Pati Patni Aur Woh Imdb Id Tt9680136

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Publisher Junaid Ali Rehan
Resume: Still figuring out 🤔

release Date=2019 / rating=7 / 10 Stars / Directed by=Mudassar Aziz / genre=Romance, Comedy / review=Pati Patni Aur Woh is a movie starring Kartik Aaryan, Bhumi Pednekar, and Ananya Panday. Chintu Tyagi is an ordinary, middle class man who finds himself torn between his wife and another woman /

It was more of a story telling than a review. we expect more from you mam. The concept of an extramarital affair has always been Bollywood's trump card. From the primitive years of Indian cinema, several films have been based on the topic. While many of them succeeded in sending across a message, the rest were made solely for the purpose of entertainment. Mudassar Aziz's upcoming film Pati Patni Aur Woh, starring Kartik Aaryan, Ananya Panday and Bhumi Pednekar, is another one that relies on the concept of 'Gharwali' and 'Baharwali'. The makers of the film were so lazy while conceptualising this film that they didn't even want to invest in a new story or even an innovative title, for that matter. As the makers proclaim proudly, it is a remake the 1978 film of the same name which featured Sanjeev Kumar, Vidya Sinha and Ranjeeta Kaur. As the new Pati Patni Aur Woh hits the screen on Friday (December 6), we revisit the 1978 film directed by late filmmaker BR Chopra. The film, which released around 41 years ago, is considered as one of the classics of its era. It is said to be ahead of its time as the film showed the husband-wife relationship with a 'realistic' perspective. But then, we have to admit that it was problematic in so many ways. After making path-breaking cinema like Naya Daur (1957), Sadhna (1958), Kanoon (1960) and Chhoti Si Baat (1976), among several other gems, BR Chopra directed and produced Pati Patni Aur Woh, which talked about a middle-aged man Ranjeet Chhadha (Sanjeev Kumar) and his adventures of keeping an extramarital affair with his secretary Nirmala Deshpande (Ranjeeta Kaur), despite having a loving and caring wife Sharda (Vidya Sinha) and a son. PATI PATNI AUR WOH RECAP The film begins with a young Ranjeet and Sharda bumping their cycles into each other on the road. For the man, it is love at first sight as he is seen flirting with sly innuendoes, while the girl is abusing him for causing her harm. They meet again at a friend's wedding and Cupid strikes. Soon after a round of gaana-bajaana, followed by casual flirting, the two are head over heels in love with each other. Later, Ranjeet visits a clueless Sharda's home and asks her equally clueless father her hand in marriage. Then they are married. Watch Na Aaj Tha Na Kal Tha from Pati Patni Aur Woh here: "Ek baat yaad rakhna. Pehli raat jo billi baar le, woh hi mauj karta hai. Usse dab mat jaana, " Ranjeet's friend Durrani advises the new husband. The conversation moves forward with more misogynistic remarks we don't wish to divulge here. The husband and wife live with love for several years and become parents to a lovely son until Nirmala Deshpande enters their lives. She is Ranjeet's new secretary. Love blossoms between the boss and secretary as Nirmala sympathises with Ranjeet for having an ailing wife, who doesn't have many months to live. Shardha comes to know about her husband's affair and confronts him only to hear more lies. At last, Ranjeet gets caught and casts aspersions on the innocent secretary. To save her family, Shardha accepts her husband who swore not to repeat it. But, as they say, men will be men, Ranjeet is seen bringing out another set of medicines to fool his new secretary. This time, it's Parveen Babi. WHAT WENT WRONG IN PATI PATNI AUR WOH IN 1978 The problem with the BR Chopra film begins with the very first scene where Ranjeet and Shardha meet for the first time. The way the guy approaches the girl with sly remarks would have been extremely controversial if the film would release today. Ranjeet surprising Shardha by landing up at her doorstep to propose marriage is absurd, too. And then the father getting ready for the wedding, no questions asked, is unbelievable. Do we need to mention that the misogynistic conversation between Ranjeet and his cronies before the newlyweds' Suhaag Raat is disrespectful on so many levels? We think not. The handling of female characters by the writer and director is pathetic. They are shown as brainless, if not helpless, during the entire two hours of the film. The first time Nirmala meets Ranjeet and on being asked why does she want to work, she says, "Basically, koi Hindustani ladki working girl nahi hoti, " sounds insulting to many working women who work because they love being independent and not because they have any compulsion. Ranjeet says, "Aap jawaan hai, khoobsurat hai. Aapki figure achchi hai. Fir aap... Khair jo bhi hai aapke vichaar kaafi shuddh hai. Mujhe pasand aaya. " From dialogues to camera work and direction, the women are objectified in so many scenes in the film that keeping a count of it is difficult. Here, we should mention that BR Chopra is the same director who made Sadhna in 1958 which was about the emancipation of sex workers, exactly 20 years before he made Pati Patni Aur Woh. Even towards the end of the film, Ranjeet seems to have not learnt any lesson and even failed to understand the pain he caused his wife. He is again seen initiating another extramarital affair with his new secretary. Watch Pati Patni Aur Woh (2019) trailer here: While we don't know why Pati Patni Aur Woh was made even in 1978, remaking it in 2019 is a crime that should not have been committed. At the trailer launch of Pati Patni Aur Woh, Mudassar Aziz said that he has retained the "essence" of the original, despite giving a modern spin to the film. We hope the "essence" he is talking about is not the blatant misogyny depicted in the original film. ALSO READ | Kartik Aaryan on marital rape dialogue in Pati Patni Aur Woh: Didn't want to hurt sentiments ALSO READ | Pati Patni Aur Woh row: Kartik Aaryan's marital rape dialogue to be edited out, says report ALSO READ | Kartik Aaryan reveals he hasn't watched the original Pati Patni Aur Woh: I didn't want any influence ALSO WATCH | Be happy with the way you are, says Bhumi Pednekar.

Viewer s Anyone need it's another season Show yr agree by liking 😀. Дата выхода: 6 декабря 2019 Режиссер: Мудассир Азиз Продюсеры: Бхушан Кумар, Кришан Кумар, Джуно Чопра и Абхай Чопра В ролях: Картик Арьян, Ананья Пандей, Бхуми Педнекар Официальный ремейк фильма Pati Patni Aur Woh / Муж, жена и… (1978) с Сандживом Кумаром в главной роли. Первоначально жену Картика, роль которой в оригинале исполняет Видья Синха, должна была сыграть Таапси Панну, но по словам актрисы, ее бесцеремонно исключили из проекта в последнюю минуту без объяснения причин. Роль досталась Бхуми Педнекар. Трейлер: #PatiPatniAurWoh.

This movie got a lot of surprises packed for you guys a must watch family entertainer. M gonna miss yall! My fav series from Dice Media❤️.

 

Sonu Nigam Ke song ka kachra Kar Diya... 😂😂 Agree. Like Don't agree. pehli fursat me aage Badh... Great man keep on best of luck for ur future...

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I binge watched all the season in a night. Loved this series. Outstanding 😊. Feel it. Melody. sweet. After long time this song, Really love this song. I respect this song... Remake of the year award goes to: 2019 🤣🤣🤣🤣🤣🤣. Bhai kaun she movie hai. Well done. Need to get this song to 1 billion views to show appreciation for originality. Stop with the misogyny already. Beautiful song 🎶🎤🎤🎤🎤🎤🎤🎤🎤2020 ( dil se like❤. 9998754329. I watch these movie. its really goood. i like baground score of this movie so much. Just here after Star Screen Awards 2019🤣🤣🤣🤣🤣🤣... This movie, literally, made me look like dumb as cattle. I wasn't even interested to watch it after seeing its cringy title. However, I went on forcing by my friend and it was sheer disappointment to waste the money on buying tickets. Movie has no plot, no sensible storyline. As a matter of fact, I didn't get any chance to watch its trailer. I would've avoided it otherwise. For one moment, it's comedy going on and immediately, it's sad and sorrow scenes the very next moment. This movie is only liked by the people who are dumb enough to love watching romantic movies after sending requests to random girls on Facebook. And people who went to watched it even after watching its trailer, hats off to them.

No comedy. no more stupid acting. disaster... 0:49 so cute. expression of both. 😍😍😍😍😍😍😍. Tseries in a mission to ruin every popular old songs. Story of a simple man who is deeply in love with his beautiful wife, so much that tumhe koi aur dekhe, to jalta hain dil. badi mushkilon se phir sambhalta hain kya jatan karte hain - tumhe kya tumse pyar kitna, yeh hum nahi janate, magar jee nahi sakte tumhare bina. It's gonna rock the nation.

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I love this song. Awesome❤. 2019 be like: aiillaa nayaa gaana 🤪. Very entertaining. Don't listen to negative reviews as these people don't know anything about movies. Mudassar Aziz direction is mindblowing. Karthik Aryan is future of Indian cinema. Bhumi pednekar is mindblowing. Tara Sutaaria shines in her role.Aparshakti khurana nailed his character once again. Don't miss this family entertainer. Such movies came once in a year. Hats off to entire team for giving such entertaining package in 2 hours.

Dheeme Dheeme Slowly slowly Loleny lonely. loda lehsun ka remake ane LGA new Kb aye ga😡. Nice to see you bring the same Monogamy explain thing here that you had told me earlier. Cheating is horrible. Emotional or physical. Just don't cheat, is the best advice ever. It breaks my heart to a million pieces each time.

Please don't waste your time and money by watching this stupid non-sense movie

So B Praak is the same person who sang Filhaal? 💕.

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release year: 2019 / Runtime: 1 h 39 min / User ratings: 7,2 / 10 Star / Score: 54 Vote / Countries: Canada / Ricky Tollman.
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Run this town clean. Run this town 2019. Run This town hall. I want to preface this with the fact that there may be better builds, and if so, I'd love to hear them. I'm also curious what sort of damage people are putting out on their bows, so please feel free to leave comments. This is also my first monster hunter, so take that as you will, but I'm able to comfortably solo most tempered elder dragons. I personally favour the orchestra palico if I'm solo/duo, because mostly the stamina buff saves my dash juices. Edit: Reddit delivers, as always. Some amazing tips and thoughts in the comments. Definitely read them! And thank you to everyone. Anyway, with that said, let's dive in. There isn't one perfect bow build for the end game. This is why you have approximately 46 bajillion equipment slots, and can name them. As a bare minimum, you probably want Dragon, Fire, Ice, Thunder, Water, Blast, and then custom sets for exploring and various creatures. Once you've got them set up, it only takes a few seconds to switch loadouts, and you can do it easily on great hunts too (back to camp, pick a new loadout). Before we get into equipment specifically, let's talk Dragon Piercer. I don't rate focusing on DP most of the time. It takes ~5 seconds to charge up, during which time you could have gotten off a couple of spread shots and and arc shot, doing far, far more damage, as well as adding a stun/stagger/breaks. It's situational, but there are probably better 1 slot decos for your needs, rather than getting 20% extra damage on DP. Think about it - how often do you connect a perfect DP shot in an average fight? 3 times? 10? Even 20 isn't that many compared to the other shots you're getting in. I'm also assuming you know about bow charge level, spread shot, power shot, arc shot, etc. Coatings. Eh. I hardly ever use these, except when attacking a sleeping giant or for first strike. I could probably improve here. edit: Some excellent notes in the comments on coatings (and one in particular for Hazak which makes me laugh and I can't wait to try). Also, while you're farming the decos you need, you might find yourself with a coating gem, which allows bows to use non-standard coatings. Useful! Boosters There's no reason never to use Demondrug and Armorskin. All your item loadouts should have 3 of each. Cultivate the necessary herbs, to cover carting. Always eat a max potion (if the canteen didn't max your health, on which note... ) Always use the canteen. Always. Take flashthings, and flashbugs for on-fly-crafting. Dash Juice is your friend. Tailrider safari will collect the ingredients for you. Decorations Decos you're absolutely going to want: Mighty Bow (level 2) This increases max bow charge level by 1. This means your bow can charge to level 4, and does increased damage on the final shot. In the training room, the fourth volley does 32/36* vs 30/33* for the third. Also, with enough stamina, I think it makes the 4th charge power shot have 7 arrows instead of 5. Which can be an extra 50+ damage. Forceshot (level 3) This increases the damage of normal arrows. In practice, this adds ~3% (probably 1 or 2 points) of damage to all your shots. Given that you'll be shooting hundreds of arrows in a typical fight, this adds up. If you use coatings, this may be less relevant. Spread (level 3) Much like Forceshot, this will add ~3% of damage to each arrow. Element and Attack jewels. Should be obvious. Armour Ok, so there are some basics which are very useful, but you're going to be switching out pieces for different builds. I've tried a heap of builds that I found here (so thank you to everyone for posting, and especially /u/timy_spelling_error for this particular post:) Charms and Utilities Take your pick from Fitness Charm/Health Charm and Vitality Cloak/Impact Cloak/Evasion Cloak/Affinity Booster, and base it on whether or not you're going to get one-shot. Defense rating For the most part, these builds come in around ~450 armour before canteen/armorskin boosts, so very little is going to be able to one-shot you, but do consider the health charm for most tempered elder dragons, especially with one or two faints. It's easy to get caught out. It's less vital if you're not solo. Dragon, Fire, Ice, Thunder, Water For the most part, I run these with fitness charm, impact cloak or affinity booster and vitality cloak for backup. Dragonking Eyepatch, Negi mail B, Kaiser Vambraces, Nergi coil A, Kushala Crus B KO Jewel 2 or Destroyer Jewel 2, Mighty Bow Jewel 2, Expert Jewel 1, Spread Jewel 3, Forceshot Jewel 3. Feel free to switch out KO Jewel for a coating jewel if that's your thing, and replace the expert with a DP booster if you like using DP. Or switch out expert for another element jewel. This gives constitution 3, Weakness Exploit 3, Stamina Surge 3, Attack Boost 2, Evade Extender 2, Normal Shots, Spread/Power Shots, Partbreaker or Stun bonus, Bow Charge Plus. I really like evade extender when combined with the bow evade. It allows for some ridiculous moves, and also makes mounting a cinch (bow evade towards the enemy, then tap the coating button for a mounting attack which will generally do 40+ damage even if it doesn't mount). Dragon Dragonbone Bow 3, Dragon Jewel x 2. Fire Rathslinger III, Blaze Jewel 1 /u/Killerclown_swe provdes the following below in the comments. Now, i've runned some testing on the Rath Vs Anja bows. Got an great Kirin investigation, where i did my testing. I don't write down any specific numbers and stuff, it would feel like doing homework than having fun. Anyway, the way i did my test was to go into a investigation, with the testing bow, finish and then use a scum save so that the investigation should be the same on every test. Did 5 on each bow, and forced my son:) to do 3 on both bows. The conclusion after all of this testing was that the Rath had more even dmg number, than the Anja. And that came to be an important thing over time. Yes, Anja could hit with a much higher dmg sometimes, but that that didn't help when it was all done. Every test ended up with Rath as a winner when coming to time to finish the investigation. The difference was 1. 5 - 2 mins on every run. Ice Legia Snowfletcher, and I switch out expert for a frost jewel. Thunder Flying Kadachi Strikebow, 1 x bolt, and switch out expert for another bolt. Water Water Shot III - this comes with a level 3 slot, so you can add another KO, a destroyer, a stream jewel, whatever you like. Blast Things get a bit different here. The only bow I haven't built is the one that requires Arena tokens, because fuck the Arena. I hate it. I need to play it at some point to wrap up my achievements, but just ugh. But it's got blast without the need for Free Elem, which is really interesting. In the absence of that, here's what I have. Datura String (mighty bow 2, trueshot 1), Dragonking Eyepatch (spread jewel), Zorah Hide (Destroyer), Zorah Claws (Attack), Nergi Coil B (destroyer), Kirin Leg Guards (expert, satiated), Normal Shot Charm. Looking at this now, it looks like I might be better served adding another trueshot in place of expert, especially because stuff that's weak to blast also tends to be really easy to line up for DPs, but flavour to taste. I love this outfit. It's a shame not so much stuff is strong against blast. Anyway, it gives free elem 3, lots of partbreaker, and all the other goodies. It's lots of fun. Hazak Rathslinger 3 (protection), Dragonking Eyepatch (spread), Nergi mail B (mighty bow, blaze), Kaiser Vams (Forceshot), Girros Coil (Miasma), Vaal Hazak Greaves (Blaze & Expert), Health Charm (although you could definitely run fitness here), Vitality Cloak, Impact Cloak. This gives Heath 3/Constitution 3 (if you swap the health charm for fitness), Weakness Exploit 3, Effluvia Resistance 3, Fire attack 2, Stamina Surge 2, Effluvial Expert, Normal Shots, Power Shots, Critical Eye 1, Divine Blessing 1, Bow Charge Plus. Effluvial Expert 3 in particular means Hazak becomes a bit of a joke. You can pretty much just stand in his face and mash power shot/arc shot and laugh as he goes down. If you're fighting in rotten vale, don't miss the wiggly litchi just by the central camp. If you're playing with others, try to all approach him together. He has a nasty habit of doing his breath o' doom when one person approaches ahead of the others, which can lead to multiple cartings if you're caught out of place. In rotten vale, encourage him to stand under the boulders in the area with the blue pools. 2 stuns back to back at the start of the fight moves the fight along nicely. The Kush Ugh. The wind. The endless wind. Flying Kadachi Strikebow (Bolt), Dragonking Eyepatch (Wind Resist), Nergi Mail B (Wind Resist, Bolt), Kaiser Bs (spread), Nergi Coil B (Mighty Bow), Kush Crus (Forceshot), Health Charm (he hits like a truck even with ~500 armour) You can switch out the Nergi Mail B for Rath Soul Coil A if you want more windproofing) and it comes with a bonus DP boost. Health Boost 3, Weakness Exploit 3, Windproof 2 (or 4 if you switched for Rath Soul Coil), Attack 2, Thunder Attack 2, Stamina Surge 2, Evade Extender 2, Normal Shots, Spread Shots, Bow Charge Plus Take 3 flashbombs, and 10 flashbugs for crafting them on the fly. In Elder Recess, (s)he'll often retreat to the area with two crystal boulder traps, so don't forget to use those. Teostra I hate this guy. I can solo him tempered ~50% of the time, and the rest I get caught out by something stupid. I would recommend using any 1-faint investigations to just farm tracks with the ghillie mantle. When he's got his flamewalls up, aim for the wings or the face. I find the wings way easier to hit (aim high). Anywhere else and his flames will burn up your arrows. Legia Snowfletcher, Dragonking Eyepatch (spread or forceshot depending on your preference), Nergi Mail B (2 x Fire res), Kaiser Vams B (mighty bow), Nergi Coil A, Kush Crus (Fire res), health booster/vitality cloak, fireproof cloak. Health Boost x 3, Fire Res x 3, Weakness Exploit x 3, Stamina Surge x 3, Attack Boost 2, Evade Extender 2, Normal Shots, Bow Charge Plus If you're comfortable dodging his bullshit, feel free to switch things around to the basic ice setup for more DPS. Every time I try to add more DPS, I get carted fast. Nergi I can solo this guy ~90% of the time. Sometimes you'll get caught by a stun, and then he'll eat your face. This, more than any other tempered elder, requires stamina management to ensure you can always dodge. Use arc shot a lot to keep him stunlocked and you should be ok. Don't forget the dash juice. Similar to the Kush build (they're both weak to thunder), but switch out both bolts for stun resistance, add another stun resist to replace one of the windproofs, and the other with spread. Take impact mantle and vitality cloak. He's not going to let you use your health booster. I've tinkered with using quick sheathe here instead of stun resistance, because if you're going to flash him, you need to be quick. It kinda works. For this fight, I tend to play it safer, peppering him with normal shots, and watching for the opening to flashbang him, at which point I just unload power/arc shots into his face. This is pretty much the only fight I don't go full ham, apart from Teostra. With even one other player, drop the stun resists for full DPS/destroyer/stun and just go to town. Don't forget to abuse the environment. Xeno I don't think you can get him tempered. I'm still playing around with builds here. Mostly, I just go the default dragon build, because that's my highest damage output. Probably I could drop a bunch of stamina management stuff, because he moves around so much, you have plenty of time to charge your shots and so I almost never run of out stamina. Damage numbers. Level 4 shots will do ~25-30 damage per arrow in a weak spot on a tempered elder dragon, depending on range and weakness. As I mentioned way at the top, with the Bow Charge Plus jewel, I'm pretty sure I see 7 arrows for the level 4 power shot. This tends to mean a close range level 4 power shot is doing ~175 per volley. Following a discussion below, I've spent a lot of time shooting Great Jagras in the face. With the fire setup and rath III, using only close range coating and no other damage boosts, I get crits for around 44 damage. With the Anja Arch, it's 49. Timed, the Rathslinger still takes him down a little quicker, but it's a matter of seconds. Raw / Critical Element. I've played around with raw damage builds (cera coilbender) but the damage output (even with raw damage jewels) just doesn't stack up compared to dedicated elemental builds tailored for the enemy. If you want one generalised build, see the link at the top - it's about as good as it gets, but I do ~30% less damage, despite trying lots of different setups. For critical element (the rathalos 2 bonus) I've tried a heap of different things, and while I can get the occasional high damage number, the overall consistent DPS just isn't there. Until it's available as a decoration, I don't think it makes sense to try and build around it, because the rathalos gear just isn't very good and you're giving up way too many other things. I'd love to hear thoughts if you've built around it successfully, though! Special Bonus: Exploring Hunter's Headgear A, Anja Mail B, Butterfly Hands A, Butterfly Waist A, Butterfly Boots B. Add a couple of botany jewels, and the rest to taste (satiated, quick sheath, vitality, steath, etc). You're probably not going to be fighting, so if you want to take a bow specifically to slot in marathon runner, that's not a bad idea. Scholar, Scoutfly Range Up and maxed Botany/Geologist are really the only things you're interested in. Ghillie & Glider cloaks. Charm - So many choices: Stealth, Maintenance (cloak cooldowns), clearmind (for rotten vale/elder recess), gatherers. Don't be an idiot and spend your Xeno gem on a geomancers. I did. It's totally not worth.

Thank you so much for making this! You're the re reason that I got into this show... Run this town video. Run this town instrumental. Run This town girl. I want to solo we run this town without a farcaster but my average for all those monsters is between 15-25min. Do they have normal health or lowered health. Anyone else solo it this way by the way? level 1 Y' kin neva' have enuff dakka, y' git. 5 points · 2 days ago All of the monsters in We Run This Town have about two-thirds of their normal health. level 2 Any of them show up at the same time? level 1 If that's your average normally, you should have a chance. I think my average was normally 12-18 minutes and I averaged 9 minutes in that mission due to the lowered health, but Brachydios ruined me both times. Lost the first one by a second as Glavenus walked into the trap just after time ran out. My second time I won by only 30 seconds. I need to get better. level 2 Yeah Brayiados is the only one I’m really worried about. That blast blight is terrible. level 1 Lower health, also you cannot farcaster inside the arena, learned this precisely on this mission I ran out of piercing ammo by the time I was fighting Glavenus, had to take a cart to restock myself (you also cannot go back through the crawl space), had a bit of trouble with Tigrex but overal the quest took me 30~35ish minutes. level 2 You can pull out your map and fast travel back to camp if there isn't a monster in the arena at the time. level 2 Y' kin neva' have enuff dakka, y' git. 3 points · 2 days ago You can't Farcaster out of combat. You can still go back to base in between monsters.

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Run this town posthumus zone. Run this town by jay-z. Runtown 2019. Run This town. Run this town mv. Run this town movie cast. Run this town. Run This township. Run This fUll mOVie TO wAtch. Watch Run This Town Online Youtube Run THis Town (2018) English Full Movie Watch Online… LikeFree! Run'This'Town'Online'Free. Run this town rihanna lyrics. Run this town rihanna. Download Run This #RunThisTown movie2k (2018) HD Full Movie Online. Run this town live. Soo many ducks was killed in this song 😂. Feel it comin' in the air Hear the screams from everywhere I'm addicted to the thrill It's a dangerous love affair Can't be scared when it goes down Got a problem, tell me now Only thing that's on my mind Is who's gonna run this town tonight We gonna run this town We are, ya I said it, we are This is Roc Nation, pledge your allegiance Get your fatigues on, all black everything Black cards, black cars, all black everything And our girls are blackbirds ridin' with they Dillingers I'd get more in depth if you boys really real enough This is la familia, I'll explain later But for now, let me get back to this paper I'm a couple bands down, and I'm tryin' to get back I gave the other grip, I lost a flip for five stacks Yeah I'm talkin' five comma, six zeros, dot zeros, here it go Back to runnin' circles 'round niggas, now we squared up Hold up Life's a game, but it's not fair I break the rules, so I don't care So I keep doin' my own thing Walkin' tall against the rain Victory's within the mile Almost there, don't give up now Hey, hey (Is who's gonna run this town tonight) We are, ya, I said it, we are You can call me Caesar in a dark CSAR Please follow the leader, so Eric B. we are Microphone fiend, it's the return of the god, peace god Uh, uh, and ain't nobody fresher I'm in Mason, uh, Martin Margiela On the table screamin' fuck the other side, they jealous We got a banquet full of broads, they got a table full of fellas And they ain't spending no cake They should throw they hand in, 'cause they ain't got no spades My whole team got dough So my Bankhead is lookin' like millionaires' 'fro Life's a game but it's not fair It's crazy how you can go from being Joe Blow To everybody on your dick, no homo I bought my whole family whips, no Volvos Next time I'm in church, please no photos Police escorts, everybody passports This the life that everybody ask for This a fast life, we are on a crash course What you think I rap for, to push a fucking Rav-4? But I know that if I stay stunting All these girls only gon' want one thing I could spend my whole life "Good Will Hunting" Only good gon' come is as good when I'm coming She got a ass that'll swallow up a g-string And up top, uh, two bee stings And I'm beasting off the riesling And my nigga just made it out the precinct We give a damn about the drama that you do bring I'm just tryin' to change the color on your mood ring Reebok, baby, you need to drop some new things Have you ever had shoes without shoe strings? What's that 'Ye? Baby, these heels Is that a May, what, baby, these wheels You trippin' when you ain't sippin', have a refill You feelin' like you runnin', huh, now you know how we feel Wassup! Hey, hey, hey, hey Hey, hey, hey We gonna run this town tonight Wassup! Writer(s): SHAWN CARTER, KANYE WEST, ROBYN FENTY, ERNEST DION WILSON, JEFF BHASKER, ATHANASIOS ALATAS, JEFFREY NATH BHASKER, CHRISTOS VLACHAKIS, NIKOS DOUNAVIS, MARINOS GIAMALAKIS, NIKO GRAPSAS Lyrics powered by.

First ' run this town' was my favorite song in my childhood. Than i begun watching Pll and don't notice that Lucy Hale of this song and the actress of Aria are the SAME Person. Than Today this song came in my mind and i watch this musicvideo and recognize that they're the same person. MY LIFE IS COMPLET.😱😱. Run this town jay-z lyrics.

Song fits anime perfectly. Great editing. Run this town jay-z. Run this town a cinderella story. Run this town lil wayne. Mission Accomplished Length: 153 days. Run this town trailer. Feel it comin' in the air (yeah) And the screams from everywhere (yeah) I'm addicted to the thrill (I'm ready) It's a dangerous love affair (what's up?, C'mon) Can't be scared when it goes down Got a problem, tell me now (what's up? ) Only thing that's on my mind (Whats up) Is who's gonna run this town tonight (what's up? ) We gonna run this town We are, yeah I said it, we are, This is Roc Nation, pledge your allegiance Get ya'll black tees on, all black everything Black cards, black cars, all black everything And our girls are blackbirds, ridin' with they Dillingers I'd get more in depth, if you boys really real enough This is la familia, I'll explain later But for now let me get back to this paper, I'm a couple bands down And I'm tryin' to get back I gave the other grip, I lost a flip for five stacks Yeah I'm talkin' five comma's, six zeros, dot zeroes here it go, Back to runnin' circles 'round niggas, now we squared up, hold up Life's a game but it's not fair I break the rules so I don't care So I keep doin' my own thing Walkin' tall against the rain (what's up? ) Victory's within the mile, Almost there, don't give up now (what's up? ) Only thing that's on my mind Is who's gon' run this town tonight (what's up? ) Hey, hey, hey, hey, hey, heyy Hey, hey, hey, hey, hey Hey, hey, hey, hey, hey, heyy, (what's up? ) Is whos gon' run this town tonight? We are, yeah I said it we are, You can call me Caesar, in a dark Czar Please follow the leader, So Eric B. We are Microphone fiend, it's the return of the God, peace God (Ah! Ah! ) And ain't nobody fresher, I'm in Mason Martin Margiela, On the tape we're screamin' fuck the other side, they jealous We got a banquet for the broads, they got a table for of fellas And they ain't spending no cake They should throw they hand in, 'Cause they ain't got no spades My whole team got dough So my banquette is looking like millionaires' row I break the rules so I don't care (what's up? ) Walkin' tall against the rain Victory's within the mile (what's up? ) Almost there, don't give up now Is who gon' run this town tonight (what's up? ) Hey, hey, hey, hey, hey (what's up? ) Hey, hey, hey, hey, hey, heyy, Is who's gon' run this town tonight? It's crazy how you can go from being Joe Blow To everybody on your dick, no homo I bought my whole family whips, no Volvo's Next time I'm in church, please no photos Police escorts, everybody passports This the life that everybody ask for This a fast life, we are on a crash course What you think I rap for, to push a fucking Rav-4? But I know that if I stay stun-ting All these girls only gonna want one thing I could spend my whole life good will hunting Only good gon' come is as good when I'm coming She got a ass that'll swallow up a g-string And up top, uh, two bee stings And I'm beasting, off the Riesling And my nigga just made it out the precinct We give a damn about the drama that you do bring I'm just trying to change the color on your mood ring Reebok, baby, you need to drop some new things Have you ever had shoes without shoe strings? What's that 'Ye? Baby, these heels Is that a may? What? Baby, these wheels You trippin' when you ain't sippin', have a refill You feelin' like you runnin', huh? Now you know how we feel, (what's up? ) Hey, hey, hey, hey, hey, hey Hey, hey, hey hey, (what's up? ) Hey, hey, hey hey, hey, hey, Hey hey, hey, hey, We gonna run this town tonight! What's up?!

Run This town blog. If I'm not a star, you're blind. Run This town center. Run this town alabama. "Run This Town" Single by Jay-Z featuring Rihanna and Kanye West from the album The Blueprint 3 Released July 24, 2009 Format Digital download Recorded 2009 Studio Avex Honolulu Studios ( Honolulu, Hawaii) Roc The Mic Studios ( New York City, New York) Westlake Recording Studios ( Los Angeles, California) Genre Hip hop Length 4: 27 (album version) Label Roc Nation Atlantic Songwriter(s) Shawn Carter Kanye West Robyn Fenty Ernest Wilson Jeff Bhasker Athanasios Alatas Producer(s) West No I. D. Jay-Z singles chronology " D. O. A. (Death of Auto-Tune) " (2009) " Run This Town " (2009) " Empire State of Mind " (2009) Rihanna singles chronology " Rehab " (2008) " Russian Roulette " (2009) Kanye West singles chronology " Supernova " (2009) " Forever " (2009) " Run This Town " is a song by American rapper Jay-Z. The song also features Rihanna and Kanye West. It was written by the performing trio, with assistance from Ernest Wilson and Jeff Bhasker. Production of the track was made by West and Wilson (also known as "No I. D. "). [1] "Run This Town" was released as the second single from Jay-Z's eleventh studio album The Blueprint 3, and is used as the theme song of Battlefield 4. [2] "Run This Town" received mixed reviews from music critics; some praised what each member of the trio brought to the track, whilst others thought that Rihanna and Kanye West out-performed Jay-Z. The song was a commercial success, reaching number two on the Billboard Hot 100 and topping the charts in the United Kingdom. It additionally made top ten chartings in ten other countries including in Australia, Norway, Sweden, and Switzerland. "Run This Town" won Best Rap Song and Best Rap/Sung Collaboration at the 52nd Annual Grammy Awards. The song's accompanying music video, directed by Anthony Mandler, depicts the trio in a post-apocalyptic environment, featuring scenes involving angry protesters surrounding them. "Run This Town" was performed by Jay-Z, West, and Rihanna on the series premiere of The Jay Leno Show in the United States. [3] [4] Background [ edit] "Run This Town" features singer Rihanna ( right) and rapper Kanye West ( left); both also co-wrote the song. "Run This Town" samples 1970s Greek band The 4 Levels of Existence's song "Someday in Athens", appearing at the 1:02 mark, and lasting thereafter. [5] The second official single from the album, The Blueprint 3 was originally planned to be "Off That" featuring Drake but "Run This Town" was decided upon instead. Jay-Z confirmed the release in an interview with Tim Westwood, saying, "We basically run this town. It's myself, Rihanna and Kanye. It's pretty much it. " [6] The song made its radio debut on July 24, 2009 at 9:11   am to coincide with the album's release date, September 11, 2009. [7] "Run This Town" was officially released to urban radios in the United States on August 9, 2009 [8] and was released via iTunes worldwide two days later on August 11. The CD single release followed on August 31, 2009 in the UK. [9] Rihanna's contribution was her first musical appearance following her February 8 altercation with her ex-boyfriend Chris Brown, earlier that year. [10] Reception [ edit] Critical reception [ edit] "Run This Town" received mixed reviews from music critics. Following the leak of the song, Tom Breihan, Pitchfork gave a positive review. "The new Jay-Z/Rihanna/Kanye West track from 'The Blueprint 3', leaked this morning, and it bangs. Jay's ' D. (Death of Auto-Tune) ' left the impression that The Blueprint 3 might be a cantankerous grumpy-old-man rap album, but 'Run This Town' totally obliterates that. Thanks to a molten motivational Rihanna chorus, it's pop-friendly as hell, without compromising Jay's fundamental hardness. And Jay is actually rapping like he cares, something he's only done intermittently over the last few years. Still, Kanye gets the hottest line on the song: 'What you think I rap for, to push a fuckin' RAV 4? '" [11] Following the album's release, Pitchfork made another review of the song, again praising the track. "There's something for everybody: Jay [-Z] sounds engaged in a way he rarely has since unretiring, Rihanna coos those "ay ay"s the radio loves, and Kanye West, as you may have read, once again upstages the guy he's producing. Rihanna's hook may not be Auto-Tune'd, but it's definitely autopilot. " [12] felt that Jay-Z lacked presence, writing, "It looks like someone finally got tired of being bullied by ' Big Brother '. Roc Nation dropped the ball on the song credit though; it was supposed to read 'Kanye West Featuring Rihanna, ' because 'Ye murdered Jay on his own track. But that's not saying much because Jay was running this race on one foot. In other words, Kanye didn't win, Jay lost". [13] Digital Spy gave a mixed review of the song. "Boasting three of the biggest stars from the worlds of hip-hop and R&B, 'Run This Town' was never going to be a flop, but neither is it a roaring success. Kanye's slick rapping ("Reebok baby, you need to try some new things, have you ever had shoes without shoestrings? ") and Rihanna's "hey-hey" chorus hook make Jay-Z seem surplus to requirements, which surely can't have been the aim. The chaotic military march beats are impressive – and hats off to Jigga for snubbing Auto-Tune – but this track still doesn't seem fitting of an artist considered a groundbreaking rap legend. [14] Accolades [ edit] Most notably, "Run This Town" was nominated for Best Rap Song and Best Rap/Sung Collaboration at the 52nd Grammy Awards in 2010. It eventually won both awards, marking Jay-Z's tenth and Rihanna's third and Kanye West's fourteenth win at the ceremony awards in total. The song also managed to win an Emmy Award for 'Outstanding Music Composition/Direction/Lyrics', during Super Bowl XLIV. [15] Year Ceremony Award Result 2010 52nd Grammy Awards [16] Best Rap/Sung Collaboration Won Best Rap Song BET Hip-Hop Awards [17] Best Hip-Hop Video Nominated International Dance Music Awards [18] Best Hip-Hop Dance Track People's Choice Awards [19] Favourite Music Collaboration 2011 Black Reel Awards [20] Best Original or Adapted Song Chart performance [ edit] "Run This Town" entered the Billboard Hot 100 at number 88. Following its digital release and debut at number three on the Digital Songs chart, it soared from number 66 to three in its third week on the Hot 100 for the week ending August 16, 2009. [21] The song eventually peaked at number two behind The Black Eyed Peas I Gotta Feeling, marking Jay-Z's second-highest charting song of his career as a lead artist. "Run This Town" reached number one on the Rap Songs chart on the date issued September 26, 2009, climbing from number four the previous week. [22] It remained atop the chart for seven consecutive weeks. [23] It also made an appearance on the R&B/Hip-Hop Songs chart at number three. [23] Despite its genre of hip hop and R&B, the song managed to debut at number 38 on the Pop Songs chart on the issue dated September 12, 2009. [24] It eventually reached the top ten at number eight. [25] "Run This Town" additionally peaked at numbers two and three on the Radio Songs and Digital Songs charts. [25] As of June 2015, the song has sold 3, 490, 000 digital copies in the United States. [26] In Australia, "Run This Town" entered the Australian Singles Chart at number 35 on September 6, 2009. The following week it fell to number 39 but rebounded to a new peak of 25 in its third week. It reached the top ten of the chart on October 11, 2009, and made its peak of number nine in its seventh week. [27] It has been certified Platinum by the Australian Recording Industry Association, denoting sales of 70, 000 copies. [28] In New Zealand, "Run This Town" debuted at number fourteen on the New Zealand Singles Chart on September 14, 2009, climbing to number ten the following week. In its third week, it fell to number thirteen but regained its peak position for the three weeks after. In its seventh total week on the chart, it made a new peak of number nine. [29] It has received a Gold certification from the Recording Industry Association of New Zealand, for sales of 7, 500 copies. [30] In Canada, the song peaked at number six on the Canadian Hot 100. [31] In the United Kingdom, "Run This Town" entered at number one on the UK Singles Chart on September 6, 2009 ― for the week ending date September 12, 2009 ― with sales of 62, 000 copies. [32] The feat gave Jay-Z his first number one single in Britain as a lead artist and fourth overall, following his feature on Rihanna's " Umbrella " (2007) and his wife Beyoncé 's " Déjà Vu " (2006) and " Crazy in Love " (2003). It marked the third number one singles in that country for both Rihanna and Kanye West. For Rihanna, "Run This Town" gave her number ones one the chart in three consecutive years, following " Take a Bow " (2008) and "Umbrella" [33] and followed West's chart leaders " American Boy " featuring Estelle (2008) and " Stronger " (2007). [34] [35] Throughout the rest of Europe, the song also performed well, reaching the top five in Ireland [36] and Norway [37] and the top ten in the Czech Republic, [38] Sweden [39] and Switzerland. [40] It also reached the top twenty in Denmark [41] and Germany. [42] Music video [ edit] The video for "Run This Town" was directed by Anthony Mandler and was filmed on August 6, 2009 at Fort Totten Park in New York City. Mandler explained the production behind the video saying: "There's a tone and feeling to the song, there's a militia, a march and a kind of rambunctious energy to it that, for me, I immediately wanted to tap into. I showed [Jay] some references from the classic rebellious zones of the world. We live in very orderly society in America, but when you get into Brazil, you get into the Middle East, you get into Africa, you get into Eastern Europe, when you get into places like that, there's a different sort of 'we run this town' [going on]. There's less order and more chaos. So we looked at a lot of those references, new photos and historical photos, to capture that kind of falling-apart feeling. " "We wanted you to feel uneasy throughout the piece, " he said. "We wanted there to be a constant layer of tension through the piece. Even in the way I shot — where the camera comes by Jay, it doesn't stop on him, it goes to Rihanna — there's kind of this chaos of revealing and covering and concealing. And things happen offscreen that you don't see. I think people are really gonna flip on this". The video was leaked on August 19, 2009, by MTV Germany. It premiered officially on August 20 on MTV, as well other MTV channels across the world. The video was released to iTunes on August 25, 2009. Synopsis and reception [ edit] The music video involves crowds of protesters in masks, holding torches whilst walking. Rihanna takes a bandanna from covering her mouth and performs the intro of the song in a park area with explosions firing around her. Jay-Z then begins the second verse while in a temple-like area. Kanye West sings his verse in a cave-like area holding a torch and having a bandanna cover his face like Jay-Z and Rihanna. Throughout the video, the trio are on a stage platform with the mob of protesters previously shown surrounding them. Daniel Kreps of Rolling Stone called the video, "a civilization that takes Jigga's lyrical motif of 'all black everything' very seriously. " He further added, "When we first heard 'Run This Town', we pictured Jay-Z and his posse staging a siege on Manhattan, or at least going to all the VIP spots most civilians only dream about like in the " D. (Death of Autotune) " video. Instead, we're introduced to a Mad Max -like landscape full of proto-biker gear, torches, face scarves and bombed-out buildings. Jay-Z and his gang of ruffians actually look like they're on a mission to slay Auto-Tune. Also, according to the video, Rihanna is the only female to survive the apocalypse, and West's verse about Reeboks, Rav4s and girls with two bee stings seem starkly out of place in the dismal future. " [43] It ranked at number eleven on BET 's Notarized: Top 100 Videos of 2009 countdown. Remixes and cover versions [ edit] On July 20, 2010, an orchestrated version of "Run This Town" created by E. S. Posthumus was officially released to US iTunes under the Roc Nation imprint, in its studio format. This was eventually played before Super Bowl XLIV and Nashville Predators playoff games. [44] Metalcore band Miss May I covered this song for the compilation album Punk Goes Pop Volume 03.. [ citation needed] Lil Wayne freestyled "Run This Town" on his highly acclaimed mixtape No Ceilings. Usage in media [ edit] "Run this Town" has been used in the video game NBA 2K13. [45] The song featured in the teaser trailer for 2013 video game Battlefield 4. It was to be included in coverage of Thursday Night Football on CBS and the NFL Network in 2014, however, it was pulled from the opening segment in the first broadcast in the wake of a domestic violence controversy involving NFL player Ray Rice. [46] [47] After Rihanna took to Twitter to complain, the song was removed from further games. [48] The song was performed at the closing ceremony at the 2012 Summer Paralympics in London with British rock band Coldplay and Rihanna Track listing [ edit] Digital download [49] "Run This Town" (featuring Rihanna and Kanye West) – 4:34 CD single [50] " D. (Death of Auto-Tune) " – 4:15 Charts and certifications [ edit] Release history [ edit] References [ edit] ^ Herrera, Monica (2009-08-08). "Run This Town". The Hollywood Reporter. Archived from the original on August 14, 2009. Retrieved 2009-08-09. ^. Archived from the original on 2013-04-04. ^ Eng, Joyce (2009-08-07). "Rihanna, Jay-Z and Kanye West to Kick Off Jay Leno Show". Seattle Post-Intelligencer. Retrieved 2009-08-09. [ dead link] ^ Hayden, Samantha (2009-08-06). "Jay-Z, Rihanna, Kanye To Welcome Jay Leno To Primetime". Billboard. Nielsen Business Meida, Inc. Retrieved 2009-08-09. ^ "Kanye West's 50 Beats for Other Artists". 2012-11-17. Retrieved 2012-09-18. ^ Reid, Shaheem (2009-07-22). "Jay-Z Denies Blackballing Chris Brown From BET Awards". MTV. Retrieved 2009-07-30. ^ Reid, Shaheem (2009-07-24). "Jay-Z's 'Run This Town' Makes Radio Debut". Retrieved 2009-07-30. ^ a b "R&R:: Going For Adds:: Urban". R&R. Archived from love the original on 2011-08-13. Retrieved 2009-08-12. ^ a b Lewis, Pete (2009-08-20). "Jay-Z: A B&S Classic Interview December 1998". Blues & Soul. B&S. Retrieved 2009-09-03. ^ Kreps, Daniel (2009-07-24). "Rihanna Returns and Kanye West Shines on Jay-Z's "Run This Town " ". Rolling Stone. Retrieved 2009-08-09. ^ "Listen: Jay-Z: "Run This Town [ft. Rihanna & Kanye West]". Pitchfork Media. 2012-04-09. Retrieved 2009-07-24. ^ "Run This Town Music Review". 2009-09-19. Retrieved 2009-09-19. ^ "Top 25 Pop Artists Right Now". Retrieved 2009-09-19. ^ "Run This Town". DigitalSpy. Retrieved 2009-09-19. ^ "Jay-Z Wins Emmy for "Run This Town " ". 2011-05-03. ^ "Nominees And Winners". Grammys. Archived from the original on 2010-12-06. ^ "2010 BET Hip-Hop Awards Nominees". Archived from the original on 2013-01-16. Retrieved 2012-04-09. ^ "International Dance Music Awards at WMC – Winners Announced". Archived from the original on 2010-03-29. ^ "Full List of People's Choice Awards 2010 Winners". The Hollywood Gossip. 2010-01-07. Retrieved 2010-01-07. ^ "Black Reel Awards". IMDB. ^ Grein, Paul (August 9, 2009). "Week Ending Aug. 16, 2009: King Of Country Boots King Of Pop – Chart Watch". Yahoo! Music. Archived from the original on August 27, 2009. Retrieved 2009-09-18. ^ "Billboard Magazine - 26 Sep 2009". November 17, 2012. Retrieved 2009-09-26. ^ a b "Billboard Magazine - 24 Oct 2009". Retrieved 2009-10-24. ^ "Billboard Magazine - 12 Sep 2009". Retrieved 2009-09-12. ^ a b "Jay-Z Album & Song Chart History – Billboard ". November 17, 2012. ^ a b Trust, Gary (June 23, 2015). "Ask Billboard: Rihanna's Best-Selling Songs & Albums". Prometheus Global Media. Retrieved June 23, 2015. ^ "JAY-Z / RIHANNA / KANYE WEST – RUN THIS TOWN (SONG)". Retrieved 2009-09-06. ^ a b "ARIA Charts – Accreditations – 2010 Singles". Australian Recording Industry Association. September 30, 2010. Retrieved 2010-10-13. ^ "JAY-Z / RIHANNA / KANYE WEST – RUN THIS TOWN (SONG)". Retrieved 2009-09-14. ^ a b "Latest Gold / Platinum Singles". RadioScope. Archived from the original on 2011-07-24. Retrieved 2010-10-13. ^ "Jay-Z Album & Song Chart History – Billboard ". November 17, 2012. ^ "Pandora Archive". 2006-08-23. Retrieved 2009-09-18. ^ "Rihanna scores a record sixth Number 1! ". Official Charts Company. Retrieved 2011-10-09. ^ "UK Singles Chart". BBC. Archived from the original on 27 June 2010. Retrieved 2010-06-20. ^ "Kanye claims first UK number one". 2007-08-19. Retrieved 2012-11-17. ^ ">> IRMA << Irish Charts – Singles, Albums & Compilations >>". 2009-09-10. Archived from the original on 2002-05-28. Retrieved 2009-09-18. ^ "JAY-Z / RIHANNA / KANYE WEST – RUN THIS TOWN (SONG)". Retrieved 2009-09-07. ^ a b "RADIO TOP100 Oficiální JAY-Z FEAT. RIHANNA & KANYE WEST". IFPI. Retrieved 2009-09-07. ^ "JAY-Z / RIHANNA / KANYE WEST – RUN THIS TOWN (SONG)". Retrieved 2009-08-28. ^ "JAY-Z / RIHANNA / KANYE WEST – RUN THIS TOWN (SONG)". Retrieved 2009-09-13. ^ "Single – Jay-Z / Rihanna / Kanye West, Run This Town". Retrieved 2009-09-07. ^ "Jay-Z, Rihanna, Kanye West's Dark "Run This Town" Video Debuts". Daniel Kreps. Retrieved 2009-08-20. ^ "Run This Town / Posthumus Zone (Medley) – Single by Jay-Z, Rihanna & E. Posthumus – Download Run This Town / Posthumus Zone (Medley) – Single on iTunes". iTunes Store. 2010-07-20. Retrieved 2011-08-17. ^ Michelle Balsan (2 August 2012). "NBA 2K13 Soundtrack Revealed". True Achievements. Retrieved 31 January 2020. ^ "CBS announces changes to TNF coverage in wake of Ray Rice saga". Sports Illustrated. Retrieved 11 September 2014. ^ "The Ray-Riceless Ravens are playing Pittsburgh tonight. The opening act is Rihanna". The Washington Post. 11 September 2014. Retrieved 11 September 2014. ^ "Rihanna Dropped From Thursday Night Football After She Slams NFL and CBS". Time. 16 September 2014. Retrieved 16 September 2014. ^ "Run This Town (feat. Rihanna and Kanye West) – Single". iTunes US. Retrieved 2010-08-10. ^ "Run This Town (2track): Music". ^ " – Jay-Z / Rihanna / Kanye West – Run This Town". ARIA Top 50 Singles. Retrieved 2010-09-07. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town" (in German). Ö3 Austria Top 40. Retrieved 2010-09-07. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town" (in Dutch). Ultratop 50. Retrieved 2010-09-07. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town" (in French). Retrieved 2010-09-07. ^ "Jay-Z Chart History (Canadian Hot 100)". Retrieved 2010-09-07. ^ " Jay-Z, Rihanna & Kanya West: Run This Town" (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 2013-08-29. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town". Tracklisten. Retrieved 2010-09-07. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town". GfK Entertainment Charts. ^ " Archívum – Slágerlisták – MAHASZ" (in Hungarian). Rádiós Top 40 játszási lista. Magyar Hanglemezkiadók Szövetsége. ^ " The Irish Charts – Search Results – Run This Town". Irish Singles Chart. Retrieved January 26, 2020. ^ " Jay-Z feat. Rihanna and Kanye West – Run This Town Media Forest ". Israeli Airplay Chart. Media Forest. ^ " Nederlandse Top 40 – week 43, 2009 " (in Dutch). Dutch Top 40 ^ "JAY-Z / RIHANNA / KANYE WEST – RUN THIS TOWN (NUMMER)". Retrieved 2009-09-26. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town". Top 40 Singles. VG-lista. Retrieved 2010-09-07. ^ "RADIO TOP100 Oficiálna JAY-Z FEAT. Retrieved 2009-09-07. ^ " – Jay-Z / Rihanna / Kanye West – Run This Town". Singles Top 100. Swiss Singles Chart. Retrieved 2010-09-07. ^ "Jay-z Ft Rihanna & Kanye West: Artist Chart History". Retrieved 2010-09-07. ^ "Official R&B Singles Chart Top 40". Retrieved 15 December 2019. ^ "Jay-Z Chart History (Hot 100)". Retrieved 2010-09-07. ^ "Jay-Z Chart History (Hot R&B/Hip-Hop Songs)". Retrieved 2010-09-07. ^ "Jay-Z Chart History (Hot Rap Songs)". Retrieved 2010-09-07. ^ "Jay-Z Chart History (Pop Songs)". Retrieved 2010-09-07. ^ "Jay-Z Chart History (Rhythmic)". Retrieved 2010-09-07. ^ Myers, Justin (January 30, 2016). "Rihanna's Official Top 40 biggest selling singles". Retrieved January 30, 2016. ^ "British single certifications – Jay-Z – Run This Town". British Phonographic Industry. Retrieved August 19, 2015. Select singles in the Format field.   Select Platinum in the Certification field.   Type Run This Town in the "Search BPI Awards" field and then press Enter. ^ "American single certifications – Jay-Z – Run This Town". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH. ^ "Top 100 singles of the noughties". The Advertiser. January 7, 2010. ^ "2009 ARIA Urban Singles Chart". ARIA Charts. Archived from the original on 23 September 2019. Retrieved 15 December 2019. ^ "Canadian Hot 100 – Year-End 2009". Retrieved 2019-08-20. ^ "Éves összesített listák – MAHASZ Rádiós TOP 100 (súlyozott)". Mahasz. ^ "Top 100-Jaaroverzicht van 2009". Top 40. Retrieved 2019-11-17. ^ "Årslista Singlar – År 2009" (in Swedish). Sverigetopplistan. Retrieved 2019-11-17. ^ "2009 Year End Swiss Singles Chart". Swiss Music Charts. 2009. Retrieved 2010-07-16. ^ "Charts Plus Year end 2009" (PDF). Charts Plus. Retrieved 2010-07-19. ^ "Year End Charts Hot 100 Songs". Retrieved 2011-03-25. ^ "Hot R&B/Hip-Hop Songs – Year-End 2009". Retrieved 2019-11-17. ^ "Rhythmic Songs – Year-End 2009". Retrieved 2019-11-17. ^ "Run This Town (feat. Rihanna & Kanye West) – Single". iTunes Australia. Retrieved 2009-08-10. ^ "Run This Town (feat. iTunes Austria. iTunes Belgium. iTunes Brazil. iTunes Canada. iTunes Denmark. iTunes Finland. iTunes France. iTunes Germany. iTunes Ireland. iTunes Italy. iTunes Mexico. iTunes Netherlands. iTunes New Zealand. iTunes Norway. iTunes Sweden. iTunes Switzerland. iTunes UK. Retrieved 2009-08-10. ^ Lewis, Pete. "Run This Town (2track) [Single]". Retrieved 2009-09-09. External links [ edit] "Run This Town" Music video at MTV Lyrics of this song at MetroLyrics.

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1. reviews - The iconic Merce Cunningham and the last generation of his dance company is stunningly profiled in Alla Kovgan's 3D documentary, through recreations of his landmark works and archival footage of Cunningham, John Cage, and Robert Rauschenberg
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5. scores - 103 votes

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Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009.
At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018.
Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.

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This was a good story but the finished product just didn't have enough punch to make it a good film. They had good actors but wasted their talent with a hurried rushed script that didn't give them enough believability that opened up plot holes the size of the grand canyon. I really like Joel and Rose and tried to give this film some scenic leeway but it tried to be something it wasn't and ended flat. I think with a better script, more grit, and clean up some of the plausibility problems then rhis could have garnered a better score. As it stands its only fair. and barely.

 

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フレンズオンアイス 髙橋大輔. The Legal Training Division of the Federal Law Enforcement Training Centers’ Office of Chief Counsel is dedicated to providing law enforcement officers with quality, useful and timely United States Supreme Court and federal Circuit Courts of Appeals reviews, interesting developments in the law, and legal articles written to clarify or highlight various issues. The views expressed in these articles are the opinions of the author and do not necessarily reflect the views of the Federal Law Enforcement Training Centers. The Informer is researched and written by members of the Legal Division. All comments, suggestions, or questions regarding The Informer can be directed to the Editor at [phone] or. Current Issue.

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INXS: Live Baby Live at Wembley Stadium INXS: Live Baby Live at Wembley Stadium (UK, 2019) A 100 min Musical Trailer Sinopsis 1991 fue un año espectacular para INXS. Su álbum "X" había estado en las listas durante ocho meses, convirtiéndose en platino en el Reino Unido y doble platino en los Estados Unidos. Ganando dos premios Brit, INXS tocó actuaciones de espectáculos récord en su tierra natal australiana, encabezó Rock In Rio y emprendió una gira con entradas agotadas por los EE. Sin embargo, fueron los eventos del 13 de julio de 1991 los que llevaron a la banda a la estratosfera musical. Seis años hasta el día de Live Aid, y cinco años y un día, desde que la banda apoyó a Queen en el estadio de Wembley, INXS encabezó su propio espectáculo en el famoso lugar ante una multitud de 73, 791 fanáticos enloquecidos. El evento, llamado "Summer XS", fue inmortalizado en la película de conciertos más vendida "Live Baby Live", dirigida por David Mallet. Veintiocho años después, la película se ha restaurado minuciosamente durante un período de seis meses desde el negativo original de 35 mm a 4K Ultra HD. La película ahora se presenta en una gloriosa pantalla panorámica cinematográfica, creada al pasar por la película disparo a disparo y reposicionar cada una de ellas para obtener lo mejor del cuadro. Para acompañar la sorprendente mejora visual, el audio ahora se presenta en Dolby Atmos completo (y sonido envolvente 5. 1), creado por el productor ejecutivo de música de la banda, Giles Martin, en los estudios Abbey Road. Además, el proceso de restauración reveló una actuación "perdida", que no se incluyó en los lanzamientos originales - "Últimamente" del álbum "X". Ahora vuelve a su posición legítima en la lista de conciertos. Consulta más Horarios Cargando horarios:( Por el momento no hay horarios disponibles para esta película. :( Por favor selecciona un cine.

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This video clip makes me wanna go bush lol. Movie inxs: baby live at wembley stadium 8. Movie inxs: baby live at wembley stadium 14. HOYTS Cinemas. Movie inxs 3a baby live at wembley stadium wallpaper. Synopsis On Saturday 13 July 1991 INXS, one of the world's most revered and iconic bands, delivered the gig of their lives at London’s Wembley Stadium to 74, 000 ecstatic fans. After a decade and a half on the road the band were at the peak of their live powers and the performance filmed that day shows they were not only a world-class stadium band but the only band that ever had the guts to walk onto the stage at Wembley Stadium in front of 74, 000 people and jam their own intro! The band played over 2000 shows before singer Michael Hutchence’s untimely passing 20 years ago, but Wembley was THE ONE, not only were the band on fire, but the audience was too, both band and crowd knew this would be the performance of a lifetime. What’s more, there were no screens, no ramps, no backing singers, no props and cell phones just six guys playing as though their lives depended on it. INXS delivered hit after hit to an ecstatic audience for nearly two hours and now new to cinemas for 2019, this masterclass in showmanship and musicianship has been painstakingly restored over a twelve-month period from the original 35mm negative to Ultra HD 4K. Now presented in cinematic 16:9 widescreen for this first-ever theatrical exhibition, the original film was presented in 4:3 aspect ratio, but the restored version was created by shot-by-shot repositioning to get the best out of the frame. To accompany the astonishing visual upgrade, the audio is now be presented in full Dolby Atmos, created by Giles Martin, the band’s Executive Music Director, and Sam Okell at Abbey Road Studios.

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Robert DeLeo, Phil Chen
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Genre: Documentary
Justin Kreutzmann
5:27 dam, i really wanted to see this part.

 

RIP ray. Drafthouse News. YouTube. Daryl Hall is the of the best of all piano man should sound like Morrison he was in the Doors. Break on thru celebration of ray manzarek and the doors. The Doors and Trafalgar Releasing have announced the upcoming release of The Doors: Break on Thru - A Celebration of Ray Manzarek, coming to cinemas worldwide for a one-night-only event on Feb. 12. The film will bring fans together in theaters to celebrate the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his birthday. This critically acclaimed, all-star hybrid concert-documentary was filmed at the Fonda Theatre in Los Angeles, CA and brought surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters ’ Taylor Hawkins and Rami Jaffee, Stone Temple Pilots ’ Robert DeLeo, Paul McCartney ’s Brian Ray, X’s Exene and John Doe, Jane’s Addiction ’s Stephen Perkins, Gov’t Mule ’s Warren Haynes and more. STARRING ROBBY KRIEGER (THE DOORS) * JOHN DENSMORE (THE DOORS) * TAYLOR HAWKINS (FOO FIGHTERS) * RAMI JAFFEE (FOO FIGHTERS) * ROBERT DELEO (STONE TEMPLE PILOTS) * STEPHEN PERKINS (JANE’S ADDICTION) * JOHN DOE (X) * EXENE CERVENKA (X) * WARREN HAYNES (GOV’T MULE) FEATURING BRIAN RAY (PAUL MCCARTNEY BAND) * EMILY ARMSTRONG (DEAD SARA)* NASRI (MAGIC) * ANDREW WATT * WAYLON KRIEGER * JIM MANCZAREK * PHIL CHEN * NATHAN WILMARTH * PABLO MANZAREK * BEN FONG-TORRES With a setlist of Doors classics and compelling behind the scenes interviews and footage, this film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. Participating theaters and tickets can be found at. John Densmore, drummer of The Doors, shared: "It was such an honor to play with these world-class musicians in a tribute to our magical keyboard player. " Kymberli Frueh, SVP Programming & Content Acquisitions at Trafalgar Releasing has said on the news: “ Break On Thru is a true celebration of Doors co-founder Ray Manzarek and includes a whole host of musicians inspired by him including Taylor Hawkins of the Foo Fighters and Robert DeLeo from Stone Temple Pilots. Trafalgar Releasing is pleased to present the first-ever global fan cinema gathering sanctioned by The Doors to celebrate Manzarek’s incredible legacy. ” 2019 has been strong for music releases from Trafalgar Releasing in cinema. Coming up next is GORILLAZ: REJECT FALSE ICONS. Recent successes have included  Depeche Mode: SPIRITS in the Fores t directed by Anton Corbijn,  Shakira in Concert: El Dorado World Tour,  Metallica and San Francisco Symphony: S&M², which became the biggest ever rock music event in cinemas globally,  BRING THE SOUL: THE MOVIE, which became the single largest event cinema release globally, Grateful Dead’s 9th Annual Meet-Up at the Movies, Tribeca documentary  Between Me and My Mind  about Phish frontman Trey Anastasio,  Roger Waters Us + Them, Slayer: The Repentless Killogy, Rush Cinema Strangiato 2019  and  The Cure: Anniversary 1978-2018 Live in Hyde Park London. The London based outfit has previously released films including Coldplay: A Head Full of Dreams, The Music Center presents Joni 75: A Birthday Celebration, Khalid Free Spirit, One More Time with Feeling, among others. The Doors: Break on Thru - A Celebration of Ray Manzarek will be screened in cinemas around the world on Feb. Tickets are on sale now at, where fans can find the most up-to-date information regarding participating theaters. Evergreen, a student movie produced by Ray Manzarek, and Five Situations, a film for which fellow UCLA classmate Jim Morrison did sound, are now in the process of being restored from the Ray Manzarek & Jim Morrison Preservation Project. Funding is in process, which will allow the UCLA Film and Television Archive to clean the films and transfer them from fragile 16-mm prints to high-resolution digital cinema packages. Once this has been done, the films are scheduled to be screened in Westwood, CA at the Billy Wilder Theater at the Hammer Museum at UCLA, along with a collection of other student films made by notable alumni, as part of the UCLA’s upcoming year-long 100th-anniversary celebrations. “Ray would have been pleased and flattered of course, ” said Dorothy Fujikawa in a 2019 UCLA media statement. Fujikawa, who was married to Manzarek from 1967 until his death in 2013, had a leading role in Evergreen. I saw The Doors perform at the Forum in Inglewood, CA in 1968, and first met Ray Manzarek in 1974 at Mercury Records on Hollywood Boulevard. I interviewed Ray a dozen times over forty years and produced a handful of recording sessions with him. I’m one of the fortunate eight people listed in the dedication in his autobiography, Light My Fire. Ray was also interviewed in my 2004 book This Is Rebel Music. During 1996, I co-produced and curated a Rock Literature music series at the MET Theatre in Hollywood and all three surviving Doors performed one evening. Manzarek also penned the introduction to my 2009 coffee table book, Canyon of Dreams: The Magic and the Music of Laurel Canyon. He graciously joined me for two book signing events in Oakland and San Francisco. In 2011, Ray, Doors’ engineer-producer, Bruce Botnick, Elliot Lefko of the AEG/Golden Voice company and I were the featured panel discussion in the second annual Pollstar Live! Conference, The Doors—An L. A. Legacy, held at the Marriot at L. Live in Los Angeles. My 2014 book Turn Up The Radio! Rock, Pop and Roll in Los Angeles 1956-1972, carries a dedication to Ray. Raymond Daniel Manzarek (born Raymond Daniel Manczarek) was born Feb. 12, 1939, in Chicago, IL. Ray resided with his family on the Southside of Chicago and graduated from DePaul University with a B. in Economics. "I was trained classically and I think it opened up a lot of avenues for the rock element to enter. Rock & roll to me is just like jazz. It’s an improvisational medium. I left classical music because it didn’t allow me to improvise. I didn’t feel that I wanted to subjugate myself to another man’s thoughts. I loved the technical training though, and there’s nothing like it. I love the act of making my fingers move over the organ and piano, " Manzarek stressed to me in a 1974 interview in the now-defunct Melody Maker. In the early 1960s, the Manzarek clan relocated to the South Bay community of Redondo Beach in Southern California. Ray also fronted a band, Rick and The Ravens, and was exposed to '50s and ’60s jazz records, as well as the sounds emanating from the seminal World Pacific Records label. It was in Westwood, CA, at the UCLA School of Film in 1964-1965 where Manzarek first encountered James Douglas Morrison and then earned an M. degree in Cinematography. In 1965, Ray fronted Rick and The Ravens, and that same year joined up again with Morrison on the beach in Venice. The singer's poetry was a perfect fit for the classically trained keyboardist's musical ideas, and eventually they decided to form a band, taking the group’s name from Aldous Huxley’s infamous psychedelic memoir, T he Doors of Perception. They soon teamed with drummer John Densmore and guitarist Robby Krieger formerly in the band Psychedelic Rangers. The Doors actively toured and recorded together until 1971. Producer Paul A. Rothchild and engineer-producer Bruce Botnick for Elektra Records created seismic studio albums and oversaw live recordings that issued that changed the course of popular music. Ray Manzarek directed three long-form films on the Doors. The Doors: Live At the Hollywood Bowl; The Doors: Dance On Fire; and The Doors: The Soft Parade. Manzarek produced and performed on five albums by the L. band X, including Los Angeles. He continued to record, produce albums and write. Manzarek authored The Poet in Exile, as well as his autobiography, Light My Fire: My Life With The Doors, and most recently penned a second novel, Snake Moon (Night Shade Books), which is a Civil War-era ghost story. He released a new CD, Atonal Head (PBM Records), his endeavor into electronica, which he describes as "jazz-based with computer additives, " done in collaboration with Polish expatriate jazz musician Bal. There’s also a rendition of "Riders on the Storm, " with guest vocal by Jim Morrison. As we approach his February birthday celebration, I’ve curated this interview below culled from a series of dialogues we had from 1974-2013. Q: Talk to me about your early encounters with Jim Morrison and especially his singing voice. I walked with you on Venice Beach last decade and you pointed at the sand and said, ‘This is where Jim sang to me in a Chet Baker-like voice. His voice had a softness to it. ’ Morrison got louder and better as a singer during the entire Doors recording process. A: When I first heard Jim sing in Venice I thought he had it. There was no doubt that he would not have any problems ‘cause the microphone is no problem. Pitch is the problem with a singer. Can you sing in the same key on pitch? And I worked with a lot of singers who can’t do that. Finding the notes. But Morrison had a good sense of pitch. So, if it was in the key of G, he would sing ‘Moonlight Drive’ in the key of G. And he would be there right on pitch. That was the important thing. The rest of it was all acquired expertise in your practice of your instrument. “Interestingly, on ‘Moonlight Drive’ is that it’s a really a seminal, or a signpost song. It’s the first song Jim Morrison sang to me on the beach. It had been after we graduated UCLA and I ran into him on the beach. ‘What have you been doing? ’ ‘I’ve been writing songs. ’ ‘Sing me a song. ’ ‘I’m shy. ’ ‘You’re not shy. Stop it. There’s nobody here. Just you and me. I’m not judging your voice. I just want to hear the song. Besides, you used to sing with Rick and The Ravens at the Turkey Joint West and did ‘Louie Louie’ until you could not talk. " Q: How was Morrison on stage even then? I know later he went straight into a garage rehearsal room with you and the boys. Was he a natural even in jams at the Turkey Joint West venue? A: No. (laughs). It took a while and later to work it out on stage at The London Fog and Whisky A Go-Go. But by God, he sure did scream a lot and sure had a willing injection of energy into rock & roll. Q: Let’s discuss the epic debut LP The Doors. It was done at Sunset Sound with producer Paul A. Rothchild and engineer Bruce Botnick. A: Sunset Sound was a very hip recording studio on Sunset Blvd. The Beach Boys had been there. Herb Alpert, Love. It was owned by a trumpet player, (Salvador) Tutti Camarata and he had the Camarata Strings, I believe. "It was an excellent recording studio, four tracks. Rothchild and Botnick. Never had met Bruce before. Paul was the producer. “Rothchild and Botnick are Door number 5 and Door number 6. There’s four Doors in the band and two Doors in the control room. So, they were always there, always twisting the knobs and really on top of it. A couple of high IQ very intelligent guys. We couldn’t have done it without them. “Paul Rothchild was the guy who had produced The Paul Butterfield Blues Band and also Love, along with Botnick. The two of them did those albums together. So, Robby was a big fan of the Butterfield Blues Band and he was very excited that Paul Rothchild was gonna produce for us. I didn’t know either one of them and not familiar with their work outside of Love. I had heard Paul Butterfield and thought it was good. Chicago blues by Chicago white boys. Being a Chicago white boy myself I could identify with Chicago white boys playing the blues. So it was a great combination of six guys. That first album was basically the four Doors and the two other Doors in the control room making the sound. We made the music. They made the sound. And they did an absolutely brilliant job. And it was a real joy and a great learning experience. “I had been in a fabulous recording studio before at World Pacific on 3 rd Street in LA with Rick and The Ravens for Dick Bock. And that’s where we cut The Doors’ demo, along with some Rick and The Ravens songs. “Rothchild and Botnick were two alchemists with sound. We were the alchemical music makers but they were alchemists with sound-adding a bit of this, a bit of that. Some reverb. Some high end. Let’s hit it at 20k or 10k. Let’s dial in a bit of bass in there. They were making this evil witches brew concoction as we went along. And the sound just got better and better. Q: And on this album, and subsequent sessions you were joined by a studio bassist who essentially followed and copied your bass lines done on the Fender Rhodes. A: I was the bass player of The Doors. When it came to recording I played a Fender Rhodes keyboard bass. The instrument was great in person because it had a deep rich sound and moved a lot of air. But in the recording studio, it lacked a pluck. It did not have the attack that a bass guitar would have-especially if you played a bass guitar with a pick. You had plenty of attack. So, on some of the songs, we brought in an actual bass player, one of the Los Angeles cats, Larry Knechtel. Who played the same bass line that I played on ‘Light My Fire, ’ who doubled my bass line. They could then get rid of my bass part and use the nice sound that Larry Knechtel could get. The click and the bottom. Q: And, in the sound mix the keyboard was treated equally. Not a second thought overdub or hidden below in the collaboration. A: Well it had to be. We were the Modern Jazz Quartet! Q: You had schlepped some of these songs in demo form in 1966, and had played the material all over the clubs locally before you put them down on tape for the debut album. I would imagine you didn’t labor over whole first L. P. in the studio. A: I had been in the World Pacific studio before, but Jim had never been in a vocal booth. He had some hesitations because he was a rookie. “Well the whole thing took ten days. Boom. We’re done. We’re out of here. ‘Light My Fire’ was two takes. ‘The End’ was two takes. Q: You then start Strange Days L. P. A: Album two is recorded on an eight-track. The first album was four-track. We now had four more tracks. That meant everything that we could do on the first album We would still have four more tracks leftover for overdubs. For experimentation. So we experimented in and out of the universe. I actually played one of the songs backwards. The song was played to me backwards and I had each bar written out with the chord change that went along with it and I started reading the music on the lower right-hand side and read right to left across the bottom line. And then jumped to the next line, when I got to the end of the previous line, jumped to the next line up on the right-hand side, reading everything backwards, bottom to top, getting closer and closer, finally to the top line and hoping that I end when the song begins. ‘Cause it’s all going along and it’s backwards. I’m following (John) Densmore’s beat on the bass drum not knowing what’s going to happen. And sure enough, I get to the last measure here are four more beats! I stopped and the music stopped. It was a miracle. And everyone went, ‘You did it Ray! ’ And I went to the guys and said to them in the control room. And I said, ‘Please, whatever you do, help me here, never let me do his ever again. ’ And they collectively said, ‘That’s a deal, Ray. " Q: You saw the studio becoming a laboratory. A: Exactly. It was a place where we could really experiment. We could put on our lab tech coats rather than coming in with our ‘Mod’ outfits. It’s almost as if we put on our glasses. I felt like I was in a 1932 German Science Fiction movie, ‘Woman In The Moon, ’ something along that line. Some Fritz Lang. It was like ‘Metropolis’ and we were wearing those glasses that you wear so you don’t get sparks in your eyes and we had lab coats on. And we were preparing this strange concoction called ‘Strange Days. ’ Q: You had already had some of the songs for it like ‘Moonlight Drive’ from 1965, ’66, and now in 1967, it’s coming to fruition in the studio. Plus, Jim Morrison’s voice really went further and deeper on the “Strange Days” expedition. A: Well, the man had his chops as they say. Jim got his chops together. He had a thick bull neck resembling a large engorged male organ. And by then, he could sing, man. That throat had opened up and that man was singing. Q: There’s the Morrison scenic lyric “under television skies” in “My Eyes Have Seen You” that chronicles a pre-cable TV world he witnessed. On Strange Days the Doors employ Doug Lubahn as studio bassist on the album. A: Yes. And Doug and I worked very closely together and I showed him what I wanted on the bass parts. And he would play it and improvise on what I had shown him and expand upon it. He was not playing exactly what I told him to play. He was adding his own little touch to it that made it extra exciting for all of us to be there. He was just a great stoner, hippie, good guy. Q: He played with a band Clear Light. A: They were originally called The Brain Train. Great name and they change it to Clear Light. ‘Why? ’ I asked Doug, ‘Why did you change your (band) name? ‘I don’t know, Ray. It wasn’t up to me. ’ Q: On Strange Days your organ work offers a tiny tip of the hat to Herbie Hancock and his composition “Watermelon Man” just on the end hang lyric conclusion of “When The Music’s Over. ” A: Oh absolutely. That’s Herbie Hancock, man. I’m borrowing a little bit of Herbie’s piano line. My keyboard line is a variation of his piano line on ‘Watermelon Man. ’ Q: As you are hearing Jim’s lyrics to “When The Music’s Over, ” late 1967, this is a timeline pre-Earth Day that began in 1970. Those lyrics are detailing ecological concerns and environmental chaos. Psychological territory away from ‘The End’ song. You and the band are the new soundtrack to global warning and the continual destruction of our planet. A: I knew Jim was a great poet. There’s no doubt about that. See that’s why we put the band together in the first place. It was going to be poetry together with rock ‘n’ roll. Not like poetry and jazz. Or like it, it was poetry and jazz from the ‘50s, except we were doing poetry and rock ‘n’ roll. And our version of rock ‘n’ roll was whatever you could bring to the table. Robby bring your Flamenco guitar, Robby bring that bottleneck guitar, bring that sitar tuning. John bring your marching drums and your snares and your four on the floor. Ray bring your classical training and your blues training and your jazz training. Jim bring your Southern gothic poetry, your Arthur Rimbaud poetry. It all works in rock ‘n’ roll. So Jim was a magnificent poet. I loved his poetry. The fact that he was doing ecological poetry. ‘What have they done to the earth? ’ Q: Again, like in the entire Doors’ studio journey, Rothchild and Botnick are taking the whole trip into a new sonic world. A: Absolutely. We knew each other. We were friends. We would hang out together. We would get high together and go to each other’s houses and hang out. Q: You know, as a kid, I would see some of The Doors in Los Angeles eating at Norm’s restaurant on La Cienega right next to the Elektra Studios. It was near our Fairfax High School. Even then I sort of knew you guys were recording and didn’t bother you at a table or the counter. My Aquarius mother said something like, ‘Let them eat. They’re on the clock. ’ I didn’t quite know then what she meant. At the time she was working for The Monkees and the Columbia Pictures movie studio. A: Absolutely. It was work. We didn’t fool around. “I was not able to duck out of Sunset Sound, or TT&G or later at Electra to see bands or local jazz at Shelley’s Manne-Hole. No! We were working. We’re recording. The clock is ticking. This is your job. Your job starts at 2:00 p. m. in the afternoon and goes to 11:00 at night, 12 or one o’clock in the morning. You go home. You got to bed. You get up the next day. Maybe at 11:00 a. have a leisurely breakfast, take care of a couple of things and go back to the recording studio. Because guess what, Harvey. The recording studio is the only place you wanted to be. I didn’t want to see anybody. I didn’t want to go to a film or a jazz club. I wanted to make records. Right then and right there. With Jim Morrison, Robby Krieger, John Densmore, Paul Rothchild, Bruce Botnick and Doug Lubahn. Great bass player. " Q:  Why do Jim Morrison’s lyrics work so well in recordings and the printed page? A: Well, you know, Harvey, because lyrics are poetry. The words were well edited. Jim was good that way when it came to songs. When you are doing this written poetry you can really stretch out and you can really expand. And, no one so far has done an ‘Ezra Pound’ on Jim Morrison. With his poetry, he’d throw this out, take this line, or two lines, but when it comes to music you gotta be very choosy because you only have a short period of time. Songs in a way, outside of like ‘The End, ’ and ‘When The Music’s Over, ’ are sorta like haikus. The fit has to be very tight. “I saw Jim’s words before he started writing songs. So, when you see his words on the page that’s poetry. I always thought of Jim as a good poet. But when he started writing songs, then everything became verse, chorus, verse, chorus. Really tight, and it was a whole other ball game. He put his words into an entirely different context. A musical context. A hit single in a three-minute context. I thought ‘Moonlight Drive’ was brilliant. Q: The Waiting For The Sun album. Some songs already existed in raw form but a lot of new material was written for this endeavor. A: You know it’s time to do a record when you have 10 or 12 songs together. When it hits a dozen times to enter the recording studio. I mean, we worked on those songs. I mean, when we would get together in the rehearsal studio they were polished. They were changed. They were adapted. Somebody, invariably Robby or Jim who would come up with the original idea. But boy, the four of us would get together, change and modify and polish the songs. Q: “Hello, I Love You” from Waiting For The Sun had been around for a while. A: Yes. It was a song Jim wrote on the beach when we used to live down in Venice. Dorothy would go off to work and Jim and I would go off to the beach around the rings on the sand at Muscle Beach and work out around the bars, rings and swings and get ourselves into physical shape. He was gorgeous. Man, he was perfect. He was a guy who had opened the doors of perception and made a blend of the American Indian and the American Cowboy. He was the white Anglo Saxon Protestant. The WASP who had taken on the mantle of the American Indian. He now was no longer a fighter of Indians. He was a lover of American Indians. Like John F. Kennedy, that guy would have been a great President. Pre-alcohol, would have been a great President. The alcohol, unfortunately, destroyed Jim Morrison. Q: Once again, some warnings about the environment are inherent in the lyrics. ‘Not To Touch The Earth. ” A: Sure. Yes. Ecology was very, very big. We were all trying to save the planet. The sun was the energy. The supreme energy. “The establishment, as we called it, the squares, as they were called in the Fifties, the establishment as they were called in the Sixties, were trying to stop drug use, the smoking of marijuana and trying to stop any kind of organic fertilizer. The word organic to them meant hippie, radical potheads and people who wanted to leave behind the organized religions and start some new tribal religion based on American Indian folklore. That’s indeed what we were. We called ourselves the new tribe. " Q: You served in the military before the Doors started. The band’s “Unknown Soldier” must have been partially informed or reinforced by your stint. A: Everyone had to do military service. This was a time just before Vietnam. I was lucky. Everybody had a military obligation. You had to do your time in the service. So I did my time. Besides Thailand, I went to New York City and then I went to Okinawa, fell in with a bunch of jazz musicians, smoked a little grass there. I thought it was fabulous. Then I went to Thailand and where I had my real first Thai stick experience. Courtesy of Uncle Sam. Q: On Waiting For The Sun The Doors question government on “The Unknown Soldier” and “Five To One. ” A: That was a time when we started questioning the government. Everyone was questioning the government. That was all based on the war in Vietnam. And why are we in Vietnam? Why are we fighting these people? And the theory was, very much like in Iraq, it was the domino theory. If Vietnam falls then all of Southeast Asia is going to fall to the Communists and then they will be into the Philippines and then all the way to Australia will go Communists. The Communists scare is the same scare that is the same scare that we know with the Islamic scare. Q: Why does “Celebration of The Lizard” from “Waiting For The Sun” still resonate? Shaman and poet/singer Morrison’s lyrics are prophetic. A: We were working in the future space. The Doors on their third album were in the future. And many things have come to pass that Jim Morrison wrote about. Q: It seems as if The Doors and technical people were allowed to create and flourish without record label monitoring or corporate interference. Did Elektra Records owner Jac Holzman come to the sessions? A: Once in a while. Sure. He was a real cheerleader if anything. Q: We are then lead into The Soft Parade. Was there a pre-production meeting where everyone voted to include the use of strings and horns on the album? A: We had made three albums with the same formation and at some point or another when you make albums you want to do an album with expanded sound. So you want to have some horns and strings. My God, everybody did it. And we were gonna do it too. I want some strings. I want some jazz arrangements. I want some classical arrangements. And everyone said yes. Great idea. And a record label that said it was fine. What was great about the record label was that Jac Holzman said, ‘Boys, do whatever You want. Just don’t use the seven illegal words. ’ George Carlin’s seven forbidden words. Other than that, anything goes. Whatever you want to do. And Paul Rothchild encouraged it. Q: You are using the new Elektra Studios as well. A: We have left Sunset Sound. The first two there and the Third at TT& G. on Sunset and Highland in Hollywood. We then went into Elektra’s new place. Fabulous. It was all wooden. Brand new state of the art facility. We thought it was great and would be able to play there for free. I mean, after wall, it was really the studio that The Doors built. ‘Jac, this is gonna be great’ when he showed it to us. And we get to record here for free. ’ Jac said, ‘Free? No. You don’t get to record here for free. But, I’ll tell you what I’ll do. For you guys a ten percent discount. ’ (laughs). But it was a great recording studio and they had a great funky organ in there. Gnarly organ. Q: George Harrison dropped by one of your Soft Parade sessions. He was visiting the Elektra studios. He mentioned all the musicians at your date reminded him of The Beatles’ Sgt. Peppers because of the orchestra booked. A: Yes. A Beatle in the room. A very charming guy. Very low key. And I’m surprised John Densmore didn’t become good friends with him. Q: And, once again, the Morrison vocals are potent, distinctive and his voice more confident than ever. A: He’s no longer a blues singer. He’s added Frank Sinatra crooning to his voice and did an absolutely brilliant job. Terrific. Girls loved it. ‘Touch Me’ a number one song. Q: You also had individual writing credits for the first time on the album sleeve. A: That’s a great story. Because of ‘Touch Me. ’ The song was initially called ‘Hit Me, ’ and Jim is gonna say hit me. It’s ‘Hit Me’ like in poker. And Jim said, ‘No It’s not like poker. It’s like someone is gonna walk up to me and are gonna hit me. You gotta change the line. ’ ‘To what? ’ ‘Touch Me. ’ Beautiful. And along with that ballad part he sings in ‘Tell All The People’ the line with ‘Get your guns…Follow me down. ’ “Morrison, a military boy said, ‘I am not going to say that. ’ And Robby replied, ‘that’s the way I wrote it and you can’t change it. ’ Robby was going to stand up to Jim at that point. And Jim said, ‘I am not going to do it. ’ “And Robby said, ‘well that’s the song. ’ And Jim said, ‘We’re gonna have to say that you wrote this song. ’ And Robby said, ‘OK. Fine with me. ’ And that lasted for one or two more albums. Guitarist Robby Krieger was another kind of songwriter. He penned a lot of the popular radio hits and chart singles. “Love Me Two Times, ” “Spanish Caravan, ” the lyrics to “Tell All The People, ” “Touch Me, ” “Runnin’ Blue, ” “Love Her Madly, ” and co-wrote “Peace Frog” and “Light My Fire” with Morrison. "Robby was a different sort of lyric writer. You know, Robby might be the secret weapon of the Doors, we get this great guitar player who plays bottleneck, and all of a sudden he comes in and plays ‘Light My Fire, ’ the first song he ever co-wrote with Jim. And then Robby wrote ‘Love Me, Two Times, ’ ‘Love Her Madly. ’ ‘Touch Me. ’ Lots of Doors’ hit singles. Another guy with a high IQ. " Q: On The Soft Parade you had Harvey Brooks as well as Doug Lubahn on bass, saxophonist Curtis Amy and George Bohanan the trombonist. A: Wasn’t that great. Curtis Amy, who was married to Merry Clayton. Curtis was a big nationally known jazz horn player who lived in Los Angeles. He takes he solo on ‘Touch Me. ’ It might have been the first time a real jazz saxophone solo went to number one on pop charts. And, we brought the strings and horn players to some shows and TV appearances. It was a great deal of fun for me to bring them on stage. “It didn’t work for a lot of the critics and teenagers. ‘We’re not coming to see you guys expand. ’ We want to see ‘Light My Fire. ’ Four Doors. The sexy lead singer. You play the songs. No horns. No strings. No jazz soloing. ’ Well, you’re gonna get it anyway. Like, at the Forum show you get Jerry Lee Lewis, Lonnie Mack, Sweetwater and a Chinese Pipa player, too. Q: And by ‘ The Soft Parade Jim Morrison started to indulge and really drink. A: Jimbo came out. They call it the demon rum. There’s a demon in the bottle. And there’s a demon in that white powder, too. A demon on the blade. You know what those things do? They open the trap door of the subconscious and allow some creature to come out. And the alcohol for Jim, a genetic pre-disposition famial pre-disposition to alcohol, something came out, man. “Some kind of combination. He went from being the poet to a shooter. Shooter Morrison. I was flabbergasted. “We started experimenting in the studio. I wouldn’t allow anything to get out of the recording studio without my approval. If I didn’t think it was right it did not go on a record. Nothing happened without my OK. We did some composite vocals. You do what you have to do. If Jim sings one line great. Fine. Then let’s get the next line. Let’s get the words, man. Whatever it takes to get the best possible performance. While you can see that Jim Morrison is undergoing a transformation. Right before our very eyes. And I hoped that this transformation was short-lived. But it wasn’t. "This can’t last. This is not Jim. ’" Courtesy of Rhino Q: The Doors then arrive at Morrison Hotel. Why this direction? A: Well, we had done our horns and strings experimentation. We had had a great time. I had a great time. Critically it was our least acclaimed album. However, it has stood the test of time and there are many great songs on there. So, you know what? We’ve done that experimentation. Let’s go back to the blues. Let’s get dark and funky. Let’s go downtown for the album cover. We went to the Hard Rock Café on skid row with (photographer) Henry Diltz. And we went to a flophouse called The Morrison Hotel. Rooms A sign read $2. 50 and up. It was definitely supposed to be a funky album and you can see that on the inside photo and the front and back cover. Album covers were always important. We were involved heavily in that process. You could never just turn it over to the record company. Everything that The Doors turned out had to be stamped by The Doors. We approve of this. “My God, Strange Days, what an album cover. We told the art director from Elektra Records, Bill Harvey, ‘Make something ‘Fellini-esque. ’ And he did that on his own. That’s all we told him. We saw the photos and said, ‘Bill this is fabulous. You’ve outdone yourself. ’ And Bill said, before he died, ‘That’s the best album cover I ever did. ’ Q: And, there’s a song called ‘Waiting For The Sun’ on Morrison Hotel. A: We loved the title. But the song had not come together earlier. We finally got it and a beautiful piece of music. It needed to cook more. Sometimes Doors’ songs came out of the collective conscious whole. ‘Bam. That’s it. ’ Others needed to cook and they needed be worked on. And ‘Waiting For The Sun’ was one of those songs with a great title and the song took a while to jell. Q: It’s a hard mean album. Morrison’s voice lends itself to this specific material. A: It was a barrelhouse album and barrelhouse singing. He’s smoking cigarettes. ‘Jesus Christ, Jim. Do you have to smoke cigarettes and drink booze? ’ He didn’t say it but it was like, ‘This is what a bluesman does. ’ Oh fuck. That’s right. You’re an old bluesman. He says that in one of his lines. ‘I’ve been singing the blues since the world began. ’ And Rick and The Ravens was a surf and blues band from the South Bay. ‘Roadhouse Blues. ’ Q: How could Jim Morrison with his Dionysian demeanor write and suggest instruction or guidance lyrically in that song, “Keep your eyes on the road your hands upon the wheel, ” when most of the time he certainly didn’t operate or drive a car like this himself? A: Well that was the better Angel. That’s Jim Morrison. Not Jimbo. Jimbo was the guy who took Jim to Paris and said, “let’s go and die in Paris. ’ We’re going to have a death in Paris. Like Thomas Mann’s novella Death In Paris. That was Jimbo.. Q: In addition, the album brings us as into the water and film noir aspect of Los Angeles. Water is a principal theme explored. “Ship of Fools. ” The “River of Sadness” cited in “Peace Frog, ” and the salvation of the ocean and the destination charted in “Land Ho! ” A: Water, ships. It clicks big time. The water images and that beach down in Venice. And that ocean side. ‘Moonlight Drive’ again. And the water always entered into Morrison’s life. And where does his life expire? In the water in the bathtub in Paris. From the amniotic fluid of his birth to the bathtub in Paris. His final expiration. Q: Lonnie Mack plays bass on a couple of tracks on Morrison Hotel. He had an instrumental hit with a version of Chuck Berry’s “Memphis. ” A: He was great, man. ’ Lonnie Mack. He was either recording in the next studio, or working around us, or came down, I can’t remember why he appears. Paul Rothchild said, “Hey. This is Lonnie Mack. He introduced him to Robby. ‘Hey, you wanna play some bass? ’ ‘I’d love too, guys. ’ Simple as that. That was a great deal of fun. The album was definitely blues, ‘Raymond Chandler. ’ Downtown Los Angeles. Dalton Trumbo. ‘John Fante. ’ ‘City of Night’ John Rechy. Q: Then there is the tune “Peace Frog. ” In 1995 you told me for Goldmine magazine, “Blood in the streets in the town of Chicago” is obviously about the 1968 Democratic Convention in Chicago. It was written after the young people rioted against the war, in Vietnam. ” A: Those are great lines. Morrison goes further to say, ‘Blood is the rose of mysterious union/blood will be born in the birth of a nation. ’ So it’s the idea that blood is the cleansing property, and from blood will come the healing and the enlightenment of the nation. America is what Jim is singing about. ‘Birth of a Nation. ’ Another cinematic reference. Q: In that interview you mentioned you had a class at the UCLA School of Film with director Josef Von Sternberg ( The Blue Angel, Marocco, Shanghai Express) who applauded your student film Evergreen. “Very good Manzarek. Very good. ” You cited his praise as one of the greatest moments of your life, adding that Sternberg’s influence was inherent in the way he paced his movies and the psychological weight of his films informed the way you and Jim together wedded a cinema and music mixture. A: He’s the guy who really kind of gave a real sense of darkness to The Doors, not that we wouldn’t have been there anyway. But having Von Sternberg seeing the deep psychology of his movies, and the pace at which he paced his films, really influenced Doors’ songs and Doors’ music. The film school is always there. Our song structure was based on the cinema. Loud. Soft. Gentle. Violent. A Doors’ song is again, aural, and aural cinema. We always tried to make pictures in your mind. Your mind ear. You hear pictures with the music itself. Q: During 2007 we talked again about Doors’ catalog utilized in movies and soundtracks. The film school influence is obvious again, especially on ‘L’America’ on Morrison Hotel. A: It was written for the director Michaelangelo Antonioni for his film Zabriskie Point. And we played it for him at the rehearsal studio and backed him up against the wall with the volume. We played it the way we normally play and too loud for this elderly Italian gentleman. I could see him pressed up against the door trying to get out of the place. We finish the song, he slides the door open and steps outside and it was almost like he was saying, ‘Goodbye boys. Goodbye Hollywood. ’ And then he goes with Pink Floyd. It was all too much for him. He just couldn’t do it. Q: Just before the album L. Woman formally began, producer Paul Rothchild leaves the project. A: Yes. He did a great service to us. We played the songs in the studio so Paul could hear what the songs were. First at the rehearsal studio and then over to Elektra. I think we went back to Sunset Sound, too. We were bored. He was bored. We played badly. And Paul said, ‘you know what guys? There’s nothing here I can do. I’m done. You’re are gonna have to do it yourselves. ’ And he walked out the door. We looked at each other and said, ‘Shit. Bummer. ’ And Bruce (Botnick) said, ‘Hey, I’ll do it! I’ll be the producer. ’ John (Densmore) said, ‘We’ll co-produce with you. ’ Bruce said, ‘That’s a deal. Let’s all do it together. ’ And then Jim said, ‘Can we record at our rehearsal studio? ’ And we all said, ‘Hey, we play great at our rehearsal studio. Let’s do it. Can it be done? ’ And Bruce said, ‘Of course I can do it there. I’ll set the board up and a studio upstairs. You guys record downstairs. That’s where we make the album and it will be virtually live. ‘Yea! ’ And we got excited like that Mickey Rooney and Judy Garland ‘Let’s put on a show! ’ “The only thing with Bruce that was really different than working with Paul was that we didn’t do as many takes. We knew when we had it. The thing about Rothchild ‘he was a slave driver. ’ That’s not really true. We did do a lot of takes on ‘Unknown Soldier’ and that drove Robby crazy. Q: And, Jerry Scheff plays bass on L. Woman. A: Botnick brings in a guy who is going to be playing with Elvis Presley. ‘I got Elvis Presley's bass player. ’ ‘Shit, man. ’ He came in. A very cool guy who is playing with Elvis Presley. Q: And, you and Jim just earlier had watched the Elvis Presley 1968 Comeback Special on television. I wrote the liner notes in 2008 for the CD reissue. Elvis is wearing leather on that program. And I believe Jim had his leather pants made on Sunset Blvd. in 1967, ’68. A: Yes. We watched it. Elvis puts on his Morrison outfit. He had seen Morrison. He knew what he was doing. Imitating Jim. Q: L. Woman is a logical step from “Morrison Hotel. ” A: I think it’s the same Doors but a continual growth, continual evolution of The Doors. Continual revolution of The Doors. Q: The title track L. Woman embodies movement, freedom, lust and dust. A: L. Woman is just a fast L. kick-ass freeway driving song in the key of A with barely any chord changes at all. And it just goes. It’s like Neal Cassady, Jack Kerouac and Allen Ginsberg heading from L. up to Bakersfield on the 5 Freeway. Let’s go, man. Q: The haunting “Riders On The Storm. ” In 1995 you ran down the song to me commenting on that highway and freeway chase depicted. “The storm is an unresolved psyche. We are moving into the Jungian collective unconscious. And those motivations in the collective unconscious are the same in 1976, 1968, 1969 as they are in 1994, 1995. There are needs that we all have on the human planet, and we must satisfy those needs and come to grips with the darkness and the interior of the human psyche. ” A: It’s the final classic, man. Interestingly, Robby and Jim come in and were working on ‘Riders On The Storm. ’ And then they start to play it and it sounded like ‘An old cowpoke riding out one dark and misty day. ’ It was like ‘Ghost Riders in The Sky. ’ No. We don’t do anything like ‘Ghost Riders In The Sky’ as much as I like it by Vaughn Monroe. And Jim likes it. What’s next? A version of Frankie Laine’s ‘Mule Train? ’ Doors don’t do that. Let’s make this hip. The idea is good. We’re going to go out on the desert. ‘There’s a killer on the road. ’ This has got to be dark, strange and moody. Let me see what I can do here. It was like ‘Light My Fire. ’ It just came to me. I got it. The bass line. It became this dark, moody Sunset Strip 1948 jazz joint. Q: And, only Morrison could inject a Hollywood movie studio system reference in the lyric ‘an actor out on loan. ’ A: Yeah. How ‘bout that, man. Q: Every Doors concert was unique. Some specific songs in the set but lots of improv and no set order done every night. A: The concerts were an extension of the audio document. It was not yin and yang. One was an extension of the other. There were improvisations in the recording studio but within their soloing sections. And quite frankly, I never knew what I was going to play. I knew the chord changes. I didn’t know how I was going to structure my A minor 7th chord. That would vary from take to take. It would always be an A minor 7 th and in the groove. So there was improvisation in the studio but here was major improvisation live. Because that’s the whole point of live. You have the record as your foundation and then you build upon that in the live performance. Harvey Kubernik is the author of 15 books. His literary music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December 2017, by Cave Hollywood. Kubernik’s The Doors Summer’s Gone was published by Other World Cottage Industries in February 2018. It’s been nominated   for the 2019 Association for Recorded Sound Collections   Awards for Excellence in Historical Recorded Sound Research. During November 2018, Sterling/Barnes and Noble published Kubernik’s The Story of The Band From Big Pink to the Last Waltz. In 2019, The National Recording Registry at the Library of Congress in Washington, D. C. have asked Harvey Kubernik to pen an essay on the landmark The Band album, now celebrating a 50th anniversary edition in 2019. Harvey Kubernik is currently researching and writing a mult-voice narrative book on Jimi Hendrix for Sterling/Barnes and Noble scheduled for publication last quarter of 2020. Harvey Kubernik’s 1995 interview, Berry Gordy: A Conversation With Mr. Motown appears in The Pop, Rock & Soul Reader edited by David Brackett published in 2019 by Oxford University Press. Brackett is a Professor of Musicology in the Schulich School of Music at McGill University in Canada. Harvey joined a distinguished lineup which includes LeRoi Jones, Johnny Otis, Ellen Willis, Nat Hentoff, Jerry Wexler, Jim Delehant, Ralph J. Gleason, Greil Marcus, and Cameron Crowe. Kubernik’s 1996 interview with poet/author Allen Ginsberg was published in Conversations With Allen Ginsberg, edited by David Stephen Calonne for the University Press of Mississippi in their 2019 Literary Conversations Series. Harvey is featured in the 2014 book by Jeff Burger on Leonard Cohen Interviews and Encounters for Chicago Review Press. During 2015 the University Press of Mississippi published a Harvey Kubernik interview with D. Pennebaker in their book series, Conversations with Filmmakers, edited by Dr. Keith Beattie. This century Kubernik wrote the liner note booklets to the CD re-releases of Carole King’s Tapestry, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special and The Ramones’ End of the Century. During 2019 Kubernik is serving as a Consultant on a new 2-part documentary on the musical legacy of Laurel Canyon. Alison Ellwood is directing the documentary who helmed the authorized History of the Eagles.   Broadcast date is first quarter 2020 on EPIX Television. Feature photo by Henry Diltz.

I agree in so much as that I'm glad that the music hasn't been licensed for use on commercials but to perform it live was just as much Ray & Robby's right as the rest of the band. I count myself lucky that we had the opportunity over the past couple of years to see them perform. The last show we went to we got to meet them backstage. It was a high honor.

Robbie you still had it too I love how you incorporated Eleanor Rigby. Genius😊.

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The doors break on thru - a celebration of ray manzarek. The doors 3a break on thru- a celebration of ray manzarek canvas. What a great guy and what a great answer to the journalist asking him if he was upset with the people who say they're still alive brilliant perfect answer. Great storytelling voice.

 

Did Jim even open his eyes during this performance. The doors 3a break on thru- a celebration of ray manzarek remix. The doors 3a break on thru- a celebration of ray manzarek youtube. Break on thru a celebration of ray manzarek and the doors. The doors break on thru - a celebration of ray manzarek review.

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Released 1 hr 7 min Documentary Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Break on Thru: A Celebration of Ray Manzarek and The Doors near you. ENTER CITY, STATE OR ZIP CODE GO Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Break on Thru: A Celebration of Ray Manzarek and The Doors Synopsis An all-star performance in Los Angeles that John Densmore and Robby Krieger developed. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.

No, he was an alcoholic.

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The doors break on thru - a celebration of ray manzarek trailer. The doors 3a break on thru- a celebration of ray manzarek wallpaper. Ray, the intellectual one. Jim, the free spirited poetic one. John, the soft spoken one. Robbie, the lucid one. All four of them one hell of a band. The doors 3a break on thru- a celebration of ray manzarek design. I can hardly wait to see this documentary about the greatest rock keyboard 🎹 player of all time! Im glad that John and Robbie finally reunited. They were estranged for years. John even sued Ray and Robbie. I guess he didnt get along with Ray anymore? Im not sure. Anyway, Im happy they are doing a tribute to Ray. He deserves it as much as Jim does. I wonder if they are reunited now up in Rock Heaven. And jamming together. That would be great! I sure hope theres an afterlife because if there isnt, its going to be mighty dull. Anyway, thanks 🙏🏻 for sharing this latest news. 😎🎸🎹👏🏻.

The Doors: Break On Thru - A Celebration Of ray manzarek. The doors 3a break on thru- a celebration of ray manzarek new. The doors 3a break on thru- a celebration of ray manzarek. I love what ray did in the solo, and krieger had a great solo. The doors 3a break on thru- a celebration of ray manzarek pdf. The doors 3a break on thru- a celebration of ray manzarek lyrics. The doors 3a break on thru- a celebration of ray manzarek songs. The Doors: Break On Thru - A Celebration Of Ray manzarek.

 

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