Sarah Harmer: singer-songwriter and activist

Music on Sunday @ The Reaction

By R.K. Barry

A few years back I was involved in organizing a fundraiser for a candidate running for the Canadian Parliament from a riding (district) in Toronto. The candidate in question was my lovely wife, Marilyn Churley, who by then had already had a distinguished political career as a member of provincial parliament in Ontario over a couple of decades and as a cabinet minister for a part of that stretch.

Marilyn decided it was time for a change, and although the campaign was ultimately unsuccessful for a number of reasons I won't bother to go into here, it was quite a ride.

The fundraiser was billed as a celebration of Marilyn's 20 years of public service. A number of Canadian celebrities were on the program, including politicians, journalists, musicians, and actors (such as Shirley Douglas, a famous Canadian actress who is the mother of actor Keifer Sutherland and the daughter of Tommy Douglas, the man considered to be the father of Canada's wildly popular government health-care system -- all information for any American who might be reading this).

A highlight of the evening was a few songs offered by celebrated singer-songwriter Sarah Harmer, who had done some important environmental work with Marilyn and was supporting her in the campaign. Unfortunately, the videographer was not able to patch into the soundboard, so the audio is from an open-air microphone. Still sounds pretty good.

I love Sarah Harmer's music. Beautiful voice, beautifully crafted songs.

At one point, the camera breaks away from the stage to take some audience shots. Marilyn is the one in the orange dress at about the 2:25 mark. As an added point of interest, a few moments later the camera is on Jack Layton, leader of the New Democratic Party of Canada (a left-wing social democratic party), which, if polls hold, might have an electoral breakthrough on May 2nd, the day of the upcoming federal vote. In this case a breakthrough would mean supplanting the Liberal Party of Canada as official opposition, still behind what is likely to be a continuing conservative government. Jack is the one in the dark jacket and white shirt at about the 7:30 mark. Again, all Canadians would know this, but Americans are, alas, less likely to follow the exciting world of politics north of their border.

Not that you were asking, but you won't see me in any of the shots because I was in the shadows stage managing, which is typically where I like to be.

Anyway, back to the music. Sarah did a great job, as always. Some of you will notice that the MC is Jian Ghomeshi, formerly of the singing group Moxy Früvous and more recently of CBC Radio's Q.

Here's Sarah on stage that night:

(Cross-posted at Music Across the 49th)

David Simon's Treme is back for another season on HBO

By R.K. Barry

The 11-episode season two of Treme starts on Sunday, April 24th on HBO. Those of you who had the pleasure of watching season one will know that Treme is a brilliant drama based on life in post-Katrina New Orleans.

Not only does it hit all the hot button issues one would expect like race, the anthropology of a city close to collapse and the politics surrounding efforts to revive her, but it is done with a New Orleans musical soundtrack that is beyond fabulous.

By the way, someone not at all associated with the series went to the trouble of setting up a website to provide information about all the great music featured on the show. You can find that here.

David Simon is the creator of Treme and was also responsible for The Wire, which was another HBO drama with, in this case, each season focused on a different facet of life in Baltimore (the illegal drug trade; the seaport system; city government and bureaucracy; the school system; and the print news media). Another amazing effort, which would appeal to political junkies everywhere.

In fact, both Treme and The Wire are largely political statements about who matters in our society and who does not and how the system conspires to make those distinctions as clear as possible at every turn. Truly brilliant.

As mentioned, in Treme, the music, and the professional life of musicians depicted, is not so much background as another way of telling stories about how people do what they have to do to survive. And then you get to listen to them sing and play -- people like Allen Toussaint and John Boutte.

If you are in a position to watch, I suggest you do.

Here's a clip of the opening scene with theme song and credits from Season 1:

(Cross-posted to Lippmann's Ghost.)

Irish music by Solas

Music on Sunday @ The Reaction

By R.K. Barry

I seem to love best whatever style of music I'm listening to at any given moment. Unfortunately, I also seem to love playing best whatever musical instrument is in my hands at any given moment, which guarantees that I'll never be all that good at any of them (but that's another story).

I have been a fan of Irish music since my father raised us on a steady diet of Clancy Brothers' records back in the day.

Since then I've learned to play some tin whistle and Irish flute as well as guitar in the Celtic style. From time to time I'll try to find my way to a local session, which, if you don't know, is what Irish musicians call a musical get together.

One of my favourite Irish bands is a group out of the U.S. called Solas. Although they play Irish traditional instruments at the highest level, to my mind they transcend traditional boundaries by a fair bit.

I remember buying their first CD when it came out in the mid 90s. I haven't followed them closely enough to know how or to what extent the membership has changed over the years, but I suspect it has. For me the person most identified with them is Seamus Egan on flute, tenor banjo, mandolin, tin whistle, guitar and bodran. Other members are Winifred Horan on violin and vocals (who I see has been there from the beginning); Mick McAuley on accordians, concertina, low whistle and vocals; Eamon McElholm on guitar, keyboards and vocals; and Niamh Varian-Barry on vocals.

I'm pretty sure Ms. Varian-Barry is new because I wouldn't miss noticing someone with whom I share a last name (Barry that is).

The style is wonderfully percussive and energetic. Great stuff. The link to their website is of course above if you're interested in what they do.

To be honest, I'm not sure of the membership of the band in the YouTube clip below, but it is the kind of music they play no matter the line up.

(A listening note: this kind of music is best heard at volume, so a pair of headphones or good speakers would add dramatically to the experience).

(Cross-posted to Music Across the 49th)

Gil Robbins of The Highwaymen (1931-2011)

Music on Sunday @ The Reaction

By R.K. Barry

Gil Robbins died on Tuesday (April 5th). He's the one in the middle of the picture to the right with the oversized Mexican six-string guitar.

For some, this is notable for the fact that Mr. Robbins was a member of a folk music group in the early '60s called The Highwaymen, which had some success with songs like "Michael Row Your Boat Ashore" and the Lead Belly classic "Cotton Fields." 

Others might note his passing in part because he is the father of well-known actor Tim Robbins, who has not been averse to making use of the folk genre as a part of his performing personae. I am thinking here of the wonderful satirical mockumentary Bob Roberts, which plays on the relationship between conservative politics and American populism -- proving the sad fact that populism can be co-opted for any number of contradictory political and social ends.

But enough about Tim, who has gotten plenty of ink in his lifetime.

The Highwaymen were one of those groups, which came to prominence in what has become known as the Folk Revival of the late '50s and early '60s. Other groups like The Kingston Trio and solo artists like Bob Dylan, Joan Baez, Judy Collins, and so many more are associated with the period. Hard to believe, but for a few short years folk music was pretty hot.

Needless to say, folk music has never really gone away. It's just been repackaged and renamed to make it appealing to a mass audience. James Taylor, Carole King, Joni Mitchell, and every other modern-day troubadour with an acoustic guitar owes a great debt to those who came up in the middle part of the twentieth century either to sing classic, frequently beautifully harmonized folk songs or to write their own singer-songwriter fare much in the tradition.

For those who might not know, folk music is alive and well today, and not just for those of us who can play a few chords and sing in the living room amongst friends -- although that is an important part of my life.

There are countless folk festivals all over the world. There are thriving, albeit small, record labels recording and marketing the music. There are more commercially successful artists who may characterize their music as something else but still fit comfortably under the folk banner.

Importantly, because of the ease with which recording can happen and micro-markets can be accessed, folk music is probably doing better now than in much of the past.

Anyway, folk music is a thing with me. And I like to recognize the passing of those who helped it along the way, as Gil Robbins obviously did.

(By the way, just to avoid confusion, in the mid-'80s and early-'90s a "country supergroup" came along also calling themselves The Highwaymen. The group consisted of Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. While they did a fairly consistent menu of country songs, they didn't mind doing covers like Woody Guthrie's "Deportee" or Steve Goodman's "City of New Orleans" -- folk songs by any measure. Yeah, it's hard to keep these music categories straight. Makes me wonder why we should bother, unless we intentionally want to keep a bunch of traditional music enthusiasts up all night arguing over the definition of folk music -- but I don't recommend it).

Here's the Highwaymen doing "Cotton Fields":

(Cross-posted at Music Across the 49th.)

Peter Guralnick, teaching us about those who make the music

By R.K. Barry

(Ed. note: It's Music on Sunday at The Reaction. We're going to try to do more of this, with regular posts from Richard on a wide variety of music and music-related topics. And the rest of us may chip in as well from time to time. I posted some Heart videos last night and often post music clips, usually on weekends. Yes, we're still a political blog, but it's fun to do other things now and then, and we've blogged frequently about music, art, literature, philosophy, etc. Now we're just trying to make it a more regular feature. Hope you enjoy. -- MJWS)

Several years ago I got interested in reading biographies and autobiographies by and about musicians. My interest is mostly in rock, blues, jazz, R&B, folk, and "Great American Songbook"-type artists. Well, with the exception of classical music, which I've never managed to learn much about, I guess I like a lot of things.

One of the very best writers about popular music and those who make it is Peter Guralnick. I actually stumbled on him when I picked up a book of his called Last Train to Memphis about the rise of Elvis Presley. He went on to write a second book about his fall, if it's fair to call it that, called Careless Love.

Other books by Guralnick that I have had the pleasure of reading are Sweet Soul Music, Lost Highway, and Feel Like Going Home, in which he profiles all sorts of artists in genre like rhythm and blues, country, rock, and blues.

Everything he writes is very well researched. He understands music. He's got a great sense of culture, history, and politics. He has an incredible knack for making music celebrities fully human -- strengths and weaknesses. And he writes very well. That's not a bad endorsement.

The last thing I read by Guralnick was Dream Boogie, about Sam Cooke, another gem.

All I can say is that when you finish one of his books or essays, you feel like you know something about a subject and can listen to the music with a better of understanding of what's going on.

Getting back to Elvis, I first started paying attention to the phenomenon probably in the early '70s, not long before he died, which was around the time he started to become a caricature and a bit of a joke. I was too young to catch him on the way up so didn't really appreciate his contribution. It was good to read the Guralnick set to get a better understanding of how important Elvis was to the development of rock 'n' roll.

I don't have anything brilliant to say about Presley or the books, or anything else that this writer has done, only that if you have an interest in this kind of music, you'll want to check him out.

Here's a little something for your entertainment pleasure: "Blue Suede Shoes" from a very young Elvis Presley.

(Cross-posted at Music Across the 49th.)

Heart: "Crazy on You" and "Alone"

By Michael J.W. Stickings

Let's turn things over tonight to Heart, the (now classic) rock band led by Ann and Nancy Wilson, with two of their best songs:

-- From the '70s, "Crazy on You," off their debut album, Dreamboat Annie (1976), performed here on Burt Sugarman's The Midnight Special variety show (which aired Friday nights after Carson).

-- From the '80s, "Alone," off their album Bad Animals (1987), performed here at Seattle's Moore Theater for their 1995 acoustic live album, The Road Home.

The Wilsons are pretty awesome, aren't they?

The origins of Top 40 radio

By R.K. Barry

(Ed. note: This is Richard's second cross-post here from his blog Music Across the 49th. You can find his first, on Ronnie Spector, here. As I mentioned in my intro to that post, we're hoping to diversify a bit, with more posts on "culture," without losing our political focus. So I hope you'll find even more to like here, including more from Richard. -- MJWS)

I picked up a book a couple of weeks ago called Flowers in the Dustbin: The Rise of Rock and Roll, 1947-2007. It's by celebrated music journalist James Miller. It's really a collection of essays on topics that Mr. Miller finds relevant to the history of the genre. Good read.

There was one essay in particular I found fascinating. It was about how in 1951 a couple of radio station promotion guys got the idea for the Top 40 format that I grew up with. Apparently up until then it was common for radio stations to play whatever the disc jockey of the moment felt like spinning. But in Omaha, Nebraska, two guys by the name of Todd Storz and Bill Stewart figured out that people mostly want to listen to their favourite songs over and over again.

They tell the story of going into a local bar, having the jukebox blast out the same songs repeatedly, and then watching as the waitress, who had been working all night and listening to these songs, walked over to the jukebox as she cleaned up and selected the exact same songs to hear once again.

On the strength of that research, they designed a format, based on things like record and sheet music sales, that launched the standard for radio airplay for the next 15 or 20 years. It's what I grew up listening to on stations such as WABC in New York City with DJs like Cousin Brucie.

Makes perfect sense, though. When I load up my iPod, do I put a lot of new music on it? No, mostly just tunes I'm familiar with and already like.

Anyway, I though that was interesting. I then thought I would do a little online research to see what the #1 song was on my birthday (June 17, 1958) and came up with "The Purple People Eater" by someone called Sheb Wooley. Well, my plan was to find a YouTube video of the song that was number one on that day, but I don't care about that song. I'm afraid I don't care to be that closely associated with what they call in the biz a "novelty song."

The song that was #1 just before it was "All I Have to Do is Dream" by the Everly Brothers, which I like very much. Beautiful tune.

If you insist on seeing a clip of the Sheb Wooley thing, it can be found here. I prefer to associate myself with the dulcet harmonies of Don and Phil Everly, which you can see and hear below. It's a classic version.

You can also click on the Billboard website here to see what gem was offered up on the day you entered the world.

Enjoy!

(Cross-posted at Music Across the 49th.)

Ronnie Spector, still bringin' it

By R.K. Barry

Ed. note: My friend and co-blogger R.K. Barry writes the political blog Lippmann's Ghost and also a music blog called Music Across the 49th (you know, because he's an "Americo-Canadian," and the 49th parallel is much of the border that separates our two countries). I highly recommend both. At the latter, he's blogging his way through learning to play the piano (sort of like blogging your way through Julia Child's Mastering the Art of French Cooking) and otherwise writing about his various musical passions. Thus far, his posts here have been cross-posted at/from Lippmann's Ghost, but he's going to start cross-posting from The 49th as well. Which is perfectly fine with me. Our focus here is politics, of course, but we do write about other things now and then, including "culture" (film, art, music, etc.), and I'm hoping to diversify a bit more going forward -- without losing that political focus. -- MJWS

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On weekends I can frequently be found at my computer blogging with music on in the background, sometimes with the television on if the program isn't too distracting. One type of show that seems to be on a lot these day is the standard Public Broadcasting Service (PBS) fund-raising pitch in which they show a concert of some kind and then offer a box set of the proceedings for a set-amount donation. You know the drill. (An approach we are likely to see a lot more if the Republicans in Congress get their way).

Last weekend it was a doo-wop / early '60s musical extravaganza from Philadelpia, or Pittsburgh maybe. I'm not sure. One act after another comes up to do a couple of songs. In any case, it was a very good show, and while this style of music pre-dates my entry into musical consciousness, I was moved by it.

At one point, Ronnie Spector, once upon a time of the Ronettes, stepped onto the stage to do a rendition of "Be My Baby," at which point I stopped the other things I was doing to watch this really great segment. After forty years plus, the girl can still bring it in a big way.

If you know anything about the group and its history, you'll know that the tune was written by Phil Spector, among others, and that it employed what was called the "wall of sound" recording technique, which as a style is fairly self-explanatory.

As you can tell, I was impressed. But what I loved more was the occasional shot of the audience during this number and others, which at moments was simply beside itself with excitement at hearing these classic songs played and sung by the originals. Yeah, I'm a big suck when it comes to this kind of thing -- watching people dragged back to younger days when these songs really meant something to them. The first few bars and you can almost feel the room start to vibrate. Sweet stuff.

Anyway, it was very cool. I found a clip on YouTube to share. The sound quality is not the best, but it is what it is.

My musical tastes are all over the map, but good music is good music.

(Cross-posted from Music Across the 49th.)

Grace Slick and Jefferson Airplane: "White Rabbit" and "Somebody to Love"

By Michael J.W. Stickings

There's an awful lot going on in the world that's pretty terrible right now, as there often is, what with the situation in Japan, and in Libya, and in so many other places, but let's take a short break from that now and head back to the late-'60s, when there were also pretty terrible things going on, not least in Southeast Asia, but also when some incredible music was being made.

It was well before my time, and there is a tendency among those of us who weren't there to romanticize that era, the era of Woodstock and everything it supposedly meant, but to me it still all seems fairly glorious, and among the most glorious of all, musically speaking, was Jefferson Airplane, fronted by the amazing Grace Slick.

No female singer today comes even close. Beyoncé... Katy Perry... Lady Gaga... Fergie... Christina Aguilera... Carrie Underwood... oh please. And for all the success of a Mariah Carey or even a Madonna, there was just something so authentically gorgeous and culturally significant, and so awesome, about Grace Slick. (Yes, Madonna was culturally significant, too, but she was so much a product of her manufactured times as well. I might put Fleetwood Mac's Stevie Nicks in Slick's category, but she wasn't nearly such a towering cultural figure even when Fleetwood Mac was so popular in the '70s. (I love Vienna Teng, too, but that's different.)

This isn't to deny others their greatness, of course. Tina Turner, Carole King, Joni Mitchell, Diana Ross, Barbara Streisand, Ann and Nancy Wilson of Heart -- all great in their own ways. Maybe it's Aretha Franklin to whom Slick ought to be compared, though she, of course, was transcendent in other ways and for other reasons, and for a much longer period of time (and with greater lasting resonance). And with Slick, it was really those few years when Jefferson Airplane made music for a generation. After that, it was never to be the same. Popularity would return throughout the '70s and '80s, but, musically, the period from Surrealistic Pillow (1967) to Volunteers (1969) was the absolute peak. (So maybe the right comparison is Janis Joplin, also culturally significant around the same time (with a much shorter career given her death at such a young age), though I'll take Slick over Joplin for any number of reasons.)

Anyway, that's enough from me. Let's get to the music. Here's Jefferson Airplane performing "White Rabbit" (one of my favourite songs ever) and "Somebody to Love" on The Smothers Brothers Comedy Hour not long after Surrealistic Pillow came out in 1967. (It's easy to forget how influential that show was.) I'd love to have experienced it.

Porcupine Tree: "Time Flies"

By Michael J.W. Stickings

Porcupine Tree certainly needs no introduction from me.

They may not be all that well-known here in North America, relatively speaking, despite some recent Grammy nominations for "Best Surround Sound Album" (a technical category), but they're perhaps the most accomplished prog rock band of the past 20 years, a band that still dares to make concept albums -- "progressive," yes, but they defy easy categorization.

A few years ago, I blogged about their outstanding ninth album, Fear of a Blank Planet, a dark, gloomy, and deeply empathetic examination of technology, media, and youth.

They released their tenth, The Incident, in 2009. As singer, guitarist, songwriter Steven Wilson explained, "[e]ach song is written in the first person and tries to humanize the detached media reportage" of various "destructive" and "traumatic" incidents.

One of the stand-out songs on the album is "Time Flies." Porcupine Tree is often compared to Pink Floyd (although, to me, no band will ever be even close to the equal of Pink Floyd, except The Beatles), and understandably so (at least with respect to their earlier stuff). The band generally resists the comparison, but this song is thematically a lot like "Time," the Floyd classic from Dark Side, with guitar a lot like Gilmour's on "Dogs," one of the epic pieces on Animals. It's 11:40 on the album, but it was cut down for release as a single, and for a video.

And here is that video. Enjoy. (And if you don't know Porcupine Tree, do yourself a favour and get on it.)

Matt Mays & El Torpedo: "Cocaine Cowgirl"

By Michael J.W. Stickings

For some music tonight, let's head back to 2005, and to one of the finest Canadian rock songs of the decade, "Cocaine Cowgirl" by Matt Mays & El Torpedo, off their self-titled album.

Mays was born in Hamilton, just down the QEW from Toronto, but grew up in Cole Harbour, Nova Scotia, home also to a certain hockey player named Sidney Crosby.

El Torpedo is no more, but Mays -- official site, Wikipedia entry -- continues on, and, in addition to the album mentioned above, I recommend his low-key iTunes Session, released just last month, stripped-down versions of some of his best songs, including this one.

I assume that many of you have never heard of him, given that the readership of this blog is predominantly American and that he isn't well-known down there, but he's well worth getting to know.

Enjoy.

Oh, let's do another one. Here's "City of Lakes" from his 2002 solo debut. It's so very Canadian.

Jazz legend George Shearing dies

By J. Thomas Duffy

(Ed. note: It's been a long week. This is a sad post, marking the death of a music legend, but let's also take the time to bask in some great music. -- MJWS)

I heard this on the radio the other morning, and it shadowed the beginning of the day in sadness:

George Shearing dies aged 91 

Announcing the death due to heart failure at Shearing's home in Manhattan, his agent, Dale Sheets, said: "He was a totally one of a kind performer. It was something wonderful to see, to watch him work."

I had the good fortune to catch Shearing a few times, both in club and festival settings, and it was always a delicious treat, the crowd hushing to the point you could hear a pin drop, settling in for the unique Shearing sound.

Peter Keepnews explains:

The Shearing sound — which had the harmonic complexity of bebop but eschewed bebop's ferocious energy — was built on the unusual instrumentation of vibraphone, guitar, piano, bass and drums. To get the "full block sound" he wanted, he had the vibraphone double what his right hand played and the guitar double the left. That sound came to represent the essence of sophisticated hip for countless listeners worldwide who preferred their jazz on the gentle side.

[snip]

By his own estimate Mr. Shearing wrote about 300 tunes, of which he liked to joke that roughly 295 were completely unknown.

He nevertheless contributed at least one bona fide standard to the jazz repertory: "Lullaby of Birdland," written in 1952 and adopted as the theme song of the world-famous New York nightclub where he frequently performed. Both as an instrumental and with words by George David Weiss, it has been recorded by everyone from Ella Fitzgerald to Bill Haley and His Comets, who improbably cut a version called "Lullaby of Birdland Twist" in 1962.

And who else remembers the television commercial (for a Pioneer LaserDisc), featuring Ray Charles, delivering the punchline "I liked it so much, I got one for my friend, George Shearing" -- the joke being Shearing was also blind.

RIP George Shearing, it was great having you around.

George Shearing - "Lullaby of Birdland"

And here's a personal favorite:

George Shearing playing "It Never Entered My Mind"

(Cross-posted at The Garlic.)

Glenn Beck uncovers new evidence of worldwide leftist conspiracy

By R.K. Barry

Yes, it appears that even Little Bunny Foo Foo is conspiring with Google to take over the world. When will this madness end?

All together now!

A conflicted life ends -- Last Tango in Paris actress Maria Schneider dead at 58

By J. Thomas Duffy

It was quite a surprise to see the name of actress Maria Schneider in the obit column today.

As much for remembering the long-ago crush, as for how long she has been out of the news, the limelight dimmed for quite some time.

Last Tango in Paris

Maria Schneider, Brando's "Last Tango" costar

Ms. Schneider died yesterday in Paris "following a long illness," a representative of the Act 1 talent agency said, but declined to provide details.

Ms. Schneider was 19 when she starred opposite Brando in Bernardo Bertolucci's racy "Last Tango in Paris." In it, she played Jeanne, a young Parisian woman who takes up with a middle-aged American businessman, played by Brando.

Full of explicit sex scenes, "Last Tango" was banned in Italy for obscenity for nearly two decades, returning to cinemas there only in 1989. In the United States, the movie still has an NC-17 rating for its sexual content, meaning it can't be seen by children under 17 years of age.

I'm quite sure anyone over the age of 18 back in 1972 either (A) flocked to the movies to see the film Last Tango in Paris, or (B) was aware of the controversy surrounding its explicit sex scenes, or (C) rushed to the record store to get the smoking soundtrack featuring the great saxophonist Gato Barbieri.

I indulged in A and C of the above.

In her youth, Maria Schneider was incredibly beautiful, which was likely the factor in getting her two big roles. Three years after Tango, she starred with Jack Nicholson in The Passenger).

All the obituaries mention "a long illness," which included drugs and, as a few referenced, "mental illness."

No doubt, Last Tango in Paris was perhaps the beginning of what seemed to be a troubled life:

In the film, Jeanne enters into a brief but torrid affair with a recently widowed American, played by Brando. Their erotically charged relationship, played out in an empty apartment near the Bir Hakeim Bridge in Paris, shocked audiences on the film's release in 1972, especially a scene in which Brando pins Ms. Schneider to the floor and, taking out a stick of butter, seems to perform anal intercourse on her. The Motion Picture Association of America gave the film an X rating.

The role fixed Ms. Schneider in the public mind as a figurehead of the sexual revolution, and she spent years trying to move beyond the role, and the public fuss surrounding it. "I felt very sad because I was treated like a sex symbol," she told The Daily Mail of London in 2007. "I wanted to be recognized as an actress, and the whole scandal and aftermath of the film turned me a little crazy and I had a breakdown. Now, though, I can look at the film and like my work in it."

The famous butter scene, she said, was not in the script and made it into the film only at Brando's insistence. "I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci," she said. "After the scene, Marlon didn't console me or apologize. Thankfully, there was just one take."

It still brings about a veil of sadness.

RIP Maria Schneider.

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Last Tango In Paris trailer

Gato Barbieri -- Last Tango in Paris

(Cross-posted at The Garlic.)