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scotianostra · 1 year

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The Scottish comedian and actor Ronnie Corbett was born on December 4th 1930 in Edinburgh.

Corbett was educated at James Gillespie’s High School and the Royal High School in the city, but did not attend university.After leaving school, he decided he wanted to be an actor while performing in amateur theatricals at a church youth club. His first job, however, was with the Ministry of Agriculture.

Following national service, Corbett moved to London to start his acting career in the early 1950s. Amongst many other things he performed on stage with Danny La Rue in a mixture of well received variety and cabaret shows.

It was whilst performing in these shows that Corbett attracted the attention of several top TV producers and executives who were impressed with his abilities as a stand up comedian, compare and all round entertainer.Before too long Corbett found himself being offered roles in various sitcoms, films and family shows.

His varied film roles include “Polo” in the spoof Bond film Casino Royale, “Drooby” in Rockets Galore and finally the hapless “Chumleigh” in Fun at St Fanny's

His big break came during the 1960s when he was asked to join the cast of the hugely popular The Frost Report (1966) which included the likes of John Cleese and of course David Frost. The show also saw him performing alongside Ronnie Barker for the very first time. All aspects of “The Frost Report” were very funny but some of the most enjoyable involved Barker and Corbett who shared a rare comic chemistry between each other.

TV producers recognized this chemistry and there were talks of giving the pair their own comedy series.The rest is history - the Two Ronnies had arrived together - it was simply comic genius, Barker and Corbett were made for each other, a pairing that was just destined to be. In 1971 the pair made their debut in the BBC show The Two Ronnies.

There is no doubt that Ronnie Barker was the best comedy actor of his generation, but over the years many critics have unfairly overlooked the brilliant talents of Corbett - he was a fantastically versatile comedy actor in his own right. He was an equal part in the relationship - put simply he complemented Barker and Barker complimented him.

As well as being a wonderful comedy actor Corbett was also an accomplished after dinner speaker and of course a very very funny stand up comedian. During the filming of the “Two Ronnies” Corbett found time to branch off into a whole host of other projects as did Ronnie Barker.

Ronnie Corbett has enjoyed continued success in both film and television. He starred alongside old friend John Cleese, and Jamie Lee Curtis in the film Timbuctoo, has done numerous pantomimes with Frank Skinner and Paul Merton and is one of the stars in Monkey Trousers with Steve Coogan, Vic Reeves, Matt Lucas and David Walliams.

In 2005 Corbett reunited with Barker to present a special six part series looking back at their favorite moments from the “Two Ronnies”.

Corbett was a charismatic and extremely likable man - there is absolutely no doubt that he will be fondly remembered by millions of people as being not only half of one of the most successful comedy duos of all time, but also as a truly brilliant entertainer.

On 31 March 2016, Corbett died at the age of 85, at Shirley Oaks Hospital in London, his devoted wife Anne later revealed his secret battle with deadly motor neurone disease, which recently also took the life of Doddie Weir.

#Scotland #scottish #comedian #actor #Edinburgh #tv personality

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brassmusiccafe · 2 years

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Shirley Horn: Close Enough for Love 1989 CD-New $49.99

Shirley Valerie Horn (May 1, 1934 – October 20, 2005) was an American jazz singer and pianist. She collaborated with many jazz musicians including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something…

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jazzplusplus · 4 years

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Jazz au Châtelet (Paris) en janvier / février 1991 - Dizzy Gillespie, Cedar Walton, Billy Higgins, Tommy Flanagan, Shirley Horn, Abbey Lincoln, ...

#jazz #poster flyer #dizzy gillespie #cedar walton #Billy Higgins #Tommy Flanagan #shirley horn #abbey lincoln #1991

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mariocki · 5 years

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Doomwatch: You Killed Toby Wren (2.1, BBC, 1970)

"You're sacked."

"What?"

"You heard me. You've outgrown your usefulness. It's not only your insolence, it's your total lack of judgement."

"Judgement? Me, lack of judgement?"

"Listen, you've been needling me ever since-"

"Ever since you killed Toby Wren."

"You bastard."

"I may be. But if you didn't enjoy wallowing in guilt up to here, about making that, Toby Wren would be alive today!"

"Enjoy?"

"Enjoy! You haven't got an honest feeling in your body, you're an emotional hypocrite, you're a self-indulgent bloody murderer!"

#Do you want to talk about the bomb?#doomwatch #Doomwatch spoilers #You killed toby wren #Bbc #Classic tv #1970 #John Paul #Simon oates #Joby blanshard #john nolan #Vivien sherrard #Elizabeth weaver #Tommy godfrey #Shirley Dixon #Robert Gillespie #Graham leaman #Donald morley #Edward underdown #Macdonald hobley #John barron #Terence dudley #Coming into this series i knew only three things: the rats the melty plastic and toby wren dies. With an episode title like this it's #Almost impossible to avoid that kind of spoiler. So having known about this episode for years i can finally watch it! Thanks to a pre #Credits reprisal from s.1 i even get to see Toby's big moment! Poor toby. This is a strong talky episode full of subtle little moments that #Pull the carpet out from under you (/) and it's wonderfully acted by Paul and oates.#The side story about animal human hybrids is necessarily sidelined with all the drama going on. Actually it might have been better to cut #It and just focus on the hearing and do the hybrid thing for its own episode. That chicken with a tiny human mask... Pretty woeful. Oh and #Wendy Hall seems to have gone too :( we hardly knew ye. Nice to see Barron's snakey minister reappear. I wonder if he did other lost eps?#Rip toby. It was a blast.

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kwebtv · 5 years

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Rise - NBC - March 13, 2018 - May 15, 2018

Musical / Drama (10 episodes)

Running Time: 60 minutes

Stars:

Josh Radnor as Lou "Mr. Mazzu" Mazzuchelli

Marley Shelton as Gail Mazzuchelli,

Rosie Perez as Tracey Wolfe,

Auliʻi Cravalho as Lilette Suarez

Damon J. Gillespie as Robbie Thorne,

Shirley Rumierk as Vanessa Suarez,

Joe Tippett as Coach Sam Strickland,

Ted Sutherland as Simon Saunders

Amy Forsyth as Gwen Strickland

Rarmian Newton as Maashous Evers

Casey Johnson as Gordy Mazzuchellil

Taylor Richardson as Kaitlin Mazzuchelli

#Rise #NBC #TV #2000's #Musical #Drama #Josh Radnor #Marley Shelton #Auliʻi Cravalho #Damon Gillespie #Shirley Rumierk #Joe #Tippet #Any Forsyth #Ted Sutherland #Rarmian Newton #Rosie Perez

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grande-caps · 6 years

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Sceencaps || Rise - Season 1 GALLERY LINK : [x] Quality : HD Screencaptures Amount : 9591 files Resolution : 1280x720px

-Please like/reblog if taking! -Please credit grande_caps/kissthemgoodbye!

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hisunshiine · 6 years

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‪SIGN THE PETITION TO SAVE #RISE

https://www.change.org/p/nbc-bring-back-rise-on-nbc?recruiter=56803795&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition ‬

#rise nbc #save rise #damon j. gillespie #auli'i cravalho #ted sutherland #josh radnor #rosie perez #amy forsyth #joe tippett #sean grandillo #marley shelton #taylor richardson #shirley rumierk #shannon purser #spring awakening

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jatphatones · 3 years

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Happy Daze | One Shot (Charlie Gillespie x Reader)

A/N: This was a completely self-indulgent idea lol. Basically, I manifested what it would be like to get drunk with the cast during filming because that's honestly one of the things that I really want to do with them. It would be such a fun time with a dash of chaos and shenanigans. In light of the amazing tb photos that the cast has been posting today, I’ve decided to post this a little bit earlier than what I planned. I hope y'all enjoy!

Word count: 2.8k

Warnings: drinking, swearing, typos

Masterlist

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“I think your boyfriend is drunk…” Savannah says as we observe the boys at the bar. Charlie was energetic as usual albeit a little sloppy, leaning against the bar more than he should. “Y’all are drinking about the same amount and yet you’re fine. How?” Savannah asks as we return our attention to each other and sip our drinks. “Easy. He didn’t go to university like I did,” I answer simply, placing my empty glass on the table. “Oh my god, love that,” Savannah exclaims.

Both Carolynn and Savannah chuckle as the boys try not to spill all our drinks when they start heading our way. Jeremy’s fiancée had come in for a visit this weekend, and those who could welcome her decided to celebrate with a night of bar hopping. The disaster trio, Carolynn, Savannah, and I headed out in the evening, ready to relax after a long week of work. As we finished up filming this week, the actors were able to take a weekend off. I was able to take a break as well from my job as assistant stylist. My job of helping the costume designers fix up any outfits was exciting, but taxing. I always have fun with my team and the cast, but it’s nice to have a night off to just chill outside of the set. “Alright, I got a sex on the beach for Savannah, shirley for the wifey, and a vodka lemonade for Y/N,” Jeremy announces while passing out the drinks. We each thank him before the guys take a seat and drink their beers. Charlie sits next to me and throws an arm around my shoulder, pulling me into his warm body. “Having fun?” he whispers into my ear, beer coming off his breath. “Mhm. Me and the girls were just chit chatting. We’ve decided that we like this bar better than the last one. Less stuffy and loud,” Charlie nods in agreement while subconsciously tapping his fingers across my shoulder. “Have I told you that you look pretty tonight?” His words were slightly slurred, which drew out a chuckle from me. It was amusing to see his slow but inevitable descent into drunken stupidity. “Yes, but it’s nice to hear again. You don’t look too bad yourself babe,” I shoot back with honesty. He looked especially nice this evening. He obviously has no problems showing off his arms, but the slightly messy hair and tucked in t-shirt just looked especially sexy tonight. Must be the alcohol talking. As the night wore on, all of us drank more and got goofier. The Canada native was already constantly drunk on life, so his behavior now was honestly nothing anything new. He was still doing entertaining yet stupid shit…like trying to lift Jeremy onto his shoulders. “Babe, put him down right now!” I command, horrified at the sight of my stupid boyfriend crouching while Jeremy slowly lifts a leg on to his friend’s shoulder. “Aw c’mon, he said I couldn’t lift him up again and I know I can,” Charlie explains while he started to grip Jeremy’s thighs. Owen was too busy watching with an amused expression. Stopping them was not even a thought in his inebriated brain. “Babe, why would you challenge him?” Carolynn scolds her fiancé. The girls and I knew Jeremy was fucking with Charlie, but at the expense of his own safety. Boys - never thinking of the consequences. “Nope, c’mon let go of him,” I order. Charlie pouts in retaliation, hoping that his puppy-dog eyes would persuade me to allow this dangerous activity. “Nope, not gonna work. C’mon.” I never get tired of going out with Charlie and our friends. Sure, he might (100% will) do stupid things, but it was more entertaining than annoying. He never fails to make me smile or take me on ridiculous adventures. But at some point - like attempting to pick up Jeremy - the night must come to an end. “I think it’s time to go home.” I mutter as I help Charlie up from the ground and wrap my arm around his waist. He quickly wraps his arm around my shoulder, slightly placing some of his weight onto me. He was definitely drunk, and from the way he slowly blinked through the sudden movement, I could tell he was going to crash soon. “I think we should go to the next bar,” Owen suggested. The rest of the group agreed and started to get ready to leave. “We’re gonna head out now. Probably just crash at your place since it’s the shortest walking distance. Is that okay, Owen?” I ask the tall blonde. His styled hair had become a little messed up from tonight’s activities, but he looked like he was having a great time. He nods his head immediately while finishing up his drink. “Girl, are you sure you’re okay to walk? You drank a few too,” Savannah says with some concern in her voice. She was always making sure everyone was okay and comfortable and tonight was no different. Still holding Charlie, I grab our jackets with one hand while he’s wrapped in conversation with the engaged couple.

“Yeah, I’m okay. I’m not nearly as drunk or messy as this stumbling idiot. I’ll be fine,” I say confidently. Charlie continued to joke around with Carolynn and Jeremy, squeezing my shoulder sometimes as he gestured with excitement from telling a story.

“Okay, you got keys? I can give you mine if you let me in later,” Owen offered. We all stepped out into the cool night, shivering at the temperature change. We could tell the night was just getting started for others as we noticed more people walking about.

“Nah, I got keys. I made Charlie give his to me to hold because I had a feeling he might lose them tonight,” Savannah and Owen chuckle, laughing at the accuracy of my statement. Charlie paid no mind to my dig at him as he let out a barking laugh from whatever Jeremy said.

“Smart,” Savannah compliments. She zips up her jacket and fixes her hair. I swear that girl never looks off, always on point. Come to think of it, Carolynn too. I could only wish I still looked put together, but sporting a slightly uncoordinated guy like Charlie didn’t help. I squeeze Charlie’s waist to get his attention. He immediately looks down at me with a smile, making my heart skip a beat. How he still manages to do that is a mystery to me. I offer him a warm smile and speak up.

“You okay with going home now?” I ask softly. He takes a deep breath and huffs. He unwraps himself from me and I help him put his jacket on.

“Yeah. Are we just going to walk back to my place?” he asks, turning to look back at me. I nod my head.

“You got my keys?” I nod again.

“Cool,” he jerks his head back to the group. “Okay, we’ll see you guys tomorrow. Stay safe!” Charlie exclaims as we start to separate from the group, arms wrapped around each other again.

“Will do! Make sure Charlie doesn’t pass out on the floor Y/N!” Jeremy responds, making all of us laugh and Charlie let out a protest.

“I’m not that drunk!” Charlie says before almost missing a step as we walked backwards. I strengthen my grip on him to prevent him and therefore us from falling. We all laugh as he starts to mutter curses; his cheeks flame up in slight embarrassment. I just had to squish his cheeks with my one available hand.

“I’ll take care of him. You guys have fun! Good night!” I announce to our group of friends.Once we say our goodbyes, we turn around and head back to the apartment complex.

Our arms were still wrapped around one another, keeping each other warm as the cold weather starts to creep in. I let go of his waist with a chuckle as he almost trips over my feet for the third time from leaning on me. Putting some space between us, I grab onto his hand still wanting to touch him. He grips mine immediately and starts swinging our hands back and forth. His drunken antics caused a grin to grow on my face. I look forward and walk us back to his place, not trusting him to lead us back home.

“I love how your cheeks get red when you drink. It’s so cute.” I quickly glance at Charlie who was already staring at me. He had a drunken smirk on his face as he shamelessly complimented me.

“Thank you,” I give his hand a squeeze, “I love how goofy you get when you drink. It’s so cute.” My heart warms up as he scrunches his nose at my comment.

“How are you okay right now?” He exclaims as we walk into the lobby of the complex. His eyes squint at the sudden bright lights, eyes trying to adjust in his drunken state.

“It’s called pacing, my love. You should try it sometime.” He scoffs at me as I drag him to the elevator.

I subconsciously drag my thumb back and forth on his skin as we wait. When the elevator comes, he immediately stumbles into it, leaning back against a wall and looking up at the ceiling. Letting out a breath, he brings his gaze down to me as I mimic his stance against the opposite wall.

“Remember when I wanted to wear my orange beanie for filming?” He asks randomly. He smirks when I groan.

“Uh-huh. You argued with us nonstop until you got your way. Not unlike how you asked me out.” I retort with an amused tone. I grab his hand again and dragged him out of the elevator. He drags his feet behind me as we reach his door before wrapping his arms around me.

“Look, all I wanted was to ask the pretty assistant out. When you first said no, I was crushed, but I wasn’t surprised. You were way too pretty and smart for me.” I blush, not knowing what to do with this information. He had never told me this before and I feel like he wouldn’t have admitted this if he was sober right now. He gives me a kiss on the cheek as I open the door.

“Got that right. But I said yes when you asked the second time. Just couldn’t resist that smile,” I admit as well, pulling away from his grasp and placing our things down. His lopsided smile returns before he reaches for me again. He turns me around quickly and places his hand on my waist while I stumble from the movement. My head spins just a little and I close my eyes briefly as I slowly reorient myself.

“Okay, maybe you’re a little drunker than you thought,” he says with amusement once I open my eyes. When I look up, his eyes are shining down, soft gaze between my own eyes. Bring up my hands, I softly cusp his face. Immediately, he rests his head on my hands with an adorable pout

.“C’mon bubs. Let’s get ready for bed,” I whisper. He nods his head in my palms before reaching up to grab them.

His hands completely envelop my own and I lead him backwards into his room. We don’t even bother to turn on his lights when we make it past the doorway. Our drunken vision adjusts to the pitch black room and I wish I had the energy to yell at him for not cleaning his room earlier and therefore making it difficulty for me to navigate in our current state. I guide him to his unmade bed and he flops down on it with a huge sigh. His big groan that followed makes me almost join him, but I walk to his closet instead, grabbing pajamas for the both of us.

“I don’t think anything is better than laying in my bed after a night out,” Charlie murmurs. I could barely hear him from his head buried into his pillow.

“Yeah, okay,” I answer sarcastically when I return to the bed.

He opens his eyes to see the silhouette of me with my arms crossed, one hand gripping our clothes. I roll my eyes when he doesn’t get up. The bed has officially trapped him for the night.

“Alright lazy bum, flip over,” I command him. Once he listens to me, I straddle his legs. Charlie places his hands on my thighs almost involuntary and protests when I throw his hands up in the air. When I slowly start to lift his shirt up, he gets the idea and keeps his hands over his head to help me remove it.

“Come to think of it, sex is better than crashing after a night out,” Charlie peers with one eye at my straddled figure, slowly sending another drunken smile my way. I knew he was half kidding and half serious about his implied offer. Although he was right and the offer was tempting, I knew that both of us were just damn too tired to do anything other than change into pajamas.

“Not happening.” He pouts just like he did earlier as I unbutton his jeans. I start to pull off his jeans but almost get thrown off when he clumsily tries to help shimmy themselves and wiggles a little too vigorously.

“Charlie!”

“What! I’m trying to help!” Charlie joins me in laughing at his clumsiness, and we continue to laugh as we realize that I didn’t take off his shoes beforehand. I throw them off easily along with his socks and jeans.

Grabbing the random pair of shorts I got, I help him put it on, almost yelling at him again when he literally thrusts his crotch into my face. Charlie finally settles down, all comfortably dressed thanks to me. With a huff from all the effort I put in, I strip of my own clothes, almost falling over in the process.

“Admit it. I’m your favorite cast member to work with,” Charlie says from his relaxed position., smirk painted on his annoying face. His hands were resting behind his head as he watched me change into one of his shirts, enjoying the whole show. I scoff at his comment.

“Hell no! You’re always distracting me. And dressing up Dirty Candy is way more fun than your cut off tees and black jeans. Sorry not sorry,” I say sassily. I almost moan when I unclasp my bra and throw it off. I think back to his first offhand comment about laying in bed and wanted to correct him - nothing beats taking off your bra.

“But they’re not giving you thank you kisses like I do,” Charlie removes one hand from behind his head and wraps it around my shoulders when I land next to him. He ignores my noise of surprise when he turns my body into his own bare torso. My legs are trapped under his, but I’m not complaining too much about this entangled position.

“You don’t know that,” I tease. Charlie gives me a playful angry growl and pinches my shoulder. I retaliate by hitting him on the chest.

We settle down and start drawing random shapes on whatever skin we can reach. We do this for a couple more moments and I try not to laugh at how heavy his breathing was.

“I’m super drunk right now,” he grumbles. I look up and could see his eyes are shut and his eyebrows drawn in. Poor guy was probably trying to refocus his thoughts.

“Yeah, you are. But you deserved to have fun tonight. You all have been working so hard and it’s always a great time when Care’s around.” I whisper, letting the nighttime finally settle into our bones.

“You’re right. Doesn’t make me any less drunk though.” I let out a breathless laugh at his logic and then snuggle into his chest. I could feel my eyelids start to get heavy and his breathing starting to slow down.

“I love you,” I say softly, “even though you’re such a messy drunk.”

“Love you too baby,” he whispers back before falling asleep.

I rest my head on his chest and follow his lead. As I start to fall asleep I realize that Charlie was right when he said that laying in bed was a great feeling after a night out because the best part of it all is falling asleep in the arms of the one I love. But when he abruptly wakes me up at 7 am to climb out of bed and throw his head over the toilet the next morning, I may have blamed my late night thoughts on our drunken haze.

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A/N: So I wholeheartedly believe that the little maple man would always be up to something, especially if everyone’s under the influence lol. Anyways, I've never really written real person fics and it was okay I guess? Might not do so many in the future but who freakin knows. If you are ever in a situation where you’re drinking, please be responsible (especially don’t offer to carry people on your shoulders). Also, I got a taglist of you’re interested - just lmk! If you ever wanna hang out, hit me up! - Titi xx

Taglist: @aunicornmademedoit @phantoms-julie @pixiethefirecat7 @lolychu @badwolf00593 @kinda-really-lost

#jatp #charlie gillespie #charlie gillespie fanfic #charlie gillespie fanfiction #charlie gillespie imagines #charlie gillespie imagine #charlie gillespie x reader #charlie gillespie x oc #charlie gillespie x y/n

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compneuropapers · 2 years

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Interesting Papers for Week 14, 2022

Inferring entire spiking activity from local field potentials. Ahmadi, N., Constandinou, T. G., & Bouganis, C.-S. (2021). Scientific Reports, 11, 19045.

Ventral tegmental area GABAergic inhibition of cholinergic interneurons in the ventral nucleus accumbens shell promotes reward reinforcement. Al-Hasani, R., Gowrishankar, R., Schmitz, G. P., Pedersen, C. E., Marcus, D. J., Shirley, S. E., … Bruchas, M. R. (2021). Nature Neuroscience, 24(10), 1414–1428.

Delusional thinking and action binding in healthy individuals. Cao, L., Steinborn, M. B., & Haendel, B. F. (2021). Scientific Reports, 11, 18932.

Mechanisms of punctuated vision in fly flight. Cellini, B., Salem, W., & Mongeau, J.-M. (2021). Current Biology, 31(18), 4009-4024.e3.

Hippocampal replay of experience at real-world speeds. Denovellis, E. L., Gillespie, A. K., Coulter, M. E., Sosa, M., Chung, J. E., Eden, U. T., & Frank, L. M. (2021). eLife, 10, e64505.

The spatiotemporal organization of experience dictates hippocampal involvement in primary visual cortical plasticity. Finnie, P. S. B., Komorowski, R. W., & Bear, M. F. (2021). Current Biology, 31(18), 3996-4008.e6.

Reinforcement learning links spontaneous cortical dopamine impulses to reward. Foo, C., Lozada, A., Aljadeff, J., Li, Y., Wang, J. W., Slesinger, P. A., & Kleinfeld, D. (2021). Current Biology, 31(18), 4111-4119.e4.

Spaced training enhances memory and prefrontal ensemble stability in mice. Glas, A., Hübener, M., Bonhoeffer, T., & Goltstein, P. M. (2021). Current Biology, 31(18), 4052-4061.e6.

Inferential social learning: cognitive foundations of human social learning and teaching. Gweon, H. (2021). Trends in Cognitive Sciences, 25(10), 896–910.

Striatal low-threshold spiking interneurons locally gate dopamine. Holly, E. N., Davatolhagh, M. F., España, R. A., & Fuccillo, M. V. (2021). Current Biology, 31(18), 4139-4147.e6.

Information flow in the rat thalamo-cortical system: spontaneous vs. stimulus-evoked activities. Ishizu, K., Shiramatsu, T. I., Hitsuyu, R., Oizumi, M., Tsuchiya, N., & Takahashi, H. (2021). Scientific Reports, 11, 19252.

Scene statistics and noise determine the relative arrangement of receptive field mosaics. Jun, N. Y., Field, G. D., & Pearson, J. (2021). Proceedings of the National Academy of Sciences, 118(39).

Bayesian inference with incomplete knowledge explains perceptual confidence and its deviations from accuracy. Khalvati, K., Kiani, R., & Rao, R. P. N. (2021). Nature Communications, 12, 5704.

Visual explanations from spiking neural networks using inter-spike intervals. Kim, Y., & Panda, P. (2021). Scientific Reports, 11, 19037.

Dynamic Representation of the Subjective Value of Information. Kobayashi, K., Lee, S., Filipowicz, A. L. S., McGaughey, K. D., Kable, J. W., & Nassar, M. R. (2021). Journal of Neuroscience, 41(39), 8220–8232.

Predicting individual neuron responses with anatomically constrained task optimization. Mano, O., Creamer, M. S., Badwan, B. A., & Clark, D. A. (2021). Current Biology, 31(18), 4062-4075.e4.

Human gaze is systematically offset from the center of cone topography. Reiniger, J. L., Domdei, N., Holz, F. G., & Harmening, W. M. (2021). Current Biology, 31(18), 4188-4193.e3.

Frequency-Dependent Synaptic Dynamics Differentially Tune CA1 and CA2 Pyramidal Neuron Responses to Cortical Input. Sun, Q., Buss, E. W., Jiang, Y.-Q., Santoro, B., Brann, D. H., Nicholson, D. A., & Siegelbaum, S. A. (2021). Journal of Neuroscience, 41(39), 8103–8110.

Thalamic input to motor cortex facilitates goal-directed action initiation. Takahashi, N., Moberg, S., Zolnik, T. A., Catanese, J., Sachdev, R. N. S., Larkum, M. E., & Jaeger, D. (2021). Current Biology, 31(18), 4148-4155.e4.

Spatial modulation of dark versus bright stimulus responses in the mouse visual system. Williams, B., Del Rosario, J., Muzzu, T., Peelman, K., Coletta, S., Bichler, E. K., … Haider, B. (2021). Current Biology, 31(18), 4172-4179.e6.

#science #Neuroscience #computational neuroscience #Brain science #research #cognition #cognitive science #neurons #neurobiology #neural networks #neural computation #psychophysics #scientific publications

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burlveneer-music · 2 years

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Sir Edward (Harold Vick) - The Power of Feeling - Jazz Room reissue of smoking 1973 soul-jazz LP

One of the great unsung saxophone hero's: Harold Vick worked as a sideman with Hammond Legends Jack McDuff, Jimmy McGriff, Big John Patton, and Larry Young. He played on and off with Walter Bishop, Jr. and also worked with Philly Joe Jones, Howard McGhee, Donald Byrd and Ray Charles and appeared with Dizzy Gillespie, King Curtis, and from 1970 to 1974 with Aretha Franklin. He played in Jack DeJohnette's jazz-rock band Compost from 1971 to 1973, recording with them in 1972 which is about the same time as this recording and that is probably the reason it is under the pseudonym of "Sir Edward". Add to that an absolutely top notch band, including bassist Wilbur "Bad" Bascomb, Jumma Santos on percussion and the mellow vibes of Omar Clay and this is a must have soulful jazz outing. The music is a funky mix of some of the big Soul tunes of the day, with versions of Donny Hathaway and The Stylistics and a nod to the CTI stylings of the day with a get down version of "People Make The World Go Round". Plus of course the opening track which Harold Vick had recorded with Shirley Scott on her album "One For Me" (Re-issued on Gilles Peterson's Brownswood label . With original copies now changing hands for 3 figure sums Jazz Room Records are pleased to present the first re-issue from Funky Drummer Bernard Purdies short lived Encounter Label.

#sir edward #harold vick #saxophone #jazz #soul-jazz #soul

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rocksbackpages · 5 years

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In this week's RBP Podcast, Mark Pringle and Barney Hoskyns are joined by the legendary Danny Fields to hear tales of his days with the Stooges and the MC5 – and the five years he spent managing the Ramones. He also recounts the tale of the night Jim Morrison, Jimi Hendrix and Janis Joplin wound up rolling around on the floor of Steve Paul's The Scene in a ball of cartoon smoke and fists.

The week's free feature focuses on Primal Scream: Mark, Barney and Danny compare notes on the band's frontman Bobby Gillespie and weigh up the influence of 1991's Screamadelica. The trio then listen to excerpts from a 1978 audio interview with George Clinton, in which the P-Funk chief talks about what "funkadelic" means and how the classic 'One Nation Under a Groove' was born.

To round out the episode, Mark presents highlights from the articles added to the archive, including a 1966 interview with Kim Fowley, a 1976 review of Shirley Bassey live at the Royal Albert Hall and a 1983 report on MTV.

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jazzviewswithcj · 3 years

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A Deeper look at Pat Metheny: Side Eye NYC (Modern Recordings/Metheny Group Productions, 2021)

Pat Metheny: Guitars, Guitar bass, Orchestrionics; James Francies: Piano, Synths, Organ; Marcus Gilmore: Drums. Japanese version includes booklet notes by Yo Nakagawa. This review is of the Japanese CD version released in late September

Side Eye NYC (V1.IV) is the second release of 2021 for 20 time Grammy winning guitarist and composer Pat Metheny following the stellar first official entry into the classical arena with Road To The Sun (due for a deluxe score, LP and 2 CD box set version with a spectacular lenticular display later this year) with keyboardist James Francies and drummer Marcus Gilmore. The recording captures an effervescent and charged Metheny, Francies and Gilmore in the guitarist’s first true live album since Tokyo Day Trip EP (Nonesuch/Metheny Group Productions, 2008) What Side Eye really is besides being a format for Metheny’s desire to play with a cadre of younger musicians who grew up on his music, and who have caught his eye as a major talent; is sort of a 21st century version of the classic organ trio format. The tradition of the organ trio both directly and indirectly is filtered through Metheny’s singular, unmistakable lens. It is worth mentioning that this review pertains to the Japanese edition of the CD which contains an exclusive bonus track “The Bat”, while the American edition is to follow on October 22, 2021 in LP and CD formats. It is currently available for streaming sans bonus track at Apple Music, Amazon HD, and Spotify. To aid readers of this review who may be new to Metheny or Black American Music and other improvised forms , below is a brief summary of the organ trio and how it fits into the present release.

The organ trio was a fixture in the early fifties in the Black community with the likes of legendary organists such as Milt Buckner, Bill Doggett and “Wild” Bill Davis. However, it wasn’t until 1956 when a 28 year old ex pianist from Norristown, PA, by the name of Jimmy Smith (1925-2005) collided onto the scene with a version of Dizzy Gillespie’s “The Champ” on his second recording A New Sound, A New Star, Jimmy Smith At The Organ, Volume 2 (Blue Note) that the notion of organ, and the role of the electric organ in popular music was changed forever. For Black music, Fats Waller and Count Basie had been early progenitors of both the pipe and Hammond organ but it was nothing like Smith.

Smith had been inspired to play the organ when he saw his idol, “Wild” Bill Davis in the early 1950’s. He had played some organ on the records in the R&B group of Don Gardner and the Sonotones around 1953-4, but it was Smith’s legendary three months of wood shedding in a Philadelphia warehouse that solidified his position as the Charlie Parker of the organ. Organists like Doggett, Buckner, Davis, and the novelty pop of Ethel Smith had favored an orchestral big band type approach to the Hammond organ, but Smith’s conception on the newly minted Hammond B-3 had made significant steps forward with drawbar registrations that he created that mimicked the sound of a bebop horn player. By employing the first 3 drawbars combined with the new percussion circuit that provided an almost vibraphone like bite to the attack of the note, he utilized the vocabulary of Charlie Parker, Thelonious Monk, Bud Powell, and Dizzy Gillespie. Smith combined this with gospel influence and the soul of Horace Silver that had not been heard prior, while also respecting the traditions of both Buckner and Bill Davis, particularly on ballads. His popularity created a cottage industry with strings of organists in his wake including Jack McDuff, Don Patterson, Johnny Hammond Smith, John Patton, Shirley Scott, Rhoda Scott, Gloria Coleman, the recently departed maestro Dr. Lonnie Smith, Larry Young, Jimmy McGriff, Charles Kynard, Charles Earland, Eddie Bacchus, Akiko Tsuruga and most famously in the modern era, Joey DeFrancesco. While all of these organists had individual, unique voices on the instrument, it was not until the 1964 debut album on Blue Note by Larry Young, Into Somethin’ that the paradigm shifted further. By Unity in 1965, Young’s innovations as the next Hammond innovator were set. Though he initially was a strong Jimmy Smith disciple on his recordings for the Prestige subsidiary New Jazz (even utilizing former Smith guitarist Thornel Schwartz) the 1965 Blue Note date with trumpeter Woody Shaw, Joe Henderson’s tenor and Elvin Jones, Young employed quartal harmony a la McCoy Tyner and unusual structures. Metheny’s new album borrows from this rich organ tradition, but with several additions along the way, the guitarist has truly made the format his own.

Returning to Side Eye, the band is now in it’s fifth iteration, with drummer Joe Dyson replacing Gilmore, but the constants have been the guitarist and Francies. The recording is the fourth iteration of the group taken from the final two nights of the band’s engagement at Sony Hall in September, 2019 at the end of a grueling world tour. As this writer was at the final night of the engagement with the venue being flanked by NHK cameras for Japanese TV broadcast, Metheny, Francies and Gilmore were very inspired and smoking on all cylinders. Not since Travels (ECM, 1983) has a Metheny live album captured such excitement as Side Eye NYC does here. The album contains five reinventions of classic Metheny repertoire, with the album centerpiece being three brand new compositions. The Japanese edition of the album contains the exclusive bonus track “The Bat”. Despite the trio’s unconventional nature, with Francies plethora of keyboards in addition the return of a scaled down version of the Orchestrion, greatly broadening the sonic palette, the group is as stated before a sort of spin on the organ trio, and it’d be best served given the previous paragraph to examine that aspect of the album first.

James Francies demonstrates a startling fluency for playing his own basslines, like that of Jimmy Smith, Jack McDuff or John Patton, but his ability to inject counterpoint into the mix of grounding the earth is nonpareil, as his solo on “Bright Size Life” shows. His time in the spotlight is punctuated by a stunning left hand counterpoint to complement parallel lines in his right. The standard is given new life from his bass line, a fretless bass patch almost indecipherable from a real bassist; but like the traditional organ trio Metheny is lifted from the agility this bass line possesses, in addition to the buoyancy from Gilmore’s cymbals and comping. As the group tackles the third tune on the disc “Timeline”, originally written for Elvin Jones’ groove and featured on Michael Brecker’s Time Is Of The Essence (Verve, 1999) the rarely played tune is most clearly aligned to the classic organ trio format. Metheny swings with gargantuan force on the time tested 12 bar blues form (it’s bridge during the head and coda turning modal) digging in heavily to Gilmore’s beat and Francies’ Jack McDuff like bass line. In a role reversal in his last chorus, Metheny returns to his roots backing organists in Kansas City and BECOMES the organist by “shouting” or playing a drone pattern. The technique was developed in the Black church, and it involves the organist holding the tonic (the note of the key the song is in) and playing around it. It is on this tune, as well as the sensuous neo soul drenched spin on “Better Days Ahead” from the PMG’s Letter From Home (Nonesuch/Metheny Group Productions, 1989-- original release on Geffen that year) that the parallels to Francies’ Jimmy Smith to Metheny’s Kenny Burrell, Wes Montgomery and Grant Green appears here. What is meant by that is Francies’ intense, ahead of the beat approach offsets Pat’s relaxed behind the beat phrasing. On “Timeline” Francies’ application of the first three drawbars with no percussion is immediately redolent of Jimmy Smith’s use of the same on the timeless 20 minute opus The Sermon (Blue Note, 1958) but he gradually brightens the tone by pulling some of the upper drawbars which speak of his own roots in the church.

The comparison to the original Metheny rendition of Ornette Coleman’s “Turnaround” on 80/81 (ECM, 1980) instructive, as the other track most referencing the organ trio though Francies’ sticks to the acoustic piano on this piece. For starters Metheny’s own playing is much more self assured than on the album from 41 years prior which the guitarist admitted to not playing the melody all that well. Also Marcus Gilmore’s (grandson of the legendary Roy Haynes) more relaxed deep pocket swing has a much different effect as opposed to Jack DeJohnette’s kinetic highly interactive drumming on 80/81. Though appearing as the seventh track on the album, this was the first tune of the night, and everyone gets limbered up. As on “Timeline”, the guitarist really leans into Gilmore’s backing as Metheny “strolls” with him in duo for six choruses at which Francies joins in playing left hand bass on piano. Following Metheny’s loose eight choruses, Francies solos for six, swap roles as Metheny’s Ibanez becomes semi acoustic and he provides the bassline accompaniment along with four to the bar comping like Freddie Green of the Count Basie Orchestra, a facet of Metheny’s playing only previously unveiled on “The Moon Song” from Beyond The Missouri Sky (Verve, 1997) with Charlie Haden. Metheny trades with Gilmore for a few choruses before the tune is taken out. A gorgeous “Sirabhorn” is sandwiched between “Lodger”, a brand new composition and “Turnaround”.

The three new compositions on the album really show what makes Side Eye as a unit special, and the live energy only adds to that. “It Starts When We Dissapear”, the first track to open the album announces itself with a dramatic chord progression from synths blended with the Orchestrion bottle organ, some synths from Francies and churning shaken percussion from the Orchestrion. Metheny and Francies state a main theme in unison, the guitar doubled by Francies Moog like bass. The overall vibe is an extension almost of the title track of Kin (<-->) (Nonesuch/Metheny Group Productions, 2014) with it’s electronics and the trio takes the listener on an extended nearly fourteen minute journey, invoking at first some sort of techno ized cityscape. Francies’ liquid piano solo is full of ideas, and he is inspired by the double time tempo and Latin esque bass line. Metheny digs in on a bembe groove to the delight of the audience’s whoops and hollers, variety added to the tonal palette courtesy of Orchestrionic marimba. From here the group moves through a variety of written sections in the extended structure, returning to the moody head, Gilmore’s kaleidoscopic cymbal play a defining feature as it was at the start.

“Lodger” by far is one of the most memorable and intriguing compositions. Written as a dedication to guitarist Adam Rogers, Metheny exclusively sticks to distorted electric guitar, and though the piece in the melody has shades of “Travels” and more than a hint of Jimi Hendrix, it captures a hard rocking aspect of the guitarist’s playing that is relatively new. Gilmore lays down a hard, pounding rock beat, and Francies’ slow harmonic rhythm with elongated organ chords make effective use of the Leslie speaker “brake” feature on a Hammond. Metheny builds a long solo building to massive dynamic intensity, before a return to a slow simmer.

“Zenith Blue” is another breathtaking epic. A rubato late Coltrane incantation announces Metheny’s signature Roland GR300 guitar synthesizer, where a simple melodic kernel becomes euphoric. The Orchestrionic bottle organ becomes part of the melody, and if there is a nod to the late Lyle Mays in the texture, timbre and arrangement, this track is it. Metheny’s melody is long and intricate, a variety of colors being used, Orchestrionic 16th note percussion, glockenspiel, Gilmore’s drum and bass rhythm. Metheny elegantly floats over the changes on guitar synth, building on the GR300 in the way only he can, beautiful harmonies from synths and Orchestrionic bottle organ emerge, his solo almost ending in an abrupt thrash, before a variation of the theme is introduced as an interlude. Francies takes over with a Rhodes esque solo at a relaxed waltz tempo, Gilmore’s inner Elvin Jones coming to the fore. The Mays like “Prophet sound” timbre from the bottles returns to state part of the melody as Francies’ continues to solo, adding some additional layers of harmony. A driving section follows Francies’ solo with arpeggiated synths, the drum and bass rhythm, and the shakers in a Steve Reichian trance, and the tune reaches a thrilling conclusion. “The Bat” is a wonderful ballad closer, Francies’ bass line is so subtle that one easily forgets there is NO bassist, and his comping behind a reflective Metheny meditation is capped by Gilmore’s autumnal brush work and dark smoky cymbals that is icing on the cake after an hour plus of excellent music. The Japanese inclusion of “The Bat” increases the CD run time to 69:05 and makes it a much more complete, satisfying album experience than the streaming, the UK and American CD versions that close with “Zenith Blue”.

Sound:

Recorded, mixed and mastered by longtime engineering partner Pete Karam, with the live house sound courtesy of Austin Stillwell, Side Eye NYC is without question the finest sounding Metheny album in a very long time. Two versions of the album were analyzed for review, the high res streaming version available through all major streaming services and the Japanese CD. The streaming version utilized both the Marantz MM7025 dual AKM DACS and the Schiit Bifrost 2 DAC. While the Bifrost 2 seemingly adds a more distinct layer of separation, the Focal Chora 826 speakers do a wonderful job at displaying the wide dynamics the ensemble creates. If anything, streaming vs. CD, the bass is a bit tighter and more present in the high res version, but the CD sounds very very nice. One neat aspect of the VERY wide sound stage is Metheny’s distorted guitar on “Lodger”, while it appears center of the sound stage on most other tracks, is slightly LEFT of center coming outside the speaker, and the Roland GR300, on “Zenith Blue”, as Metheny has the synth full blast, it is placed in the center, and when he turns it off and uses the G303 (the guitar controller for the GR300) as a regular guitar, it also appears to the left of center coming outside the speaker, very cool use of spatial depth. Francies’ analog synths have textural variety and depth, the piano appearing across the sound stage on “It Starts When We Dissapear” and “Turnaround”, while for tracks like “The Bat” remain in the far left channel. Gilmore’s drums have thunder and punch, and his K Zildjian cymbals ring with gorgeous sizzle and wash.

Concluding Thoughts:

Side Eye NYC showcases a stimulating new configuration for Pat Metheny. Francies and Gilmore push him to inspired heights, and in turn they also deliver some great moments. The album could serve as a Pat Metheny primer for the uninitiated and it ranks as far as his live albums go the finest since Trio-->Live (Warner Brothers/Metheny Group Productions, 2000) in it’s unbridled enthusiasm. The Japanese CD is a more satisfying, complete album experience because of the inclusion of “The Bat”, but the potential of this new trio is definitely high. Metheny plans on going into the studio with Side Eye at some point and it is anyone’s guess where it will evolve to. Francies is the finest keyboard collaborator since Lyle Mays and the duo and quartets with Brad Mehldau, and their chemistry can lead to some very interesting places.

Music: 9.5/10

Sound: 9/10

Equipment used for review

HP Pavilion x360 laptop (for high res playback)

Audiolab CDT6000 transport (for CD playback)

Schiit Bifrost 2 DAC

Focal Chora 826 speakers

Pre amp: Marantz NR1200 stereo receiver

Marantz MM7025 power amplifier

Audioquest Golden Gate and Forest cables

Furman power conditioner

youtube

#pat metheny #james francies black american music #jazz #marcus gilmore #organ trio

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rithond · 3 years

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Movies 2021

APRIL / ABRIL 3: Los días más oscuros de nosotras - Astrid Rondero (9/10) 6: White Lie - Yonah Lewis & Calvin Thomas (10/10) 12: 8½ - Federico Fellini (9/10) 20: The Father - Florian Zeller (9/10) 21: La llorona - Jayro Bustamante (10/10) 21: La vérité - Hirokazu Kore-eda (9/10) 22: Minari - Lee Isaac Chung (10/10) 22: Promising Young Woman - Emerald Fennell (10/10) TOTAL: 8

MAY / MAYO 5: El exorcismo de Carmen Farías - Rodrigo Fiallega (7/10) 5: El diablo entre las piernas - Arturo Ripstein (9/10) 12: Promising Young Woman - Emerald Fennell (10/10) 12: Nomadland - Chloé Zhao (9/10) TOTAL: 4

JUNE / JUNIO 2: La paloma y el lobo - Carlos Lenin (7/10) 2: La larga noche de Francisco Sanctis - Andrea Testa & Francisco Márquez (9/10) 16: La belle époque - Nicolas Bedos (9/10) 16: Los lobos - Samuel Kishi Leopo (10/10) 17: La mami - Laura Herrero Garvín (9/10) 17: Dogman - Matteo Garrone (9/10) 21: Cosas imposibles - Ernesto Contreras (9/10) 21: A Quiet Place Part II - John Krasinski (7/10) 23: In the Heights - Jon M. Chu (8/10) 24: Druk - Thomas Vinterberg (8/10) 24: Cruella - Craig Gillespie (9/10) TOTAL: 11

JULY / JULIO 8: Tinta bruta - Filipe Matzembacher & Marcio Reolon (9/10) 26: El mesero - Raúl Martínez Resendez (6/10) 29: Supernova - Harry Macqueen (10/10) 31: Little Joe - Jessica Hausner (9/10) TOTAL: 4

AUGUST / AGOSTO 4: Te llevo conmigo - Heidi Ewing (8/10) 7: Knackningar - Frida Kempff (8/10) 11: Deux moi - Cédric Klapisch (9/10) 11: Old - M. Night Shyamalan (5/10) 12: Adam - María Sólrún (9/10) 12: Feral - Andrés Kaiser (8/10) 18: Don't Breathe 2 - Rodo Sayagues (9/10) 24: Made in Italy - James D'Arcy (7/10) 26: Ghost Tropic - Bas Devos (10/10) 26: Aniela - Allan Fis (1/10) TOTAL: 10

SEPTEMBER / SEPTIEMBRE 7: Sin señas particulares - Fernanda Valadez (10/10) 14: Shang-Chi and the Legend of the Ten Rings - Destin Daniel Cretton (9/10) 16: Happy Together - Wong Kar-wai (10/10) 23: Ayer maravilla fui - Gabriel Mariño (8/10) TOTAL: 4

OCTOBER / OCTUBRE 6: Venom: Let There Be Carnage - Andy Serkis (5/10) 9: Un divan à Tunis - Manele Labidi (9/10) 9: Shirley - Josephine Decker (8/10) 13: Clases de historia - Marcelino Islas Hernández (9/10) 13: O Beijo no Asfalto - Murilo Benício (10/10) 20: The Night House - David Bruckner (8/10) 29: Boîte noire - Yann Gozlan (9/10) 29: Mandibules - Quentin Dupieux (7/10) 30: Les Fantasmes - David Foenkinos & Stéphane Foenkinos (8/10) TOTAL: 9

NOVEMBER / NOVIEMBRE 1: Trois jours et une vie - Nicolas Boukhrief (8/10) 1: And Then We Danced - Levan Akin (10/10) 1: Crash - David Cronenberg - (4/10) 2: Adieu les cons - Albert Dupontel (9/10) 2: Dune - Denis Villeneuve (6/10) 7: Délicieux - Éric Besnard (9/10) 14: Nur eine Frau - Sherry Hormann (10/10) 14: De son vivant - Emmanuelle Bercot (9/10) 17: Noche de fuego - Tatiana Huezo (9/10) 21: Monștri - Marius Olteanu (8/10) 21: Cholitas - Jaime Murciego & Pablo Iraburu (8/10) 21: Papicha - Mounia Meddour (10/10) 24: L'homme de la cave - Philippe Le Guay (8/10) 28: Last Night in Soho - Edgar Wright (7/10) TOTAL: 14

DECEMBER / DICIEMBRE 8: The French Dispatch - Wes Anderson (10/10) 10: West Side Story - Steven Spielberg (10/10) 12: House of Gucci - Ridley Scott (6/10) 14: The Matrix - The Wachowskis (8/10) 15: Mes provinciales - Jean-Paul Civeyrac (8/10) 17: ¡Átame! - Pedro Almodóvar (8/10) 21: Titane - Julia Ducournau (9/10) 23: Annette - Leos Carax (5/10) TOTAL: 8

TOTAL: 70

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