken an ostensibly simple subject--a video of The Beatles I Am The Walrus--and turned it into a bramble of shredded wheat. This is an example of music influencing music influencing more music. Nonetheless, as great as Sgt. Pepper is, I happen to like the follow on album more, while in no way detracting from Sgt. Pepper's monolithic and lasting influence (likewise for Pet Sounds).
The Walrus
by John Lennon and Paul McCartney
I am he as you are he as you are me and we are all together.
See how they run like pigs from a gun, see how they fly.
I'm crying.
Sitting on a cornflake, waiting for the van to come.
Corporation tee-shirt, stupid bloody Tuesday.
MAN, you been a naughty boy, and let your face grow long.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo
Mister City P'liceman sitting
Pretty little policemen in a row.
See how they fly like Lucy in the Sky, see how they run.
I'm crying. I'm cry------------ing,
I'm crying. I'm cry------------ing.
Yellow matter custard, dripping from a dead dog's eye.
Crabalocker fishwife, pornographic priestess,
Boy, you been a naughty girl and let your Knickers down.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo
Sitting in an English garden waiting for the sun.
If the sun don't come, you get a tan
From standing in the English rain.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo coo coo c'choo
Expert texpert choking smokers,
Don't you think the joker laughs at you? (ho ho ho, he, he he, ha, ha, ha)
See how they smile like pigs in a sty, see how they snide.
I'm crying.
Semolina Pilchard, climbing up the Eiffel Tower.
Elementary penguin singing Hare Krishna.
Man, you should have seen them kicking Edgar Allan Poe.
I am the eggman, they are the eggmen, I am the walrus,
coo coo c'choo, coo coo coo c'choo, coo coo c'choo, c'choo coo c'choo c'choo
(rhythmical speaking along with juba's).
Juba juba juba, juba, juba, juba, juba, juba, juba juba. Juba juba.....
(speaking)
--Repeat (eventually juba's will stop) and fade until end.--
during the fade out background vocals:
[Simultaneously:] 'Everybody smokes pot' and 'Oompa, oompa, stick it up your joompa' [jumper]
---o0o---
\
Alien Lore No. 111: UFOFs over Haiti
Is it real, or from a Halo 3 commercial, or composed in VUE 6? This video was allegedly shot August 6, 2007. It seems to be controversial, but then isn't every video we've ever seen of a UFO or a grey? And really, as Ken Kesey once wrote "it's all true, whether it happened or not."
---o0o---
---o0o---
Fair Use Notice--> All This Is That<--Copyrights and Copywrongs
Images - Our rationale for claiming fair use:
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2) The image is low resolution; if the image is high resolution, it is a) clearly in the public domain, b) licensed to All This Is That by Creative Commons, or another such organization; or c) is the only available image to use as an illustration--e.g., there are no free or licenseable images available; in which case, we generally reduce the resolution to the extent it is not suitable for commercial uses.
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This work is licensed under a
Creative Commons Attribution-Noncommercial-Share Alike 3.0 License.
___________________
The Wikipedia's has far more stringent requirements for claiming fair use than All This Is That:
A well-written use rationale must explain how the use of this media meets the Non-free content criteria and should state:
What proportion of the copyrighted work is used and to what degree does it compete with the copyright holder's usage? For example, if the image is a photograph or logo, the entire work is likely being used. A screenshot that reveals the most important discovery of a documentary or the ending of a movie, for example, though a very small portion of the work, may disproportionately compete with the copyright holder's use. In the case of a music sample, the length should be no longer than 10 percent of the song's original length or 30 seconds, whichever is shorter.
If applicable, has the resolution been reduced from the original? In the case of music samples, has the quality been reduced from the original?
What purpose does the image serve in the article?
Is the image a logo, photograph, or box art for the main subject of the article?
Is the image being used as the primary means of visual identification of the subject or topic?
(e.g., a corporate logo or the box art of a DVD)
Is it being used to illustrate a particular topic? (e.g., a screenshot from a movie)
To what degree is the image replaceable by a free content image?
If the image is a screenshot of a movie that for an article about the movie, or a corporate logo, there is obviously no such thing as a "free" version of it - all of the resources in the world could not produce one. If, on the other hand, the image is a photograph, the image is more easily replaced, even if Wikipedians may lack the resources to create a replacement.
Any other information necessary to assist others in determining whether the use of this image qualifies for fair use.
---o0o---
1) All images not specifically licensed by All This Is That are employed to illustrate essays and news articles, poems, and works of fiction and satire. These images are used for informational or educational purposes only.
2) The image is low resolution; if the image is high resolution, it is a) clearly in the public domain, b) licensed to All This Is That by Creative Commons, or another such organization; or c) is the only available image to use as an illustration--e.g., there are no free or licenseable images available; in which case, we generally reduce the resolution to the extent it is not suitable for commercial uses.
3) The use of these images will not impinge the ability of the copyright holder to rake in the sheckels, dollars and piastres from their original work.
This work is licensed under a
Creative Commons Attribution-Noncommercial-Share Alike 3.0 License.
___________________
The Wikipedia's has far more stringent requirements for claiming fair use than All This Is That:
A well-written use rationale must explain how the use of this media meets the Non-free content criteria and should state:
What proportion of the copyrighted work is used and to what degree does it compete with the copyright holder's usage? For example, if the image is a photograph or logo, the entire work is likely being used. A screenshot that reveals the most important discovery of a documentary or the ending of a movie, for example, though a very small portion of the work, may disproportionately compete with the copyright holder's use. In the case of a music sample, the length should be no longer than 10 percent of the song's original length or 30 seconds, whichever is shorter.
If applicable, has the resolution been reduced from the original? In the case of music samples, has the quality been reduced from the original?
What purpose does the image serve in the article?
Is the image a logo, photograph, or box art for the main subject of the article?
Is the image being used as the primary means of visual identification of the subject or topic?
(e.g., a corporate logo or the box art of a DVD)
Is it being used to illustrate a particular topic? (e.g., a screenshot from a movie)
To what degree is the image replaceable by a free content image?
If the image is a screenshot of a movie that for an article about the movie, or a corporate logo, there is obviously no such thing as a "free" version of it - all of the resources in the world could not produce one. If, on the other hand, the image is a photograph, the image is more easily replaced, even if Wikipedians may lack the resources to create a replacement.
Any other information necessary to assist others in determining whether the use of this image qualifies for fair use.
---o0o---
Wednesday, August 15, 2007
September 12 is The Day of Conception
The former Commies are getting a day off to procreate, and win prizes while they're, literally, doing it. For the third year in a row, the Russian region Ulyanovsk is once again celebrating Sept. 12 as the Day of Conception, and is giving couples time off from work to procreate.
The state hopes for a population explosion next June, on Russia's national day. Couples who "give birth to a patriot" during the June 12 festivities win will money, cars, refrigerators and other prizes.
The number of competitors, and the number of babies they produce, has been on the rise since Ulyanovsk began the holiday and prizes. Russia, has one-seventh of the entire earth's land surface, but only 141.4 million citizens. . .and the population has been declining since the 1990s.
President Vladimir Putin's last state of the state address called the demographic crisis the most acute problem facing Russia and announced various efforts to jump start Russia's birth rate, including cash giveaways.
The Governor of Ulyanovsk, Sergei Morozov, tossed a few more incentives into the kitty for the campaign by handing our prizes. The 2007 grand prize went to Irina and Andrei Kartuzov, who won a UAZ-Patriot, a sport utility vehicle. They also gave away video cams, TVs, refrigerators and washing machines.
Two Joe Jackson videos - Stepping out, and It's different for girls
Joe Jackson was often in my music mix in the early 80's. I remember him putting on a great show at Woolman Rink in Central Park in about 1979 or '80. One of the things I like about Joe is how girl-centric these tunes are. . .for a gay singer-songwriter.
Quotes of the day
In every American there is an air of incorrigible innocence, which seems to conceal a diabolical cunning.
- AE Housman
Character is what you have left when you've lost everything you can lose.
- Evan Esar
How is the world ruled and how do wars start? Diplomats tell lies to journalists and then believe what they read.
- Karl Kraus
In order to preserve your self-respect, it is sometimes necessary to lie and cheat.
- Robert Byrne
Only enemies speak the truth; friends and lovers lie endlessly, caught in the web of duty.
- Stephen King, Roland from "The Last Gunslinger"
---o0o---
- AE Housman
Character is what you have left when you've lost everything you can lose.
- Evan Esar
How is the world ruled and how do wars start? Diplomats tell lies to journalists and then believe what they read.
- Karl Kraus
In order to preserve your self-respect, it is sometimes necessary to lie and cheat.
- Robert Byrne
Only enemies speak the truth; friends and lovers lie endlessly, caught in the web of duty.
- Stephen King, Roland from "The Last Gunslinger"
---o0o---
Tuesday, August 14, 2007
Too good to leave in the comments: Scooter and the Hell's Angel Heavy chug-a-lug
Scooter, 1980
Responding to a story I wrote about him, Scooter, as always, comes up with some pithy insights and anecdotes. I can't let this tale merely languish in the comments. Here is even more information on the summer of 1973; this time, Scooter goes head to head with the Hell's Angel Heavy:
Scooter, the anonymous reader
Scooter writes:
I don't think the Dart lasted a week after Mel registered it. Yes, it met an immovable object during a foggy Seattle night with similar interior cabin conditions. Mel, the future Cap'n Vic, and I tooled around Wallingford's side streets when out of the fogs appeared a great slab of retaining wall. We weren't traveling all that fast, I'd guess about 20mph, but Mel didn't have time to pull his foot from the gas pedal, just *%!* and BLAM. We backed off the sidewalk and heard the clank of the fan beating against the radiator. Mel limped the car home to your garage and he learned later that the collision had bent the fan pulley's crank pretty badly. Estimates to repair were much higher than the few hundred bucks he had paid for the car, so off to the scrap heap.
Yeah, there is no shortage of stories about this crew. Is there a statute of limitations on roguish indiscretions of the young and the embarrassment they may cause our families?
I have racked my brain about Downer escapades and the only one that comes to mind is my encounter with the lapsed Hells Angel, Heavy. He and his wife had fled a Northern CA chapter for Kent, WA in an attempt to go straight. Heavy got his moniker due to his girth. He weighed a good 290 and was about 5'7" tall. The Downer's knuckleheaded regulars were in awe of Heavy because of his affiliation with the 1%ers and his drinking prowess. When I arrived Heavy was taking on all comers in a chugging contest with 12oz schooners of beer. He was wiping people out, beating everyone by half a glass or more. Challengers were spewing brew through their nostrils and almost crying. These were actually trying to swallow the brew which just agitates the froth and overcomes the imiber. Even after the Freshman 15, I couldn't have weighed more than 165 but I volunteered to take Heavy on.
Yeah, there is no shortage of stories about this crew. Is there a statute of limitations on roguish indiscretions of the young and the embarrassment they may cause our families?
I have racked my brain about Downer escapades and the only one that comes to mind is my encounter with the lapsed Hells Angel, Heavy. He and his wife had fled a Northern CA chapter for Kent, WA in an attempt to go straight. Heavy got his moniker due to his girth. He weighed a good 290 and was about 5'7" tall. The Downer's knuckleheaded regulars were in awe of Heavy because of his affiliation with the 1%ers and his drinking prowess. When I arrived Heavy was taking on all comers in a chugging contest with 12oz schooners of beer. He was wiping people out, beating everyone by half a glass or more. Challengers were spewing brew through their nostrils and almost crying. These were actually trying to swallow the brew which just agitates the froth and overcomes the imiber. Even after the Freshman 15, I couldn't have weighed more than 165 but I volunteered to take Heavy on.
I knew I could whip him because I had actually trained with Coca Cola whose fizz was far more vicious than tap brewski's mellow buzz and I knew not to swallow. I just opened the gullet and poured. I beat him the first time out by a couple of gulps. He said that I had taken him by surprise and given the talentless hacks he'd been competing with before me, I believed him. They cued up another set of schooners for us at the end of the bar and a dozen or so defeated brew hounds started chortling that Heavy was sure to beat me in the rematch. They counted off and I beat Heavy in a bang bang close call. All the dimwits said Heavy won and I blared "that's bullshit, I won and Heavy knows I won" to which Heavy said "All right, Kid, you're faster, but let’s settle down and see who can really hold his mud." Wasn't likely that I would win that fight, a 40oz vs. a keg, so I wisely declined.
We kept drinking and I loved that Heavy copped to losing to me. Later he took me to his pad in the Chateau Padiddleeyak Apartments where he showed me his colors and lamented that he couldn't really retire from the Angels though he didn't think they would look for him in Kent. I actually liked Heavy but I don’t remember seeing him again. It was late summer and you, Phil, Jed, and I were off to B'ham and our bleak house on Iron Street where things started getting really real.
---o0o---
Rudolphs Giuliani loses another supporter: his daughter Caroline
click Caroline Giuliani's Facebook profile to enlarge
It looks like Rudy Giuliani can't count on his daughter's vote. And his son's (see All This is That: Giuliani son: "I have problems with my father, but it doesn't mean he won't make a great President." ). Or most certainly his ex-wife's (the lovely Donna Hanover). In his 2008 presidential bid, he'll be going without the support of his ex-family. According to 17-year-old Caroline Giuliani's Facebook profile, she's supporting Barack Obama. Go to Slate.com to read Lucy Morrow Caldwell's story.
Other recent articles on The Mayor of 9/11 on All This Is That:
Giuliani son: "I have problems with my father, but it doesn't mean he won't make a great President."
---o0o---
Monday, August 13, 2007
The Iowa Straw Poll - Romney wins; Huckabee snags second
The ex-Governor
Mitt Romney won the Ames straw poll this weekend because a) he was dogged; and b) he has money.
The Governor
With a somewhat convincing victory in the Republican straw poll in Ames, Iowa Saturday, former Massachusetts governor Mitt Romney launched himself into the next phase of a presidential nomination battle pitting his traditional early-state strategy against a more unorthodox (a/k/a wacky) approach by national front-runner Rudolph W. Giuliani.
Romney's win in the nonbinding Ames contest, sealed by his appeals to the party's conservative base and throwing money all around the state, highlighted his attempt to focus time and people on the opening states of Iowa and New Hampshire, in hopes early victories there will give him The Big Mo. It's worked plenty of times before, but this one is looking to be a strange race indeed.
Giuliani, who is in the doghouse with the traditional GOP folks, and the Neocons, ducked Iowa and is placing his bets on the big states that hold their contests in late January and on the first Tuesday in February.
Romney said the margin of victory represented a major validation of his strategy (saturation coverage of the states + big money infusions. Since three of his major rivals skipped the poll, Romney visited the state 17 times, spent big, and emerged the victor.
In a press conference, Romney taunted the missing. “It’s too bad the other guys weren’t competing here… but they ‘d have played if they thought they could have won,” he said.
Second place went to Gov. Mike Huckabee of Arkansas. “We had two fish and five loaves and it fed 5,000,” Huckabee said of his victory. Whether this enables Huckabee to raise huis national profile and raise the all important $$$ remains to be seen. Huck doesn't seem to like fund raising much, and he has virtually no internet visibility.
Several of the second and third tier candidates came close to betting the farm on Iowa and came up with bupkus. Former Wisconsin Gov. Tommy Thompson, had earlier said he would drop out of the race if he did not place at least second. See you around, Tommy.
---o0o---
Sunday, August 12, 2007
Poem: Bible Stories 6/Jesus Walks On Water
After Jesus fed the crowd with the loaf of bread and fishes
He owned that audience
They were buzzing for months
About the amazing chef of all chefs
Who fed five thousand people
With a sack of groceries
His hands just started working
Faster and faster piling up hundreds of fish sandwiches
And he kept up with the crowd walking by
Piling up the heroes on the table even faster
And people came back for seconds and thirds
And when he was done there was more than he started with
The miracles were coming fast and furious now
And he needed to ice his wig down
It just didn't work consorting
With these too mortal disciples
After he'd just raised the dead or fed
A stadium with a loaf of bread and some fish
So Jesus sent the disciples ahead in the boat
And told them he'd catch up later
So the disciples started rowing
And singing foilk songs as they oared
The disciples were bobbing around
Working on their tans and telling whoppers
They pulled the corks on a few bottles
And fished for snapper
When a mighty wind rose up
The boat was thrown back and forth
And flung down into the trough of waves
Now the disciples dropped their bottles and poles
And were boohooing and wetting their pants
It was like Hurricane Bertha times seventy-seven
The wind shrieked and the rain came down in a torrent
The boards creaked and splintered
The boat shuddered and shook and was tossed around
The Sea of Galilee like a rubber duck
All of a sudden someone shouts "Look!"
And off in the distance was a smoky apparation
A great big gaslighted man in a purple robe
Was stomping across the water
And the waves parted before him
When the disciples saw Him
They thought it was a spook
Until he got closer to them
And yelled "Courage!"
"Don't be afraid" and Peter doubted him
"If that's you Lord let me come to you on the water"
And Jesus said "that's right baby! Hop in"
And Peter got out of the boat and started trudging
On the water toward Jesus but he saw the wind and was afraid
He forgot about Jesus and started to sink
'Lord, save me!'
And Jesus snatched up his hand and caught him
'You of little faith,' he said, 'why did you doubt?'"
The hands of grace pulled Peter to safety
And it wasn't so long from then
That Peter would deny even knowing Jesus.
---o0o---
Question by The Old 97's lip synced by a Half Life 2 character and performed by the Old 97's as an encore
I mainly pasted this video here because I wanted to share the song Question from The Old 97's Satellite Rides album. A fan made this lip sync video using the Half Life 2 Face Poser, and the character model of the G-man. For the mostly non-gamer types who visit here, Half Life 2 is a PC and XBox video game made by a Seattle area company, Valve. Some games also distribute "mod" kits with their games where players can create their own versions of the game, from which this video is most likely derived. Beneath the lyrics below, I also put another video-- a rocky one, in fact--from the encore of an Old 97's show.
Question
by The Old 97's
She woke from a dream
Her head was on fire
Why was he so nervous?
He took her to the park
She crossed her arms
And lowered her eyelids
Some day somebody's gonna ask you
A question that you should say yes to
Once in your life
Maybe tonight I've got a question for you
She'd had no idea
Started to cry
She said in a good way
He took her by the hand
Walked her back home
They took the long way
Some day somebody's gonna ask you
A question that you should say yes to
Once in your life
Maybe tonight I've got a question for you
I've got a question for you
_____________________________
Another video of the Old 97's playing an encore from a show at the Southgate House:
---o0o---
Question
by The Old 97's
She woke from a dream
Her head was on fire
Why was he so nervous?
He took her to the park
She crossed her arms
And lowered her eyelids
Some day somebody's gonna ask you
A question that you should say yes to
Once in your life
Maybe tonight I've got a question for you
She'd had no idea
Started to cry
She said in a good way
He took her by the hand
Walked her back home
They took the long way
Some day somebody's gonna ask you
A question that you should say yes to
Once in your life
Maybe tonight I've got a question for you
I've got a question for you
_____________________________
Another video of the Old 97's playing an encore from a show at the Southgate House:
---o0o---
The Godfather 2::::script of the opening scenes::::::::Robert Duvall and the history of Tom Hagen::::::::Tessio gets the Hagen Treatment
Robert Duvall, Al Pacino, Diane Keaton
_____________________________________________
One of my favorite scenes, at Don Corleone's funeral, in Godfather 1
TOM (after Michael sits besides him again)Do you know how they're gonna come at you?
MICHAELThey're arranging a meeting in Brooklyn. Tessio's ground, where I'll be "safe"
TOMI always thought it would've been Clemenza, not Tessio...
MICHAEL It's a smart move -- Tessio was always smarter. But I'm gonna wait -- after the baptism. I've decided to be Godfather to Connie's baby. And then I'll meet with Don Barzini -- and Tattaglia -- all of the heads of the Five Families...
_____________________________________________
The Godfather 2 is just about my favorite movie. Both I and II have much to recommend them, and even III, which I disliked for many years, is not as bad as I initially thought when it came out (you can definitely call that one a sequel, in the worst sense of the word). 2, however, is often recognized as the best movie sequel of all time. Actually, the film is half sequel and half prequel. The internet movie database (IMDB.COM) rates it as the 3rd best movie of all time (with The Godfather being No. 1). It is the only sequel ever to win Best Picture at the Academy Awards (although some consider The Return of The King a sequel--really, 'though, it was the third part of one Big Movie).
The Godather (1) includes this spooky exchange between Tom Hagen and Salvatore Tessio. Michael Corleono and Tom Hagen have discovered that Tessio is a traitor. This dialogue and vid-cap show the moment he knows they know. And that he will be killed.
TESSIO: Tell Mike it was only business. I always liked him.
TOM HAGEN: He understands that.
TESSIO: ...Tom, can you get me off the hook? For old time's sake?
TOM HAGEN: Can't do it, Sally.
Hagen and Corleone at Don Corleone's funeral
One of my favorite characters in I and II is Robert Duvall's Tom Hagen. According to the backstory (which you can only really elicit through the novel), Hagen first encountered the eleven-year-old Sonny Corleone in the winter of 1927, according to the film's timeline.
Sonny and two older boys had wandered into a dangerous alley in the Irish part of Hell’s Kitchen, an alley in which Hagen was hiding. They encountered a man selling switchblades and tried to buy one. The man pulled a knife and dragged Sonny into the alley, while the other two boys ran. Hagen knew that this man was mentally unbalanced and would often drag young boys into the alley, make them perform oral sex on him, and then kill them. Hagen grabbed a board with a nail sticking out of it and brought it down on the back of the man’s head, impaling and killing him. Sonny and Hagen looked at each other and laughed nearly to the point of tears. They introduced themselves to each other, and walked away from the alley together, arms looped around each other’s shoulders.
Sonny asked about the eye infection, and about Hagen’s parents. Hagen just said his mother was dead and his father was gone. Sonny took him home and persuaded his father to take him into the family. Although the Don never formally adopted him, thinking that this would have been an act of disrespect to Hagen's parents, Hagen thought of Vito Corleone as his true father. Hagen, of course, eventually becomes the consiglieri of the Corelone crime family.
The opening scenes in The Godfather Part II:
The opening scenes in The Godfather Part II:
from THE GODFATHER PART II
FADE FROM BLACK TO: MICHAEL, in profile looking downward. He holds out his hand
and ROCCO kissing it.
DISSOLVE TO: A remote mountainside area of Sicily. We hear a marching band
playing in the background. The introduction is overlaid:
THE GODFATHER WAS BORN VITO ANDOLINI IN THE TOWN OF CORLEONE IN SICILY. IN 1901. HIS FATHER WAS MURDERED FOR AN INSULT TO THE LOCAL MAFIA CHIEFTAIN. HIS OLDER BROTHER PAOLO SWORE REVENGE AND DISAPPEARED INTO THE HILLS, LEAVING VITO, THE ONLY MALE HEIR, TO STAND WITH HIS MOTHER AT THE FUNERAL. HE WAS NINE YEARS OLD.
[The marching band is followed by a procession of mourners including VITO and
his MOTHER. There is a casket, apparently containing the body of VITO's father.
Two gunshots ring out; all run for cover. People are screaming.]
WOMAN (in Sicilian) They've killed the boy! They've killed young PAOLO - they have killed your son
PAOLO! Murders! Murders!
[Young VITO and his mother run over to PAOLO's body, in a prone position on the
rocky ground]
VITO's MOTHER CICCIO (in Sicilian) My son -- My son [more]
[She begins to cry. GAFFE: The actor who plays "dead" PAOLO moves his hand as
he's hugged]
CUT TO: Young VITO and his mother approach the gate to DON CICCIO's villa and it
is opened for them.
CUT TO: VITO and his MOTHER walking down a path.
CUT TO: DON CICCIO sitting drinking wine.
CUT TO: VITO and his mother walk down the path some more.
CUT TO: DON CICCIO puts down his glass and looks at VITO and his MOTHER.
CUT TO: VITO's mother kisses DON CICCIO's hand
VITO's MOTHER (in Sicilian) All my respect DON CICCIO. DON CICCIO you killed my husband because he wouldn't give into you. And his oldest son PAOLO -- because he swore revenge. But VITO is only nine. And dumb-witted, He never speaks.
DON CICCIO (in Sicilian) It's not his words I'm afraid of.
VITO's MOTHER (in Sicilian) He's weak - he can't hurt anyone.
DON CICCIO (in Sicilian) But when he grows, he'll grow strong.
VITO's MOTHER (in Sicilian) Don't worry - this little boy can't do a thing to you.
[DON CICCIO stands up.]
DON CICCIO (in Sicilian) When he is a man he'll come for revenge.
VITO's MOTHER (in Sicilian) I beg you, DON CICCIO, spare my only son. He's all I have left. I swear to God that he'll never do any harm to you. Spare him!
DON CICCIO No.
[She reveals a concealed knife and holds it to DON CICCIO's neck.]
MOTHER (in Sicilian) Move and I'll kill him! (then) Run VITO!
[Young VITO watches as DON CICCIO's guards shoot her down, and he runs away.]
DON CICCIO (in Sicilian) Kill him! Kill him! Kill him!
CUT TO: The streets of Corleone at night.
GUARD (yelling in Sicilian) Any family who hides Vito Andolini will regret it! You understand? Yes or no! (then) Anybody who hides the boy Vito Andolini is in for trouble!
CUT TO: The guards walking down stairs.
CUT TO: A family hiding VITO in a donkey cart.
MAN [Probably ABBANDANDO] (in Sicilian) VITO, we're praying for you.
CUT TO: The man gets on the donkey that's carrying VITO.
GUARD yelling (in Sicilian) If anyone is hiding the boy VITO Andolini -- turn him over to us.
DON CICCIO will thank you for it! It'll be better for the boy, and better for you! Any family who hides the boy Vito Andolini will regret it!
CUT TO: A courtyard. The donkey cart passes by the guards.
CUT TO: The donkey cart walking away.
DISSOLVE TO: "The Moshulu" entering New York Harbor, passing in front of the
Statue of Liberty.
CUT TO: VITO on the ship. He stands up and walks behind everyone.
CUT TO: Everyone getting off the ship.
CUT TO: VITO still walking.
CUT TO: Immigrants looking at the Statue of Liberty.
CUT TO: VITO looking at the Statue of Liberty also.
CUT TO: Inside Ellis.
CUT TO: MAN inspects VITO's eyes and writes an encirled X on him.
INSPECTOR (pointing) NURSE --
CUT TO: All the immigrants waiting. A man playing a violin as everyone is talking in different languages.
CUT TO: Immigrants trying to explain themselves. CAMERA pans left along counter.
INTAKE OFFICER 1 Interpreter
INTAKE OFFICER 2 Where are you from?
INTAKE OFFICER 3 What is your name?
[VITO walks up.]
INTAKE OFFICER 4 What is your name? Come on son, what is your name?
TRANSLATOR ["What is your name?" in Italian] then, looking at the tag on VITO's coat:
VITO Andolini from Corleone.
INTAKE OFFICER 4 Corleone -- VITO Corleone. Okay over there. Next -- your name?
CUT TO: A doctor inspects VITO's chest with a stethoscope.
DOCTOR (to NURSE) Tell him he has small pox quarantine three months.
NURSE (translating for VITO) [In Italian, something like "you have small pox and will be quarantined for three months at Ellis Island"]
CUT TO: Two men walk down the hall looking for VITO
MAN Calling Out Vito Corleone? Vito Corleone?
Other MAN, standing next to Young VITO Here he is; this is him.
[Young VITO is placed in a room, looks out the window at the Statue of Liberty,
places his suitcase on the bunk (#52), sits and then starts to sing]
VITO CORLEONE
ELLIS ISLAND
1907
CUT TO: A Church. ANTHONY is walking down the aisle during his first communion.
HIS GRANDSON
ANTHONY VITO CORLEONE
LAKE TAHOE NEVADA
1958
LAKE TAHOE NEVADA
1958
FATHER CARMELO [in Latin]
[Priest prays while giving out eucharist. Anthony is the third child. He turns
toward the camera.]
CUT TO: Lake Tahoe Resort. Bandstand, music play
CUT TO: VALETs parking cars
VALET Hey! bring the car keys.
WOMAN (OS) Morey! Morey!
CUT TO: MAN takes drink to policeman in the parking lot.
CUT TO: MAN and WOMAN dance.
CUT TO: Watchman on roof lights a cigarette.
CUT TO: GUESTS sitting and talking.
CUT TO: CONNIE and MERLE Johnson walk, dodging guests, making their way to MAMA
CORLEONE.
CONNIE:
MAMA -- whooh MAMA.
MAMA CORLEONE [something in Italian, then] Look who's here --
CONNIE Oh, FATHER CARMELO.
MAMA CORLEONE This is FATHER CARMELO --
MERLE I'm MERLE Johnson --
MAMA CORLEONE -- and the priest
FATHER CARMELO Nice to meet you, how are you.
MAMA CORLEONE -- family Priest.
CONNIE MAMA --
[She kisses MAMA.]
-- here I am.
MAMA CORLEONE Constanzia - finalmente -- after one week? I sent the car out to the airport
last week to pick you up!
CONNIE Oh -- it was chaos. Anyway, here I am, just one week late. And this is for my MAMA.
[She hands MAMA a wrapped jewelry box]
MAMA What's this?
CONNIE You remember MERLE, don't you?
MERLE (to MAMA) Hello MAMA.
MAMA Hello, how are you; thank you.
CONNIE Where's MICHAEL? I gotta to talk to him, and um, get a few things straight, and
I can't wait on line.
MAMA You go see your children first! And then you worry about waiting on line to see
your brother -- like everybody else.
[The band gives a musical introduction to the CONDUCTOR]
CUT TO: A napping FRANK PENTANGELI napping outside. WILLIE CICCI wakes him and
they walk off.
CONDUCTOR Ladies and Gentlemen a most distinguished guest would like to say a few words.
Would you please welcome SENATOR Pat GEARY of the state of Nevada, and there is
Mrs. GEARY.
[SENATOR GEARY walks up onto the stage]
GEARY Thank you very much, Ladies and Gentlemen -- and this is a very very happy day
for me and ugh -- my wife, Mrs. GEARY. We see Nevada far too seldom -- but
particularly today when we can -- we can join with old friends -- we can make
new friends -- and we help celebrate -- a young man's first communion. And also,
to thank that boy's family for a magnificent contribution to the state. I have
here in my hand, a check -- made out to the University, and it is a magnificent
endowment in the name of - uh, ANTHONY VITO Corleone -- and the check is signed
by that young man's parents -- whom I think we should recognize Mike -- Pat --
uh, KAY -- stand up please -- stand up, let the folks see you. Folks, I want you
to join with me in giving a real Nevada -- thank-you to Mr. and Mrs. MICHAEL
Corleone!
[The crowd claps. The conductor whispers something to GEARY.]
We also have as a special added attraction, the Sierra Boys Choir. Who have, uh, chosen a certain special song, in a special arrangement, to honor their host, Mr. MICHAEL Corleone. Boys.
CUT TO: Mike and KAY getting up for a photo.
[The choir begins to sing.]
CUT TO: A long shot of the boys singing.
CUT TO: A close up of the boys singing.
CUT TO: MICHAEL at a photo session accepting a plaque
DIRECTOR Relax.
[MICHAEL holds the plaque.]
Okay fellas we got that one.
[MICHAEL and GEARY shake hands.]
Okay, that's good. Alright. Now SENATOR, this is you and Mrs. Corleone.
[The director comes over and gives GEARY the check and places him next to KAY.
They also shake hands.]
Okay that's enough, Senator --
[MICHAEL an GEARY shake hands for one more picture, holding the check]
CUT TO: EVERYONE listening to the choir.
CUT TO: EVERYONE listening to the choir.
CUT TO: The interior of MICHAEL's office.
MICHAEL
This is my lawyer, TOM HAGEN; SENATOR GEARY. He's the one who arranged this
whole thing through your man Turnbull.
GEARY Yes -- Yes.
MICHAEL Sit down.
GEARY Well I was under the impression that you and I would talk alone.
MICHAEL I trust these men with my life, SENATOR. If I were to ask them to leave, it would be an insult.
GEARY Well uh, it's perfectly all right with me, but I should tell you that I am a blunt man and I intend to speak very frankly to you -- maybe -- more frankly than anyone in my position's ever spoke to you before.
[MICHAEL lights a cigarette]
The Corleone family has done very well here in Nevada. You own, or, you control, two major hotels in Vegas -- one in Reno. The licenses were grandfathered in, so there is no problem with the gaming commission. Now, my sources tell me that -- you plan to make a move against the Tropicalla. They tell me within a week -- you're gonna move Klingman out. That's quite an expansion. However it will leave with one little technical problem. Ahh -- The license will still be in Klingman's name.
MICHAEL Turnbull is a good man.
GEARY Yeah, well let's cut out the bullshit. I don't want to spend any more time here than I have to. You can have the license, the price is 250,000 dollars. Plus a monthly payment of 5% of the gross -- of all four hotels. Mister -- Corleone.
MICHAEL
Now the price of the license is less than 20,000 dollars, am I right?
GEARY
That's right.
That's right.
MICHAEL
Now why would I ever consider paying more than that?
Now why would I ever consider paying more than that?
GEARY
Because I intend to squeeze you. I don't like your kind of people. I don't like
to see you come out to this clean country in your oily hair -- dressed up in
those silk suits - and try to pass yourselves off as decent Americans. I'll do
business with you, but the fact is, I despise your masquerade -- the dishonest
way you pose yourself. Yourself, and your whole fucking family.
Because I intend to squeeze you. I don't like your kind of people. I don't like
to see you come out to this clean country in your oily hair -- dressed up in
those silk suits - and try to pass yourselves off as decent Americans. I'll do
business with you, but the fact is, I despise your masquerade -- the dishonest
way you pose yourself. Yourself, and your whole fucking family.
MICHAEL SENATOR - we're both part of the same hypocrisy. But never think it applies to
my family.
my family.
GEARY
All right, all right -- some people have to play little games. You play yours.
So lets just say that you'll pay me because it is in your interest to pay me.
But I want your answer and the money by noon tomorrow. And one more thing: don't
you contact me again -- ever. From now on you deal with Turnbull.
(then, to Al)
Open that door son.
[He starts to leave]
MICHAEL
Uh, senator -- you can have my answer now if you like. My offer is this --
nothing. Not even the fee for the gaming license, which I would appreciate if
you would put up personally.
GEARY (laughing)
Good afternoon, gentlemen.
[He opens the door and walks out]
KAY, I didn't know you were out here. Honey, we have to go -- we're 30 minutes
late.
KAY Oh really? I'm sorry.
GEARY
Mrs. Corleone, I've been delighted.
KAY
Oh, no --
GEARY
Thank you.
KAY
It was our pleasure. Thank you so much; it was wonderful talking with you.
CUT TO: People dancing. Music plays outside.
CUT TO: FREDO's boat pulls up to the dock.
CUT TO: BUTTONMAN looks around.
CUT TO: More BUTTONMEN look around at the party.
CUT TO: FREDO and JOHNNY OLA and others get off the boat and onto the dock
CUT TO: PENTANGELI drinking out of the hose held by WILLIE CICCI.
PENTANGELI
FREDO! FREDO, you son of a bitch, you look great!
[PENTANGELI runs toward him.]
FREDO
FRANK PENTANGELI, I thought you was never coming out west you big bum!
[They give each other a hug.]
PENTANGELI
I gotta check on my boys, uh? Hey, FREDO what's with the food around here?
FREDO
What's the matter.
PENTANGELI
A kid comes up to me in a white jacket, gives me a Ritz cracker, and uh, chopped
liver, he says Canapés. I say uh, uh, can o' peas my ass, that's a Ritz cracker
and chopped liver!
[FREDO laughs]
PENTANGELI
[Something in Italian, then] Bring out the peppers and sausage.
FREDO
Ah, seeing you reminds me of New York -- the old days, huh!
PENTANGELI
Hey, FREDO -- you remember, uh, WILLIE CICCI, he was with old man CLEMENZA in
Brooklyn. Yeah, look here --
FREDO
Look, we were all upset about that, Frankie. Heart attack, huh?
WILLIE CICCI
No - No, that was no heart attack.
PENTANGELI
Tha's -- Tha'sa -- That's what I'm here to see your brother Mike about. But wha'
-- what's with him?
FREDO
What do you mean?
PENTANGELI
I mean, what do I hafta do, get a letter of introduction to get a sit-down?
FREDO
You, you can't get in to see Mike?
PENTANGELI
He's got me waiting in a lobby!
CUT TO: MICHAEL's office. JOHNNY OLA enters.
JOHNNY OLA (shaking hands with AL)
JOHNNY OLA.
AL NERI
AL NERI .
MICHAEL
Sit down. You know my lawyer, TOM HAGEN -- JOHNNY OLA.
JOHNNY OLA
Sure, I remember TOM from the old days.
MICHAEL
ROCCO -
(then)
What's this?
JOHNNY OLA
It's an orange -- from Miami.
MICHAEL
Why don't you take care of JOHNNY's men -- they look like they might be hungry.
JOHNNY -- sit down. TOM isn't gonna sit in with us -- he only handles specific
areas of the family business. TOM --
TOM
Sure, Mike.
MICHAEL
What are you drinking, JOHNNY?
JOHNNY OLA
Anisette.
MICHAEL
Anisette.
TOM
If you need anything, Mike, I'll be outside, alright?
[TOM walks out the door.]
MICHAEL
Just tell ROCCO we're waiting, TOM
JOHNNY OLA
I just left, uh, Mr. ROTH in Miami.
MICHAEL
How's his health?
JOHNNY OLA
Ahh -- it's not good.
MICHAEL
Is there anything I can do -- anything I can send?
JOHNNY OLA
He appreciates your concern, MICHAEL -- and your respect. The casino you're
interested in -- the registered owners are Jacob Lawrence, Allen Barclay -
they're both Beverly Hills Attorneys. The real owners are the old Lakeville Road
group from Cleveland, and our friend in Miami. Meyer Klingman runs the store --
he runs a piece of it, too -- he does alright. But I've been instructed to tell
you that if you move Klingman out, our friend in Miami will go along.
MICHAEL
That is very kind of him. You tell him, that's greatly appreciated.
JOHNNY OLA
HYMAN ROTH always makes money for his partners. One by one, our old friends are
gone. Death -- natural or not - prison -- deported. HYMAN ROTH is the only one
left -- because he always made money for his partners.
CUT TO: Outside, PENTANGELI runs up to the stage.
PENTANGELI
Wha'? Wha'? I can't believe, out of thirty professional musicians, there isn't
one Italian in, in the group here. Come, let's have a tarantella. Come on --
[PENTANGELI begins to hum the tune, piano joins in]
You! Up! Clarinet up , up, up!
[He hums some more]
What's da matta? What's da matta?
[ He is still humming when the clarinet begins to play "Pop Goes The Weasel."
PENTANGELI gets mad as the whole group joins in]
CUT TO: MICHAEL's boathouse. CONNIE and MERLE walk in.
MICHAEL (to MERLE)
I'll see my sister alone.
MERLE
It concerns me, too. Is it okay, Mike, if I stay?
CONNIE
How are you, honey? You met MERLE -- he was with me in Vegas.
MICHAEL
I saw him with you
MERLE
Could I have a drink or something?
MICHAEL
Que voi?
CONNIE (to AL NERI)
Al, would you please get him a drink!
(then, to MICHAEL)
We're going to Europe next week. I'd like to book passage on The Queen
MICHAEL
So what do you come to me for -- why don't you go to a travel agent?
MERLE
We're getting married first.
MICHAEL
The ink on your divorce isn't dry yet and your getting married? You see your
children on weekends -- You know your oldest boy, Victor, was picked up in Reno
for some petty theft that you don't even know about--
CONNIE
MICHAEL!
MICHAEL
-- You fly around the world with men who don't even care about you, and use you
like a whore!
CONNIE
MICHAEL, you're not my father!
MICHAEL
Then what do you come to me for?
CONNIE
'Cause I need money.
MICHAEL
CONNIE - CONNI, CONNIE, CONNIE, CONNIE, CONNIE -- I wanna be reasonable with
you. Now, why don't you stay with us - with the family. You can live here on the
estate with your kids. You won't be deprived of anything and you can have
everything you want. Now -- I don't know this MERLE -- I don't know what he does
-- I don't know what he lives on. Now why don't you tell him that marriage is
out of the question, and you don't want to see him anymore. Now he'll
understand, believe me.
[CONNIE and MERLE reach out to hold hands]
CONNIE -- if you don't listen to me -- and marry this man -- you'll disappoint
me.
CUT TO: Outside, nighttime. A bonfire is burning and a man throws a log down.
CUT TO: A boat passes by.
CUT TO: People walk along the boardwalk
CUT TO: Band playing on the stage.
CUT TO: Outside the family sits at a table.
MAMA Corleone
Avive.
MICHAEL
Cent' anni
Everyone
Cent' anni
DEANNA
What's "Chen dandy"?
FREDO
Cent' anni -- It means a hundred years.
CONNIE
It means we should all live happily for a hundred years -- the family. That'd be
true if my father were still alive.
MAMA CORLEONE
CONNIE --
CONNIE
MERLE, you've met my sister-in-law, DEANNA.
[They shake hands]
FREDO's wife.
DEANNA
Pleasure
MERLE
How do you do.
MAMA CORLEONE [to Tom, in Italian]
[A reference to DEANNA and MERLE]
TOM HAGEN [in Italian]
[Responds]
MERLE (to CONNIE)
What did she mean by that?
PENTANGELI (in Sicilian)
Hey, Michael - excuse me. [laughs] With all respect I didn't come here to eat
dinner!
MICHAEL
I know, I know.
[PENTANGELI knocks over a glass of wine, everyone looks at him.]
Bene!
CUT TO: DEANNA and another man dance. She is obviously drunk.
CUT TO: FREDO looking on.
CUT TO: DEANNA falls onto the dance floor.
CUT TO: MICHAEL looking on.
CUT TO: FREDO jogging to take her away.
CUT TO: MICHAEL whispering something to ROCCO.
CUT TO: FREDO grabbing her.
DEANNA
What's the matter? I just, I just want to dance!
FREDO
Dancing is one thing -- you're fallin' all over the floor.
DEANNA
I know what's the matter with you - you're just jealous because he's a real man.
FREDO
I swear to God, DEANNA, I'm gonna belt you right in the cheek.
DEANNA
Ah, you couldn't belt your MAMA. You know something, those daigos are crazy when
it comes to their wives.
[ROCCO walks up to FREDO]
ROCCO (to FREDO)
MICHAEL says that if you can't take care of this -- I have to.
FREDO
Maybe you better.
DEANNA
Never marry a WOP! they treat their wives like shit!
[ROCCO runs over and gabs he]
I didn't mean to say WOP. Ahh, Ahh woo! ROCCO! Oh! What are you doing to me --
help -- FREDO!
FREDO (to MICHAEL)
I can't control her, Mikey.
MICHAEL
You're my brother, FREDO, you don't have to apologize to me.
CUT TO: MICHAEL's boathouse.
MICHAEL
CLEMENZA promised the Rosato brothers three territories in the Bronx after he
died. You took over, and you didn't give it to them.
PENTANGELI
I weltched?
MICHAEL
You weltched.
PENTANGELI
Yeah, CLEMENZA promised them [something in Italian] CLEMENZA promised them
nothing. He hated those son of a bitches more than I do.
MICHAEL
Frankie, they feel cheated.
PENTANGELI
MICHAEL, your sitting high up in the Sierra mountains. And your drinkin' - uh,
what's he drinkin'?
WILLIE CICCI
Champaign
PENTANGELI
Champaign, Uh, Champaign Cocktails -- and you're passing judgment on how I run
my Family.
MICHAEL (in Sicilian)
Your Family -- Your Family's still called Corleone. And you'll run it like a
Corleone.
PENTANGELI (in Sicilian)
My family doesn't eat here; doesn't eat in Las Vegas -- and doesn't eat in Miami
-- with HYMAN ROTH.
MICHAEL
Frankie -- you're a good old man -- and I like you. And you were loyal to my
father for years.
PENTANGELI
The Rosato brothers - they're taking hostages. Hey, Mike, they spit right in my
face. All because they're backed up by that Jew in Miami.
MICHAEL
I know -- that's why I don't want them touched.
PENTANGELI
You don't want 'em touched.
MICHAEL
No, I want you to be fair with them
PENTANGELI
You want me to be fair with them? TOM -- how can you be fair to animals? TOM --
for Crissakes, listen -- They recruit spics -- they recruit niggers -- and they
do violence in their, in their Grandmother's neighborhoods. And everything with
them is whores -- whores! [something in Italian] junk dope! And they leave the
gambling to last. Now I want to run my family without you on my back, and I want
those Rosato brothers dead!
MICHAEL
No!
PENTANGELI
Mort'
MICHAEL
Now I have business that's important with HYMAN ROTH -- I don't want it
disturbed.
PENTANGELI
And you give your loyalty to a Jew before your own blood.
MICHAEL
Come on, Frankie, you know my father did business with HYMAN ROTH -- he
respected him.
PENTANGELI
Your father did business with HYMAN ROTH, your father respected HYMAN ROTH. But
your father never trusted HYMAN ROTH -- or his Sicilian messenger boy, JOHNNY OLA!
(then, in Sicilian)
You'll have to excuse me -- I'm tired, and I'm a little drunk!
(then, in English)
And I want everyone here to know -- there's not gonna be no trouble from me! Don
Corleone. Cicc', a porta!
NERI
You want him to leave now?
MICHAEL
Let him go back to New York -- I've already made my plans. That old man had too much wine.
CUT TO: More BUTTONMEN look around at the party.
CUT TO: FREDO and JOHNNY OLA and others get off the boat and onto the dock
CUT TO: PENTANGELI drinking out of the hose held by WILLIE CICCI.
PENTANGELI
FREDO! FREDO, you son of a bitch, you look great!
[PENTANGELI runs toward him.]
FREDO
FRANK PENTANGELI, I thought you was never coming out west you big bum!
[They give each other a hug.]
PENTANGELI
I gotta check on my boys, uh? Hey, FREDO what's with the food around here?
FREDO
What's the matter.
PENTANGELI
A kid comes up to me in a white jacket, gives me a Ritz cracker, and uh, chopped
liver, he says Canapés. I say uh, uh, can o' peas my ass, that's a Ritz cracker
and chopped liver!
[FREDO laughs]
PENTANGELI
[Something in Italian, then] Bring out the peppers and sausage.
FREDO
Ah, seeing you reminds me of New York -- the old days, huh!
PENTANGELI
Hey, FREDO -- you remember, uh, WILLIE CICCI, he was with old man CLEMENZA in
Brooklyn. Yeah, look here --
FREDO
Look, we were all upset about that, Frankie. Heart attack, huh?
WILLIE CICCI
No - No, that was no heart attack.
PENTANGELI
Tha's -- Tha'sa -- That's what I'm here to see your brother Mike about. But wha'
-- what's with him?
FREDO
What do you mean?
PENTANGELI
I mean, what do I hafta do, get a letter of introduction to get a sit-down?
FREDO
You, you can't get in to see Mike?
PENTANGELI
He's got me waiting in a lobby!
CUT TO: MICHAEL's office. JOHNNY OLA enters.
JOHNNY OLA (shaking hands with AL)
JOHNNY OLA.
AL NERI
AL NERI .
MICHAEL
Sit down. You know my lawyer, TOM HAGEN -- JOHNNY OLA.
JOHNNY OLA
Sure, I remember TOM from the old days.
MICHAEL
ROCCO -
(then)
What's this?
JOHNNY OLA
It's an orange -- from Miami.
MICHAEL
Why don't you take care of JOHNNY's men -- they look like they might be hungry.
JOHNNY -- sit down. TOM isn't gonna sit in with us -- he only handles specific
areas of the family business. TOM --
TOM
Sure, Mike.
MICHAEL
What are you drinking, JOHNNY?
JOHNNY OLA
Anisette.
MICHAEL
Anisette.
TOM
If you need anything, Mike, I'll be outside, alright?
[TOM walks out the door.]
MICHAEL
Just tell ROCCO we're waiting, TOM
JOHNNY OLA
I just left, uh, Mr. ROTH in Miami.
MICHAEL
How's his health?
JOHNNY OLA
Ahh -- it's not good.
MICHAEL
Is there anything I can do -- anything I can send?
JOHNNY OLA
He appreciates your concern, MICHAEL -- and your respect. The casino you're
interested in -- the registered owners are Jacob Lawrence, Allen Barclay -
they're both Beverly Hills Attorneys. The real owners are the old Lakeville Road
group from Cleveland, and our friend in Miami. Meyer Klingman runs the store --
he runs a piece of it, too -- he does alright. But I've been instructed to tell
you that if you move Klingman out, our friend in Miami will go along.
MICHAEL
That is very kind of him. You tell him, that's greatly appreciated.
JOHNNY OLA
HYMAN ROTH always makes money for his partners. One by one, our old friends are
gone. Death -- natural or not - prison -- deported. HYMAN ROTH is the only one
left -- because he always made money for his partners.
CUT TO: Outside, PENTANGELI runs up to the stage.
PENTANGELI
Wha'? Wha'? I can't believe, out of thirty professional musicians, there isn't
one Italian in, in the group here. Come, let's have a tarantella. Come on --
[PENTANGELI begins to hum the tune, piano joins in]
You! Up! Clarinet up , up, up!
[He hums some more]
What's da matta? What's da matta?
[ He is still humming when the clarinet begins to play "Pop Goes The Weasel."
PENTANGELI gets mad as the whole group joins in]
CUT TO: MICHAEL's boathouse. CONNIE and MERLE walk in.
MICHAEL (to MERLE)
I'll see my sister alone.
MERLE
It concerns me, too. Is it okay, Mike, if I stay?
CONNIE
How are you, honey? You met MERLE -- he was with me in Vegas.
MICHAEL
I saw him with you
MERLE
Could I have a drink or something?
MICHAEL
Que voi?
CONNIE (to AL NERI)
Al, would you please get him a drink!
(then, to MICHAEL)
We're going to Europe next week. I'd like to book passage on The Queen
MICHAEL
So what do you come to me for -- why don't you go to a travel agent?
MERLE
We're getting married first.
MICHAEL
The ink on your divorce isn't dry yet and your getting married? You see your
children on weekends -- You know your oldest boy, Victor, was picked up in Reno
for some petty theft that you don't even know about--
CONNIE
MICHAEL!
MICHAEL
-- You fly around the world with men who don't even care about you, and use you
like a whore!
CONNIE
MICHAEL, you're not my father!
MICHAEL
Then what do you come to me for?
CONNIE
'Cause I need money.
MICHAEL
CONNIE - CONNI, CONNIE, CONNIE, CONNIE, CONNIE -- I wanna be reasonable with
you. Now, why don't you stay with us - with the family. You can live here on the
estate with your kids. You won't be deprived of anything and you can have
everything you want. Now -- I don't know this MERLE -- I don't know what he does
-- I don't know what he lives on. Now why don't you tell him that marriage is
out of the question, and you don't want to see him anymore. Now he'll
understand, believe me.
[CONNIE and MERLE reach out to hold hands]
CONNIE -- if you don't listen to me -- and marry this man -- you'll disappoint
me.
CUT TO: Outside, nighttime. A bonfire is burning and a man throws a log down.
CUT TO: A boat passes by.
CUT TO: People walk along the boardwalk
CUT TO: Band playing on the stage.
CUT TO: Outside the family sits at a table.
MAMA Corleone
Avive.
MICHAEL
Cent' anni
Everyone
Cent' anni
DEANNA
What's "Chen dandy"?
FREDO
Cent' anni -- It means a hundred years.
CONNIE
It means we should all live happily for a hundred years -- the family. That'd be
true if my father were still alive.
MAMA CORLEONE
CONNIE --
CONNIE
MERLE, you've met my sister-in-law, DEANNA.
[They shake hands]
FREDO's wife.
DEANNA
Pleasure
MERLE
How do you do.
MAMA CORLEONE [to Tom, in Italian]
[A reference to DEANNA and MERLE]
TOM HAGEN [in Italian]
[Responds]
MERLE (to CONNIE)
What did she mean by that?
PENTANGELI (in Sicilian)
Hey, Michael - excuse me. [laughs] With all respect I didn't come here to eat
dinner!
MICHAEL
I know, I know.
[PENTANGELI knocks over a glass of wine, everyone looks at him.]
Bene!
CUT TO: DEANNA and another man dance. She is obviously drunk.
CUT TO: FREDO looking on.
CUT TO: DEANNA falls onto the dance floor.
CUT TO: MICHAEL looking on.
CUT TO: FREDO jogging to take her away.
CUT TO: MICHAEL whispering something to ROCCO.
CUT TO: FREDO grabbing her.
DEANNA
What's the matter? I just, I just want to dance!
FREDO
Dancing is one thing -- you're fallin' all over the floor.
DEANNA
I know what's the matter with you - you're just jealous because he's a real man.
FREDO
I swear to God, DEANNA, I'm gonna belt you right in the cheek.
DEANNA
Ah, you couldn't belt your MAMA. You know something, those daigos are crazy when
it comes to their wives.
[ROCCO walks up to FREDO]
ROCCO (to FREDO)
MICHAEL says that if you can't take care of this -- I have to.
FREDO
Maybe you better.
DEANNA
Never marry a WOP! they treat their wives like shit!
[ROCCO runs over and gabs he]
I didn't mean to say WOP. Ahh, Ahh woo! ROCCO! Oh! What are you doing to me --
help -- FREDO!
FREDO (to MICHAEL)
I can't control her, Mikey.
MICHAEL
You're my brother, FREDO, you don't have to apologize to me.
CUT TO: MICHAEL's boathouse.
MICHAEL
CLEMENZA promised the Rosato brothers three territories in the Bronx after he
died. You took over, and you didn't give it to them.
PENTANGELI
I weltched?
MICHAEL
You weltched.
PENTANGELI
Yeah, CLEMENZA promised them [something in Italian] CLEMENZA promised them
nothing. He hated those son of a bitches more than I do.
MICHAEL
Frankie, they feel cheated.
PENTANGELI
MICHAEL, your sitting high up in the Sierra mountains. And your drinkin' - uh,
what's he drinkin'?
WILLIE CICCI
Champaign
PENTANGELI
Champaign, Uh, Champaign Cocktails -- and you're passing judgment on how I run
my Family.
MICHAEL (in Sicilian)
Your Family -- Your Family's still called Corleone. And you'll run it like a
Corleone.
PENTANGELI (in Sicilian)
My family doesn't eat here; doesn't eat in Las Vegas -- and doesn't eat in Miami
-- with HYMAN ROTH.
MICHAEL
Frankie -- you're a good old man -- and I like you. And you were loyal to my
father for years.
PENTANGELI
The Rosato brothers - they're taking hostages. Hey, Mike, they spit right in my
face. All because they're backed up by that Jew in Miami.
MICHAEL
I know -- that's why I don't want them touched.
PENTANGELI
You don't want 'em touched.
MICHAEL
No, I want you to be fair with them
PENTANGELI
You want me to be fair with them? TOM -- how can you be fair to animals? TOM --
for Crissakes, listen -- They recruit spics -- they recruit niggers -- and they
do violence in their, in their Grandmother's neighborhoods. And everything with
them is whores -- whores! [something in Italian] junk dope! And they leave the
gambling to last. Now I want to run my family without you on my back, and I want
those Rosato brothers dead!
MICHAEL
No!
PENTANGELI
Mort'
MICHAEL
Now I have business that's important with HYMAN ROTH -- I don't want it
disturbed.
PENTANGELI
And you give your loyalty to a Jew before your own blood.
MICHAEL
Come on, Frankie, you know my father did business with HYMAN ROTH -- he
respected him.
PENTANGELI
Your father did business with HYMAN ROTH, your father respected HYMAN ROTH. But
your father never trusted HYMAN ROTH -- or his Sicilian messenger boy, JOHNNY OLA!
(then, in Sicilian)
You'll have to excuse me -- I'm tired, and I'm a little drunk!
(then, in English)
And I want everyone here to know -- there's not gonna be no trouble from me! Don
Corleone. Cicc', a porta!
NERI
You want him to leave now?
MICHAEL
Let him go back to New York -- I've already made my plans. That old man had too much wine.
---o0o---
Saturday, August 11, 2007
Bob Dylan's Lily, Rosemary, and The Jack of Hearts: Song and Lyrcs
Click on the YouTube player to hear Bob Dylan's Lily, Rosemary, and The Jack of Hearts. I've always liked this shambling, long winded fable of Bob's from his great Blood On The Tracks album.
Lily, Rosemary, and The Jack of Hearts
by Bob Dylan
The festival was over, the boys were all plannin' for a fall,
The cabaret was quiet except for the drillin' in the wall.
The curfew had been lifted and the gamblin' wheel shut down,
Anyone with any sense had already left town.
He was standin' in the doorway lookin' like the Jack of Hearts.
He moved across the mirrored room, "Set it up for everyone," he said,
Then everyone commenced to do what they were doin' before he turned their heads.
Then he walked up to a stranger and he asked him with a grin,
"Could you kindly tell me, friend, what time the show begins?"
Then he moved into the corner, face down like the Jack of Hearts.
Backstage the girls were playin' five-card stud by the stairs,
Lily had two queens, she was hopin' for a third to match her pair.
Outside the streets were fillin' up, the window was open wide,
A gentle breeze was blowin', you could feel it from inside.
Lily called another bet and drew up the Jack of Hearts.
Big Jim was no one's fool, he owned the town's only diamond mine,
He made his usual entrance lookin' so dandy and so fine.
With his bodyguards and silver cane and every hair in place,
He took whatever he wanted to and he laid it all to waste.
But his bodyguards and silver cane were no match for the Jack of Hearts.
Rosemary combed her hair and took a carriage into town,
She slipped in through the side door lookin' like a queen without a crown.
She fluttered her false eyelashes and whispered in his ear,
"Sorry, darlin', that I'm late," but he didn't seem to hear.
He was starin' into space over at the Jack of Hearts.
"I know I've seen that face before," Big Jim was thinkin' to himself,
"Maybe down in Mexico or a picture up on somebody's shelf."
But then the crowd began to stamp their feet and the house lights did dim
And in the darkness of the room there was only Jim and him,
Starin' at the butterfly who just drew the Jack of Hearts.
Lily was a princess, she was fair-skinned and precious as a child,
She did whatever she had to do, she had that certain flash every time she smiled.
She'd come away from a broken home, had lots of strange affairs
With men in every walk of life which took her everywhere.
But she'd never met anyone quite like the Jack of Hearts.
The hangin' judge came in unnoticed and was being wined and dined,
The drillin' in the wall kept up but no one seemed to pay it any mind.
It was known all around that Lily had Jim's ring
And nothing would ever come between Lily and the king.
No, nothin' ever would except maybe the Jack of Hearts.
Rosemary started drinkin' hard and seein' her reflection in the knife,
She was tired of the attention, tired of playin' the role of Big Jim's wife.
She had done a lot of bad things, even once tried suicide,
Was lookin' to do just one good deed before she died.
She was gazin' to the future, riding on the Jack of Hearts.
Lily washed her face, took her dress off and buried it away.
"Has your luck run out?" she laughed at him, "Well, I guess you must
have known it would someday.
Be careful not to touch the wall, there's a brand-new coat of paint,
I'm glad to see you're still alive, you're lookin' like a saint."
Down the hallway footsteps were comin' for the Jack of Hearts.
The backstage manager was pacing all around by his chair.
"There's something funny going on," he said, "I can just feel it in the air."
He went to get the hangin' judge, but the hangin' judge was drunk,
As the leading actor hurried by in the costume of a monk.
There was no actor anywhere better than the Jack of Hearts.
Lily's arms were locked around the man that she dearly loved to touch,
She forgot all about the man she couldn't stand who hounded her so much.
"I've missed you so," she said to him, and he felt she was sincere,
But just beyond the door he felt jealousy and fear.
Just another night in the life of the Jack of Hearts.
No one knew the circumstance but they say that it happened pretty quick,
The door to the dressing room burst open and a cold revolver clicked.
And Big Jim was standin' there, ya couldn't say surprised,
Rosemary right beside him, steady in her eyes.
She was with Big Jim but she was leanin' to the Jack of Hearts.
Two doors down the boys finally made it through the wall
And cleaned out the bank safe, it's said that they got off with quite a haul.
In the darkness by the riverbed they waited on the ground
For one more member who had business back in town.
But they couldn't go no further without the Jack of Hearts.
The next day was hangin' day, the sky was overcast and black,
Big Jim lay covered up, killed by a penknife in the back.
And Rosemary on the gallows, she didn't even blink,
The hangin' judge was sober, he hadn't had a drink.
The only person on the scene missin' was the Jack of Hearts.
The cabaret was empty now, a sign said, "Closed for repair,"
Lily had already taken all of the dye out of her hair.
She was thinkin' 'bout her father, who she very rarely saw,
Thinkin' 'bout Rosemary and thinkin' about the law.
But, most of all she was thinkin' 'bout the Jack of Hearts.
---o0o---
Lily, Rosemary, and The Jack of Hearts
by Bob Dylan
The festival was over, the boys were all plannin' for a fall,
The cabaret was quiet except for the drillin' in the wall.
The curfew had been lifted and the gamblin' wheel shut down,
Anyone with any sense had already left town.
He was standin' in the doorway lookin' like the Jack of Hearts.
He moved across the mirrored room, "Set it up for everyone," he said,
Then everyone commenced to do what they were doin' before he turned their heads.
Then he walked up to a stranger and he asked him with a grin,
"Could you kindly tell me, friend, what time the show begins?"
Then he moved into the corner, face down like the Jack of Hearts.
Backstage the girls were playin' five-card stud by the stairs,
Lily had two queens, she was hopin' for a third to match her pair.
Outside the streets were fillin' up, the window was open wide,
A gentle breeze was blowin', you could feel it from inside.
Lily called another bet and drew up the Jack of Hearts.
Big Jim was no one's fool, he owned the town's only diamond mine,
He made his usual entrance lookin' so dandy and so fine.
With his bodyguards and silver cane and every hair in place,
He took whatever he wanted to and he laid it all to waste.
But his bodyguards and silver cane were no match for the Jack of Hearts.
Rosemary combed her hair and took a carriage into town,
She slipped in through the side door lookin' like a queen without a crown.
She fluttered her false eyelashes and whispered in his ear,
"Sorry, darlin', that I'm late," but he didn't seem to hear.
He was starin' into space over at the Jack of Hearts.
"I know I've seen that face before," Big Jim was thinkin' to himself,
"Maybe down in Mexico or a picture up on somebody's shelf."
But then the crowd began to stamp their feet and the house lights did dim
And in the darkness of the room there was only Jim and him,
Starin' at the butterfly who just drew the Jack of Hearts.
Lily was a princess, she was fair-skinned and precious as a child,
She did whatever she had to do, she had that certain flash every time she smiled.
She'd come away from a broken home, had lots of strange affairs
With men in every walk of life which took her everywhere.
But she'd never met anyone quite like the Jack of Hearts.
The hangin' judge came in unnoticed and was being wined and dined,
The drillin' in the wall kept up but no one seemed to pay it any mind.
It was known all around that Lily had Jim's ring
And nothing would ever come between Lily and the king.
No, nothin' ever would except maybe the Jack of Hearts.
Rosemary started drinkin' hard and seein' her reflection in the knife,
She was tired of the attention, tired of playin' the role of Big Jim's wife.
She had done a lot of bad things, even once tried suicide,
Was lookin' to do just one good deed before she died.
She was gazin' to the future, riding on the Jack of Hearts.
Lily washed her face, took her dress off and buried it away.
"Has your luck run out?" she laughed at him, "Well, I guess you must
have known it would someday.
Be careful not to touch the wall, there's a brand-new coat of paint,
I'm glad to see you're still alive, you're lookin' like a saint."
Down the hallway footsteps were comin' for the Jack of Hearts.
The backstage manager was pacing all around by his chair.
"There's something funny going on," he said, "I can just feel it in the air."
He went to get the hangin' judge, but the hangin' judge was drunk,
As the leading actor hurried by in the costume of a monk.
There was no actor anywhere better than the Jack of Hearts.
Lily's arms were locked around the man that she dearly loved to touch,
She forgot all about the man she couldn't stand who hounded her so much.
"I've missed you so," she said to him, and he felt she was sincere,
But just beyond the door he felt jealousy and fear.
Just another night in the life of the Jack of Hearts.
No one knew the circumstance but they say that it happened pretty quick,
The door to the dressing room burst open and a cold revolver clicked.
And Big Jim was standin' there, ya couldn't say surprised,
Rosemary right beside him, steady in her eyes.
She was with Big Jim but she was leanin' to the Jack of Hearts.
Two doors down the boys finally made it through the wall
And cleaned out the bank safe, it's said that they got off with quite a haul.
In the darkness by the riverbed they waited on the ground
For one more member who had business back in town.
But they couldn't go no further without the Jack of Hearts.
The next day was hangin' day, the sky was overcast and black,
Big Jim lay covered up, killed by a penknife in the back.
And Rosemary on the gallows, she didn't even blink,
The hangin' judge was sober, he hadn't had a drink.
The only person on the scene missin' was the Jack of Hearts.
The cabaret was empty now, a sign said, "Closed for repair,"
Lily had already taken all of the dye out of her hair.
She was thinkin' 'bout her father, who she very rarely saw,
Thinkin' 'bout Rosemary and thinkin' about the law.
But, most of all she was thinkin' 'bout the Jack of Hearts.
---o0o---
Three additional photos of Mrs. Fred Thompson a/k/a Jeri Kehn
Ok, let's pander to the masses. A few hundred netizens seem to be scouring the internet/blogosphere every day for Jeri Kehn Thompson photos. A fair number of you seem to be looking for something a bit more tittilating. Many Google and Yahoo, Dogpile, Metacrawler, and other users show up looking for "Jeri Kehn naked," "Jeri Thompson honeymoon photos," and "Jeri Thompson nude" images. All This Is That has three new (to us) photographs of Mrs. Fred Thompson. Unfortnately for many of you, she is clothed in every single one, with not evenm the usual hint of cleavage. . .
click to enlarge Jeri Kehn's side-shot
click to enlarge - Is that a subpoena in his hand? They DO look rather grim
click to enlarge Fred and Jeri in brunette/trenchcoat mode
To see the orignal batches of Jeri Kehn Thompson images, go here:
Meet the Thompson Twins: Fred Thompson's wife, Jeri Kehn (with photos)
One More Jeri Kehn Thompson photo
Jeri Kehn Photos, Part 3: Three more photos of Mrs. Fred Thompson
More Jeri Kehn photos--> A follow-up to "Meet the Thompson Twins: Fred Thompson's wife, Jeri Kehn (with photos) "
---o0o---
click to enlarge Jeri Kehn's side-shot
click to enlarge - Is that a subpoena in his hand? They DO look rather grim
click to enlarge Fred and Jeri in brunette/trenchcoat mode
To see the orignal batches of Jeri Kehn Thompson images, go here:
Meet the Thompson Twins: Fred Thompson's wife, Jeri Kehn (with photos)
One More Jeri Kehn Thompson photo
Jeri Kehn Photos, Part 3: Three more photos of Mrs. Fred Thompson
More Jeri Kehn photos--> A follow-up to "Meet the Thompson Twins: Fred Thompson's wife, Jeri Kehn (with photos) "
---o0o---
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