Rest in Peace

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Re: Rest in Peace

Postby RocketMan » Tue Feb 25, 2020 7:38 am

Rest in peace Hosni Mubarak, a friend of the family to the Clintons'.
-I don't like hoodlums.
-That's just a word, Marlowe. We have that kind of world. Two wars gave it to us and we are going to keep it.
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Re: Rest in Peace

Postby Iamwhomiam » Wed Mar 11, 2020 1:20 am

Max von Sydow, Star of ‘Seventh Seal’ and ‘Exorcist,’ Dies at 90

Widely hailed as one of the finest actors of his generation, Mr. von Sydow formed a close relationship with the director Ingmar Bergman and became an elder pop culture star.

Max von Sydow in William Friedkin’s “The Exorcist.” The actor was most associated with the films of Ingmar Bergman, a fellow Swede. Credit...Warner Brothers, via Getty Images

By Robert Berkvist

March 9, 2020

Max von Sydow, the tall, blond Swedish actor who cut a striking figure in American movies but was most identified with the signature work of a fellow Swede, the director Ingmar Bergman, died on Sunday. He was 90.

His wife, Catherine von Sydow, confirmed the death in an emailed statement. No cause was given. The Swedish newspaper Aftonbladet said he died in Provence, France.

Widely hailed as one of the finest actors of his generation, Mr. von Sydow became an elder pop culture star in his later years, appearing in a “Star Wars” movie in 2015 as well as in the sixth season of the HBO fantasy-adventure series “Game of Thrones.”He even lent his deep, rich voice to “The Simpsons.”

By then he had become a familiarly austere presence in popular movies like William Friedkin’s “The Exorcist,” Steven Spielberg’s “Minority Report,” Woody Allen’s “Hannah and Her Sisters” and, more recently, Julian Schnabel’s “The Diving Bell and the Butterfly.”

But to film lovers the world over he was most enduringly associated with Bergman.

If ever an actor was born to inhabit the World According to Bergman, it was Mr. von Sydow. Angular and lanky at 6-foot-3, possessing a gaunt face and hooded, icy blue eyes, he not only radiated power but also registered a deep sense of Nordic angst, helping to give flesh to Bergman’s often bleak but hopeful and sometimes comic vision of the human condition in classics like “The Seventh Seal” and “The Virgin Spring.”

In “The Seventh Seal” (1958), Mr. von Sydow played Antonius Block, a strapping medieval knight who returns from the Crusades to his plague-ravaged homeland only to encounter the stern, ghostly pale, black-hooded figure of Death, played by Bengt Ekerot. To stave off the inevitable, Block challenges Death to a game of chess, and in the long intervals between moves he searches the countryside for some shred of human goodness.

Mr. von Sydow, right, in Ingmar Bergman’s “The Seventh Seal” (1957), in which he plays chess against Death (Bengt Ekerot), an unforgettable image in film history. Credit...The Criterion Collection

The two grim figures hunched over a chessboard in a desolate north-country landscape made for an unforgettable cinematic image, which has been both imitated and parodied. But sustained Hollywood stardom eluded Mr. von Sydow, despite his promising introduction to a wide audience in the lead role of George Stevens’s biblical epic “The Greatest Story Ever Told,” released in 1965.

Though that movie turned out to be less than a blockbuster, Mr. von Sydow’s performance as Jesus was good enough to bring a flood of offers his way. Still, he often found himself typecast as a stereotypical bad guy, thanks to his imposing physique, strong features and Scandinavian accent.

“I wish I could have a wider choice of roles in American productions,” he told The New York Times in 1983, “the kind of roles I get in Europe.” Unfortunately, he said, American film producers “only offer you exact copies of roles you successfully performed before.”

In ‘Exorcist,’ the Title Role

There were exceptions. In one of his most commercially successful films, “The Exorcist” (1973), an adaptation of William Peter Blatty’s best seller, Mr. von Sydow played a grimly resolute Jesuit priest summoned in the film’s last scenes to rescue a girl possessed by a demon.

But it was not until his later years that he could range widely in American movies. In “Hannah and Her Sisters” (1986) he was the possessive lover of the youngest sister, played by Barbara Hershey. In the science-fiction thriller “Minority Report” (2002) he was Tom Cruise’s coolly efficient boss, the director of a police force that benefits from telepathic powers to stop crimes before they are committed.

Mr. von Sydow, second from left, with Barbara Hershey, Daniel Stern and Michael Caine in “Hannah and Her Sisters,” directed by Woody Allen. Credit...Orion Pictures

Mr. von Sydow earned his first Academy Award nomination in 1988 — some 40 years after his movie debut — for his work in “Pelle the Conqueror.” A Danish film directed by Bille August, it told the story of Lasse (Mr. von Sydow), a down-at-heels widowed Swedish laborer who brings his young son, Pelle, to Denmark at the turn of the century in search of a better life, only to encounter still more hard times.

There were other late-career high points, including “Hamsun” (1997), in which Mr. von Sydow submerged himself in the tangled personality of the Nobel Prize-winning Norwegian novelist Knut Hamsun, whose age and ego led him to become a tool of the Nazis during World War II.

By his late 80s, cast in the brief role of the village elder Lor San Tekka in “Star Wars: The Force Awakens” and as the enigmatic seer Three Eyed Raven in Season Six of “Game of Thrones,” he was having, as the critic Terrence Rafferty wrote in The Atlantic in 2015, “the sort of late career that eminent movie actors tend to have, popping up for a scene or two in commercial stuff that needs a touch of gravity, and receiving, as famous old actors do, the honor of ‘last billing.’”

He was also treated to a fresh round of recognition. “For a significant portion of his six decades onscreen,” Mr. Rafferty wrote, “he has been the greatest actor alive.”

Mr. von Sydow received his second Oscar nomination, as supporting actor, in 2011 for his performance in the otherwise critically savaged “Extremely Loud & Incredibly Close,” in which he played the mute companion of a boy whose father had died in the 9/11 attack on the World Trade Center. (In a wry handwritten note to the Academy expressing his gratitude, he wrote, “I don’t know what to say.”)

Perhaps no role was as emotionally charged for him as the one he played in the French-language film “The Diving Bell and the Butterfly” (2007): a frail, elderly man whose emotional defenses collapse when he learns that his son’s paralytic stroke is irreversible. The role reminded him of his relationship with his own father and of all the unresolved issues between them, he told The New York Times Magazine in 2008.

“I had great difficulty getting rid of my emotion after making this movie,” he said.

Mr. von Sydow as The Renter in “Extremely Loud & Incredibly Close” (2011), directed by Stephen Daldry. Credit...François Duhamel/Warner Brothers Pictures

Parents Were Educators

Carl Adolf von Sydow was born on April 10, 1929, in Lund, in southern Sweden. His father was a university professor, his mother a schoolteacher. He attended the Cathedral School in Lund, where he learned English at an early age, and began his acting career in an amateur theater group he founded with friends.

He was said to have adopted the name Max from the star performer in a flea circus he saw while serving in the Swedish Quartermaster Corps.

After his military service, he studied at the Royal Dramatic Theater in Stockholm, from 1948 to 1951, and made his screen debut in “Only a Mother” (1949), Alf Sjoberg’s drama about a woman raising a brood of children while toiling in virtual serfdom in a class-riven Sweden.

In 1951, while still in Stockholm, Mr. von Sydow married Kerstin Olin, an actress, with whom he had two sons, Clas and Henrik. The marriage ended in divorce after 45 years.

Along with his sons and Catherine von Sydow, he is survived by her sons, Cedric and Yvan, whom he adopted, according to the Expressen newspaper.

Mr. von Sydow began his long association with Bergman in 1955, when Mr. von Sydow moved to the city of Malmo, in southern Sweden, and joined the Malmo Municipal Theater, with which Bergman was associated.

Over the next few years Mr. von Sydow appeared in many Bergman films, becoming an important member of what was essentially the director’s repertory company, whether in lesser roles (in “Wild Strawberries” and “Brink of Life”) or lead ones (in “The Magician,” “Through a Glass Darkly” and “The Virgin Spring”).

In “The Virgin Spring” (1960), he played a wealthy man whose daughter is raped and murdered by two local shepherds. When he discovers the identity of the killers, he methodically plans and executes a bloody revenge.

Some 20 years later, reflecting on how Bergman had shaped his performance as the vengeful father, Mr. von Sydow said: “The rage slowly builds up in him until he finally explodes and kills — it’s a buildup which is long and slow and meticulous. Bergman uses a lot of time and thought to build up an emotion. He milks it. You think the explosion will come, but no, and the tension exhausts you.”

By the early 1960s Mr. von Sydow was getting offers from Hollywood and turning them down, saying he was happy enough with his work in Sweden. Then he was offered the role of Jesus in “The Greatest Story Ever Told,” and he went to Hollywood, embarking on an international career.

In 1966, in “Hawaii,” based on the novel by James A. Michener and directed by George Roy Hill, Mr. von Sydow gave a nuanced performance as a young minister who comes to 19th-century Hawaii with his wife (Julie Andrews) to seek converts among the native islanders.

More typically, though, and to his mounting frustration, he played the villain — a neo-Nazi in “The Quiller Memorandum” (1966), a power-hungry Russian in “The Kremlin Letter” (1970), a fedora-wearing hired assassin in “Three Days of the Condor” (1975), the otherworldly emperor Ming the Merciless in the cartoonish “Flash Gordon” (1980), the archenemy Ernst Stavro Blofeld in the James Bond film “Never Say Never Again” (1983).

Mr. von Sydow and Liv Ullmann in “The Emigrants” (1971), a drama about Swedish settlers in 19th-century Minnesota. Credit...Warner Bros. Pictures

More challenging roles awaited him back in Sweden, and in the late 1960s he returned there to make another series of films with Bergman and another master Swedish director, Jan Troell. He appeared in Bergman’s “Hour of the Wolf” (1968), “Shame” (1968), “The Passion of Anna” (1969) and “The Touch” (1971) and went on to star with Liv Ullmann in “The Emigrants” (1971) and “The New Land” (1972), Mr. Troell’s two-part saga about 19th-century Swedish settlers in the United States.

Mr. von Sydow made his Broadway debut in 1977 as the star of “The Night of the Tribades,” a play by Per Olov Enquist about the Swedish writer August Strindberg. Despite a cast that also included Eileen Atkins and Bibi Andersson (another Bergman mainstay, who died last April), the production ran for less than two weeks.

Broadway theatergoers had another brief encounter with Mr. von Sydow in 1981, when he starred with Anne Bancroft in “Duet for One,” Tom Kempinski’s drama about the cellist Jacqueline du Pre, whose career was cut short by multiple sclerosis. Mr. von Sydow played the kindly therapist who tries to help her through her depression.

That play, too, had only a short run, but there were better things to come for Mr. von Sydow, almost all of them on film.

In another role with psychological depth, in “The Flight of the Eagle” (1983), directed by Mr. Troell, he was the leader of an ill-fated party of explorers who try to fly over the North Pole in a hydrogen balloon. Writing in The Times, Vincent Canby described the movie, an Academy Award nominee for best foreign-language film, as “so good that it makes one want to know more.”

Mr. von Sydow receiving the honorary Donostia Award at the San Sebastian’s International Film Festival in Spain in 2006. Credit...Pablo Sanchez/Reuters

Sweden Grew Distant

For all his connection to the land of his birth and of Bergman, Sweden became distant to Mr. von Sydow. In the 1980s, though he had a summer house on an island in the Baltic Sea, he lived in Rome. His sons attended American universities.

“I have nowhere really to call home,” he told The Times. “I feel I have lost my Swedish roots. It’s funny because I’ve been working in so many places that now I feel at home in many locations. But Sweden is the only place I feel less and less at home.”

Mr. von Sydow remained among a select group of actors to have formed symbiotic relationships with directors, in which one helps the other achieve a high level of artistry. He found kindred spirits in two filmmakers. One was Mr. Troell, who directed him in seven films and wanted him to take the lead in “The Last Sentence,” his acclaimed 2012 film. He declined, Mr. Troell said, because at 85 Mr. von Sydow felt “he was too old.” (The role went to Jesper Christensen, 19 years his junior.)

The other, of course, was Bergman. Mr. von Sydow recalled his last conversation with the director, who died in Sweden in 2007 at 89: “He said, ‘Max, you have been the first and the best Stradivarius that I have ever had in my hands.’”

Alex Marshall and Christina Anderson contributed reporting.
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Re: Rest in Peace

Postby chump » Wed Mar 11, 2020 7:41 pm


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Re: Rest in Peace

Postby Iamwhomiam » Wed Mar 11, 2020 8:34 pm

I was having a conversation the other evening with an old friend, a musician, enjoying our conversation about other old friends who are or were musicians when he asked if I knew Buzzy had passed away a few weeks ago. Although I knew he had been having a difficult time aging, I really didn't know how close to death he was.

It's tough losing old friends like Buzzy. Sure wish FB would re-admit me so I wouldn't miss such important news. We were also FB friends. How I missed the mainstream reporting of his passing is beyond me.

Buzzy Linhart, freewheeling fixture of Greenwich Village music scene, dies at 76

Singer-songwriter Buzzy Linhart, center, performs at the Cafe Au Go Go in Manhattan circa 1965.
(Don Paulsen/Michael Ochs Archives/Getty Images)

Harrison Smith
Feb. 19, 2020 at 7:30 p.m. EST

Buzzy Linhart, a journeyman musician who became a freewheeling fixture of the 1960s and ’70s music scene in Greenwich Village, where he collaborated with Bette Midler and Carly Simon, recorded with Jimi Hendrix and inspired a Youngbloods track that grew into a hippie anthem, died Feb. 13 at his home in Berkeley, Calif. He was 76.

Mr. Linhart had long struggled with physical and mental-health issues, which contributed to a roughly decade-long stretch of homelessness in which he lived in cars or on the streets, stayed at friends’ homes and found shelter after-hours inside a Los Angeles smoothie shack. He was back on his feet by the early 1990s, said his son Xeno Rasmusson, but stopped performing in 2018 after he had a heart attack and seizure.

Mainstream recognition eluded Mr. Linhart — “I was born under an asterisk,” he once said — but he drew a cult following for his improvised jam sessions, acrobatic concerts and offbeat lyrics, which he punctuated with yells, scatting and cartoonish noises. Known mainly as a singer-songwriter, he also played piano, guitar, drums and vibraphone, sometimes leaping from instrument to instrument while performing at venues such as the Cafe Au Go Go in Manhattan.

“He would play his guitar wildly,” songwriting partner Moogy Klingman said in a 2006 documentary, “Famous: The Buzzy Linhart Story.” “He would sing scat for 20 minutes, play a vibes solo for 20 minutes, morph one song into another song so by the time he finished a single drum beat he would have done 10 songs to that one drum beat. There was nothing like Buzzy.”

Trained as a percussionist, Mr. Linhart began recording professionally at 16 and came to New York in 1963 to perform with singer-songwriter Fred Neil, whose song “Everybody’s Talkin’ ” became a hit for Harry Nilsson. He went on to appear on dozens of records, including for Tim Hardin, Richie Havens, Buffy Sainte-Marie, Stephen Stills and John Sebastian, a onetime roommate later known as the lead singer of the Lovin’ Spoonful.

In his own music, Mr. Linhart drew on rock, folk, jazz, R&B and Indian influences. His band the Seventh Sons were said to have performed the first raga (an improvised form of Indian classical music) with electric instruments, and recorded a half-hour version — “Raga (4 a.m. at Frank’s)” — for the avant-garde label ESP-Disk. Mr. Linhart spoke of searching for the moment where “telepathy ends, and making music begins.”

He was perhaps best known for co-writing “Friends,” also known as “(You Got to Have) Friends,” which became an unofficial theme song for Midler and appeared in two versions on her 1972 studio debut, “The Divine Miss M.” Written with Klingman, the song was later recorded by Barry Manilow, performed on “The Muppet Show” (with Gonzo accompanied by actress Candice Bergen) and introduced to many younger listeners by Eddie Murphy’s donkey character in the animated movie “Shrek.”

Mr. Linhart also wrote “The Love’s Still Growing,” which closed out Simon’s self-titled 1971 debut and was credited with inspiring the Youngbloods’ 1967 version of “Get Together.” Written by Chet Powers, known by his stage name Dino Valenti, the song reached No. 5 on the Billboard pop chart and was in heavy rotation during the Summer of Love, opening with the lines: “Love is but a song we sing / Fear’s the way we die.”

The Youngbloods version emerged out of a Sunday afternoon session at the Cafe Au Go Go, where singer Jesse Colin Young had gone hoping that he might find rehearsal space for his band. “I walked down the stairs and it turned out to be an open mic,” he told NPR last year. “I thought I would turn around and go home. But Buzzy Linhart was onstage singing ‘Get Together.’ That song just stopped me in my tracks.”

Heading backstage, Young immediately asked Mr. Linhart to teach him “Get Together.” “I started singing it probably three days after I learned it from Buzzy,” Young said in “Famous,” the documentary, “and I haven’t stopped since.”

The second of three children, William Charles Linhart was born in Pittsburgh on March 3, 1943, and raised in East Cleveland, Ohio. His father was a salesman, and both parents were musical, putting on charity shows at churches and Lions Clubs that featured Mr. Linhart and his siblings from a young age.

Mr. Linhart initially adopted the nickname Fuzzy, for the cowboy actor Fuzzy Knight. “It quickly became Buzzy because of his energy,” his son Rasmusson said by phone. “He was always making a sound” and took music lessons from a percussionist in the Cleveland Orchestra.

Before graduating from high school, he joined the Navy to play and compose for a military band, a stint that ended after 18 months with an honorable discharge. Mr. Linhart said that after helping put out a fire at a Washington naval base, he damaged his lungs and “had some sort of a breakdown.”

He was diagnosed with schizophrenia and rediagnosed in recent years with post-traumatic stress disorder — which proved something of a relief, Rasmusson said, as it helped him “understand what he was feeling” after years of mental-health struggles that contributed to his disappearance from public view. “He was always on guard for hurt, for another round of rejection, trauma and mistreatment.”

Mr. Linhart never stopped writing music, although his recording career took a hit with a scathing reviews of his 1974 album, “Pussycats Can Go Far.” Looking for a change, he moved to Los Angeles and did acting and musical work for film and television, playing a nude hitchhiker in the 1974 comedy “The Groove Tube” and writing and performing in Bill Cosby’s short-lived 1976 series “Cos.”

Two years later, a car accident pushed him into homelessness, which lasted until Hugh Romney — an entertainer and peace activist known as Wavy Gravy — helped him find a place to live in Berkeley. Mr. Linhart settled in the city and helped organize a medical marijuana co-op.

His marriages to Elizabeth Johnston and Jeanne Altson ended in divorce, and he was separated from his third wife, Kim Coleman. Survivors include a son from his first marriage, Rasmusson; a son from his second marriage, Jesse Knight; two daughters from relationships, Sara Zahn and Tiffany Rubin; a sister; a brother; and three grandchildren. Another son from his second marriage, Dylan Knight, died in 2016.

Mr. Linhart released several albums in recent years through his publishing company, Buzzart. But to some listeners, no recording could capture the energy of his live performances, which seemed to embody what New York Times music critic Robert Palmer called “the New York speed freak style,” in which late-’60s artists filled “every available hole in the musical fabric.”

“No sooner has he hit an opening chord than his eyes roll back in his head and he begins to bob and weave like a dervish in a trance,” Palmer wrote in 1977. “But one once endured such overachieving regularly in the interests of hearing genuine talent, and Mr. Linhart’s talent is genuine.”


Buzzy Linhart, Eccentric and Eclectic Singer-Songwriter, Dies at 76
By Jim Farber

February 18, 2020

Buzzy Linhart, Singer-Writer-Musician, Dies at 76
by Best Classic Bands Staff
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Re: Rest in Peace

Postby Laodicean » Fri Apr 03, 2020 3:33 pm

Bill Withers. If you thought 2020 couldn't get any worse.
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Re: Rest in Peace

Postby liminalOyster » Fri Apr 03, 2020 4:00 pm

New Orleans jazz patriarch Ellis Marsalis dead at 85
April 01, 2020 9:15 PM in NewsSource: Associated PressBy: WBRZ Staff Share:

NEW ORLEANS (AP) — Ellis Marsalis, jazz pianist, teacher and patriarch of a New Orleans musical family that includes famed musician sons Wynton and Branford, has died. He was 85.

New Orleans Mayor LaToya Campbell announced Marsalis’ death in a news release Wednesday night. She did not specify a cause of death. He had continued to perform regularly in New Orleans until December.

Because Marsalis opted to stay in New Orleans for most of his career, his reputation was limited until his sons became famous and brought him the spotlight, along with new recording contracts and headliner performances on television and on tour.

Four of his six sons are musicians: Wynton, the trumpeter, is America’s most prominent jazz spokesman as artistic director of Jazz at Lincoln Center in New York. Branford, the saxophonist, led The Tonight Show band and toured with Sting. Delfeayo, a trombonist, is a prominent recording producer and performer. And Jason, the drummer, has made a name for himself with his own band and as an accompanist. Ellis III, who decided music was not his gig, is a photographer-poet in Baltimore.

The Marsalis “family band” seldom played together when the boys were younger, but in 2003 toured up East in a spinoff of a family celebration that became a PBS special when the elder Marsalis retired from teaching at the University of New Orleans.

Harry Connick Jr., one of Marsalis’ students at the New Orleans Center for the Creative Arts, was a guest. He is just one of the many now-famous jazz musicians who passed through the Marsalis classrooms; others include trumpeters Nicholas Payton and Terence Blanchard, saxophonists Donald Harrison and Victor Goines, and bassist Reginald Veal.

Marsalis was born in New Orleans, son of the operator of a hotel where Marsalis met touring black musicians who could not stay at the segregated downtown hotels where they performed. He played saxophone in high school but was also playing piano by the time he went to Dillard University.

Although New Orleans was steeped in traditional jazz, and rock ‘n’ roll was the new sound in the city’s studios in the 1950s, Marsalis preferred bebop and modern jazz. His college quartet included drummer Ed Blackwell, clarinetist Alvin Batiste and saxophonist Harold Battiste playing modern.

Ornette Coleman was in town at the time, and in 1956 when Coleman headed to California, Marsalis and the others went with him, but after a few months, Marsalis came back home. He told the New Orleans Times-Picayune years later, when he and Coleman were old men, that he never did figure out what a pianist could do behind the free form of Coleman’s jazz.

Back in New Orleans, Marsalis joined the Marine Corps and was assigned to accompany soloists on the service’s weekly TV programs on CBS in New York. It was there, he said, that he learned to handle all kinds of different music styles.

On returning home, he worked at the Playboy Club and ventured into running his own club, which quickly went bust. In 1967 trumpeter Al Hirt hired him. When not on Bourbon Street, Hirt’s band was appearing on national TV — doing headline shows on The Tonight Show and The Ed Sullivan Show, among others.

Marsalis got into education about the same time, teaching improvisation at Xavier University in New Orleans, and in the mid-1970s joined the faculty at the New Orleans magnet high school where he influenced a new generation of young jazz musicians.

When asked how he could teach something as free-wheeling as jazz improvisation, Marsalis once said, “We don’t teach jazz, we teach students.”

In 1986 he moved to Virginia Commonwealth University in Richmond as coordinator of Jazz Studies, a post he kept until 1989 when the University of New Orleans lured him back to set up a program of jazz studies at home.

Marsalis retired from UNO in 2001, but continued to perform, particularly at Snug Harbor in New Orleans, a small jazz club that anchored the city’s contemporary jazz scene — frequently backing young musicians who had promise.

His melodic style, with running improvisations in the right hand, has been described variously as romantic, contemporary, or simply “Louisiana jazz.” He is always on acoustic piano, never electric, and even in interpreting the old standards, there’s a clear link to the driving bebop chords and rhythms of his early years.

He founded his own record company, ELM (taken from his initials), but his recording was limited until his sons became famous. After that, he joined them and other musicians on mainstream labels and headlined his own releases, many full of his own compositions.

He often played at the New Orleans Jazz and Heritage Festival. For more than three decades he played two 75-minute sets every Friday night at Snug Harbor until he decided it had become too exhausting. But even then he still performed there on occasion as a special guest.

Marsalis’ wife, Dolores, died in 2017. He is survived by his sons Branford, Wynton, Ellis III, Delfeayo, Mboya, and Jason. ... ead-at-85/
"It's not rocket surgery." - Elvis
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Re: Rest in Peace

Postby Laodicean » Thu Apr 16, 2020 4:55 pm

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Re: Rest in Peace

Postby semper occultus » Thu Apr 16, 2020 5:36 pm

a fedora-wearing hired assassin in “Three Days of the Condor” (1975),

fucking love that film
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Re: Rest in Peace

Postby liminalOyster » Wed May 06, 2020 11:27 pm

"It's not rocket surgery." - Elvis
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Re: Rest in Peace

Postby stickdog99 » Thu May 07, 2020 1:58 pm

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Re: Rest in Peace

Postby Spiro C. Thiery » Sun May 17, 2020 2:55 am

Seeing the world through rose-colored latex.
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