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Dottie Rambo
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Dottie Rambo
Background information
Birth name
Joyce Reba Luttrell
Born
(1934-03-02)March 2, 1934
Madisonville, Kentucky, U.S.
Origin
Indianapolis, Indiana
Died
May 11, 2008(2008-05-11) (aged 74)
Mount Vernon, Missouri
Genres
Christian, southern gospel
Occupation(s)
Singer-songwriter
Instruments
Guitar, voice
Years active
1950–2008
Labels
Warner Bros., Heart Warming
Associated acts
The Gospel Echoes/The Rambos, Reba Rambo McGuire
Website
dottierambo.net
Dottie Rambo (March 2, 1934 – May 11, 2008) was an American gospel singer and songwriter. She was a Grammy and multiple Dove Award-winning artist. Along with husband Buck and daughter Reba, she formed the award-winning southern Gospel group, The Rambos. She wrote more than 2,500 songs, including her most notable, "He Looked Beyond My Fault and Saw My Need", "We Shall Behold Him", and "I Go To the Rock".
In 2000, Rambo was awarded the ASCAP Lifetime Achievement Award. Her music is known for its poetic lyrics and cross genre reaching melodies often dealing with themes such as heaven, Christian sacrifice, hurts, and the born-again Christian experience.[1]
Contents
1 Early life
2 Music career
2.1 Discography
2.2 Composer
2.3 Television appearances
3 Later years
4 Death
5 Awards and honors
6 References
7 External links
Early life[edit]
She was born Joyce Reba Luttrell in Madisonville, Kentucky in 1934 to Jerald Vernon "Chick" and Elizabeth Luttrell. According to personal accounts, she grew up in poverty and developed an early affinity for country music. She learned to play guitar while listening at night to the Grand Ole Opry on WSM radio in Nashville. At age eight, she started writing songs while sitting on a creek bank near her Morganfield, Kentucky home.[2] She had the support of her mother and father, and by age ten she was singing and playing country music cover tunes on a local radio program.
She was raised inside Apostolic Pentecostalism, and at twelve years old, she became a born-again Christian and made a commitment to write and sing Christian music. The decision turned out to be pivotal in more than one way; it did not sit well with her father who gave her an ultimatum – give up Christian music or leave. She left home and went on the road, with her first engagement being at a church in Indianapolis, Indiana. She formed a trio called the Gospel Echoes and traveled throughout the midwestern and southern United States.[3] The Gospel Echoes would consist of different members over the years, including Pat Green and Little Joe Hatfield.
In 1950, at age sixteen, she met Buck Rambo at a revival meeting she was holding with evangelist Jimmie Russell. They married shortly thereafter and began traveling and singing together after years of her traveling alone and living with pastors' families.
Music career[edit]
Finally the Rambos created a group, The Gospel Echoes, and later with their daughter Reba as The Singing Rambos and The Rambos. Through an introduction by another gospel group, the Happy Goodman Family, Rambo sang for the then-governor of Louisiana, Jimmie Davis, who was also a popular country and gospel music recording artist. Davis signed her to a writing contract with his publishing company, Jimmie Davis Music (BMI).
She received a signing bonus of around $3,000, the most she had ever earned up to that time.[4] Though Jimmie Davis appears as a co-writer on Rambo's compositions during this time, she publicly stated he did not write any music or lyrics to her compositions but required a writer's share upon the publishing agreement. Jimmie Davis Music is now owned by Peer Music.
Throughout the 1960s her star began to rise, mostly as a songwriter, but also as a soloist. As the leader of The Singing Rambos she traveled internationally, including a 1967 trip to Vietnam to perform for American troops.[5] While there, Rambo ministered in field hospitals, the USS Kitty Hawk, and the USS Ticonderoga. In Vietnam the group was billed as the "Swinging Rambos", as the government feared that a Christian singing group's safety could be at risk. US soldiers presented Rambo with a Viet Cong flag and other personal mementos from the war.
Her songwriting break and Davis' company's promotion of Rambo's songs resulted in a Warner Bros. Records recording contract for her and the Gospel Echoes. After earning as little as $50 a week for years, and often working day jobs to make ends meet, Rambo's fortunes began to improve. Their records were selling and her songs were being noticed within the industry, with other gospel groups beginning to record them.[6] In 1968 she won a Grammy Award for Best Soul Gospel Performance for her album It's The Soul Of Me.[7] Poor record sales for the Gospel Echoes caused the Warner Bros. label to release the group. Warner Bros. saw something special in Rambo as a solo artist and asked her to sign on with a recording contract for R&B music. she signed instead with the Benson Records.
Rambo worked with Billy Graham, Jimmy Swaggart, Oral Roberts, Benny Hinn, Kathryn Kuhlman, John Hagee, Jim Bakker, Tammy Faye Bakker-Messner, Paul and Jan Crouch, Paula White, Reinhard Bonnke, Pat Robertson, T. D. Jakes and others.
Her Down By The Creekbank is one of the most successful Christian children's records in history, earning platinum record status.[8] In addition to her solo and trio recordings, Rambo appeared on other artists' recordings including Jimmie Davis, Barbara Mandrell, Dickey Betts, The Dunaways, David Robertson, and Walt Mills.
Discography[edit]
Main article: Dottie Rambo discography
Composer[edit]
Main article: List of songs written by Dottie Rambo
Rambo reportedly composed upwards of 2,500 songs.[9] ASCAP and BMI show only several hundred registered titles attributed to Rambo in its online database.[10] Rambo's best-known songs include "We Shall Behold Him", "Holy Spirit Thou Art Welcome (In This Place)", "I Go to the Rock", "Sheltered in the Arms of God", "I Will Glory in the Cross", "He Looked Beyond My Fault", "Tears Will Never Stain the Streets of That City", "For What Earthly Reason", "If That Isn't Love", and "Too Much to Gain to Lose". She also wrote country music songs recorded by Jimmie Davis, Charlie Louvin, Rhonda Vincent, and Hank Snow, among others.
Rambo's songs have been recorded by a virtual "who's who" in the music world with her biggest songwriting cut being Whitney Houston's version of "I Go to the Rock", which appeared on the motion picture soundtrack for The Preacher's Wife. The recording garnered Rambo and Houston the 1998 GMA Dove Award for Traditional Gospel Song of the Year.
In addition, other secular artists have recorded Dottie Rambo compositions, including Solomon Burke, Johnny Cash, Carol Channing, Barbara Fairchild, Larry Gatlin, Crystal Gayle, Vince Gill, Wanda Jackson, George Jones, Alison Krauss, Jerry Lee Lewis, Barbara Mandrell, Bill Monroe, The Oak Ridge Boys, Dolly Parton, Elvis Presley, Little Richard, Jeannie C. Riley, Connie Smith, Hank Snow, Mel Tillis, Rhonda Vincent, Porter Wagoner, and Dottie West.
Numerous Christian/gospel artists have recorded her songs, such as Aaron Jeoffrey, Vanessa Bell Armstrong, The Barrett Sisters, The Blackwood Brothers, The Booth Brothers, Commissioned, The Crabb Family, Andrae Crouch, Danniebelle Hall, Jimmie Davis, DC Talk, Jeff and Sheri Easter, The Florida Boys, The Happy Goodmans, Steve Green, Larnelle Harris, Jake Hess, The Hoppers, The Isaacs, Bobby Jones, Ron Kenoly, Doyle Lawson, Mark Lowry, Janet Paschal, Sandi Patty, Karen Peck, The Speer Family, Albertina Walker, Vickie Winans, Karen Wheaton and Jimmy Swaggart,
Television appearances[edit]
Throughout her career, beginning with the 1960s "Gospel Singing Jubilee", Rambo appeared on numerous television programs on virtually every Christian network as well as the TNN, PAX, and GMT Women's Entertainment channels. She had her own series, Dottie Rambo Magazine, in the 1980s on TBN. It was the No. 1 rated program on the network for six years and has rerun on and off since.[5]
Dottie Rambo performed on six of the Gaither Homecoming video series (see her discography). Her last appearance was Nashville Homecoming (2009), in which she performed "I Just Came To Talk With You Lord."
Dottie Rambo has been the subject of many biographic television specials: TBN's Portrait of Grace, INSP's Inspirational Groundbreakers, BBC's White Gospel, and GMC's Faith and Fame (her last interview aired on television).
Later years[edit]
In 1987, Rambo suffered a ruptured disk which led to paralysis in her left leg. She underwent a series of surgeries that eventually reinstated limited mobility. In 1992, Dottie and Buck separated; they divorced in 1994.[11]
Although partially disabled, Rambo made major television appearances including The 700 Club, and as a regular guest performer on TBN. In 1994, TBN produced a Tribute Concert special that featured two hours of performances by Ricky Skaggs, Ricky Van Shelton, Vickie Winans, Jeannie C. Riley, Lulu Roman, and many others.
In 2002, Rambo reentered the studio to record her first solo album in eighteen years. The result was the award-winning hit Stand By The River.[2] The title track, a duet with Dolly Parton, went to the number one spot of the Christian Country Radio Chart, as did its follow-up, "I'm Gonna Leave Here Shoutin'".
In 2004, a major live concert DVD/CD project, We Shall Behold Him: A Tribute to Dottie Rambo, was released. The concert was hosted by Barbara Mandrell and included performances by Dolly Parton, Crystal Gayle, Larry Gatlin, The Isaacs, Jessy Dixon, Vestal Goodman, The Speers, The Crabb Family, and Albertina Walker.[12]
In 2007, she performed nationwide and appeared in concert at country singer Dolly Parton's Tennessee theme park, Dollywood.
In November 2007, Rambo completed another studio album with the working title of Sheltered. This album was released posthumously in September 2009 on Daywind Records. The project features 12 tracks, including duets with Porter Wagoner, Mel Tillis, The Whites and Lulu Roman. Upon completing this project, Rambo started another project that was to feature new compositions and music for a 2009 release.
In 2010, an upcoming tribute CD began the recording process and will feature new tracks by artists from various genres of music, such as George Jones, Little Richard, Dolly Parton, Solomon Burke and other legendary performers. The CD is being produced by her longtime manager, Larry Ferguson and former assistant Chris Barnes.[citation needed]
Death[edit]
Wikinews has related news: Dottie Rambo dies in tour bus crash
Rambo died on May 11, 2008, as a result of injuries sustained in a bus accident along Interstate 44 just outside Mount Vernon, Missouri. She had just finished a performance at Calvary Life Church in Granite City, Illinois and was en route to a Mother's Day show in Texas when the 1997 Prévost bus she was traveling in ran off the road, struck a guard rail and hit an embankment. Rambo was pronounced dead at the scene. Her manager Larry Ferguson and his family were injured in the crash.
Her funeral was held at Christ Church in Nashville, Tennessee on May 19, 2008. She was interred at the Woodlawn Memorial Park Cemetery in Nashville.
Awards and honors[edit]
Main article: List of awards received by Dottie Rambo
Rambo received numerous awards and other honors over the years, including one Grammy and three GMA Dove Awards. She was inducted into the Gospel Music Hall of Fame on two occasions; once with the Rambos and once as a solo artist. In 1994 the Christian Country Music Association awarded her with the Songwriter of the Century Award. She was given the ASCAP Lifetime Achievement Award in 2000, and two Christian Country Music Association (CCMA) awards; the Pioneer Award in 2003, and in 2004, Songwriter of the Year. She was inducted into the Kentucky Music Hall of Fame][13] in 2006.
Her 2002 CD, Stand By The River, won two Christian Music Fan Awards, for Song of The Year and Duo of The Year (with Dolly Parton). The Nashville Songwriter's Hall of Fame inducted Rambo in 2007.[14] She was inducted posthumously into the Christian Music Hall of Fame at the induction award ceremony on June 14, 2008.[15] She was also posthumously inducted into the Georgia Music Hall of Fame. Her manager and granddaughter accepted on her behalf. In 2011, Rambo was honored with a star on Music City's Walk of Fame,[16] which her daughter Reba accepted on her behalf.
References[edit]
Jump up ^ I Will Glory In The Cross, John T. Benson Publishing Co. Inc.
^ Jump up to: a b Dottie Rambo Bio from myspace.com[dead link] captured 12 April 2007.
Jump up ^ Dottie Rambo Official Bio by Barry Drudge dottierambo.net
Jump up ^ More Than the Music - Life Story - Dottie Rambo/ The LeFevres, (2003); Word Entertainment ASIN: B0000DC141
^ Jump up to: a b Beckie Simons World
Jump up ^ "BSA - Southern Gospel's Finest". 14 August 2006. Archived from the original on 14 August 2006.
Jump up ^ Best Soul Gospel Performance; The 11th Annual Grammy Awards Archived March 16, 2009, at the Wayback Machine.
Jump up ^ Drudge, Barry. "Dottie Rambo Bio". Retrieved 5 February 2011.
Jump up ^ Bill Carpenter; allmusic.com Captured 12 April 2007
Jump up ^ "The American Society of Composers, Authors and Publishers". 29 September 2007. Archived from the original on 29 September 2007. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "Ramblin' Rhodes: Elvis befriended troubled songwriter".
Jump up ^ "We Shall Behold Him: A Tribute to Dottie Rambo". Retrieved 5 December 2014.
Jump up ^ "Kentucky Music Hall of Fame Museum, Renfro Valley, Kentucky". www.kentuckymusicmuseum.com.
Jump up ^ Press release; Beckie Simons World
Jump up ^ Christian Music Hall of Fame official charity site. Archived May 13, 2008, at the Wayback Machine.
Jump up ^ "Music City Walk of Fame Inductees - Nashville Walk of Fame - VisitMusicCity.com". www.visitmusiccity.com.
External links[edit]
Official website
Dottie Rambo at Find a Grave
Dottie Rambo's channel on YouTube
Another biography
Story Behind Dottie Rambo's Song "He Looked Beyond My Fault and Saw My Need"
Authority control
WorldCat Identities
LCCN: n94058931
MusicBrainz: b2050cd2-65d5-455c-ad2a-a8d1283193ee
VIAF: 41070391
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dottie_Rambo&oldid=845704775"
Categories:
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Pierce Gagnon
From Wikipedia, the free encyclopedia
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Pierce Gagnon
Gagnon in 2009
Born
(2005-07-25) July 25, 2005 (age 12)
Atlanta, Georgia, U.S.[1]
Residence
Los Angeles, California, U.S.
Occupation
Actor
Years active
2010–present
Pierce Gagnon (born July 25, 2005) is an American child actor. He is known for his roles in the film Looper and in the CBS series Extant.
Contents
[hide]
1 Personal life
2 Career
3 Filmography
3.1 Film
3.2 Television
4 References
5 External links
Personal life[edit]
Gagnon was born in Atlanta, Georgia.[2] He has three younger siblings, including his brother Steele. He currently resides in Los Angeles.
Career[edit]
Gagnon played Logan Evans, the son of Clay Evans (Robert Buckley), in season 9 of the CW drama series One Tree Hill.
In January 2011, he was cast in the action thriller film Looper as Cid Harrington, a child with unusual telekinetic abilities, who becomes a warlord called the "Rainmaker". Rian Johnson said, "Looking back I'm kind of terrified that I hinged the success of the backend of the movie on finding someone like Pierce. It's really rare to find a kid who can do what he does. He would do three-page dialogue scenes with Emily [Blunt] and Joe [Gordon-Levitt] and hold his own against them all the way through."[3]
After voicing Tiago in Rio 2, the sequel to the 2011 film Rio,[4] Gagnon played Tucker Bloom in the comedy-drama film Wish I Was Here.[5] He played Ethan Woods, the android son of Molly Woods (Halle Berry), in the CBS science fiction drama series Extant.[6] Gagnon was named one of the best actors under twenty years of age.[7]
Filmography[edit]
Film[edit]
Year
Title
Role
Notes
2010 The Crazies Distraught Son
2010 The Way Home Little Joe
2012 Looper Cid Harrington
2014 Wish I Was Here Tucker Bloom
2014 Rio 2 Tiago Voice only
2014 A Merry Friggin' Christmas Douglas Mitchler
2015 Tomorrowland Nate Newton
Television[edit]
Year
Title
Role
Notes
2012 One Tree Hill Logan Evans 7 episodes
2013 Big Thunder Jack Carson Pilot
2014–15 Extant Ethan Woods 26 episodes
2017 Twin Peaks Sonny Jim Jones 9 episodes
2018 The Boss Baby: Back in Business Timothy Leslie "Tim" Templeton Voice only
References[edit]
Jump up ^ "Pierce Gagnon". CBS Press Express.
Jump up ^ "Pierce Gagnon profile". FilmWeb.
Jump up ^ "Director Rian Johnson on Looper's True Meaning". Time.
Jump up ^ "Full Voice Cast Announced for Rio 2". ComingSoon.net. February 22, 2013.
Jump up ^ "'Looper's Pierce Gagnon Joins 'Wish I Was Here,' 'Solace' Adds Janine Turner". Deadline.com. July 9, 2013.
Jump up ^ "'Looper' Lad Lands in Halle Berry's 'Extant' for CBS". Variety. October 22, 2013.
Jump up ^ Staff, The Playlist. "On The Rise: 20 Actors To Watch That Are Under 20". Indiewire. Retrieved February 16, 2017.
External links[edit]
Pierce Gagnon on IMDb
Pierce Gagnon at Rotten Tomatoes
Authority control
WorldCat Identities
LCCN: no2015000393
VIAF: 313297179
Retrieved from "https://en.wikipedia.org/w/index.php?title=Pierce_Gagnon&oldid=837785097"
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text:
Birth of the Cool
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Birth of the Cool
Compilation album by Miles Davis
Released
1957
Recorded
January 21 and April 22, 1949; March 9, 1950
(New York City, New York)
Genre
Cool jazz
Length
35:29 (1957 LP and 1989 CD) 79:17 (1998 CD)
Label
Capitol
Producer
Walter Rivers, Pete Rugolo
Miles Davis chronology
'Round About Midnight
(1957) Birth of the Cool
(1957) Miles Ahead
(1957)
Miles Davis compilation chronology
Miles Davis Volume 2
(1955) Birth of the Cool
(1957) Basic Miles
(1973)
Classics in Jazz: Miles Davis (H-459)
Miles Davis 10" LP chronology
Miles Davis All-Star Sextet
(1954) Classics in Jazz: Miles Davis
(1954) Miles Davis Quintet
(1954)
Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol Records.[1][2] It compiles eleven tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.[3]
Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title suggests, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long. As of 2018, Lee Konitz is the only living member of the Birth of the Cool sessions.
Contents
[hide]
1 Background
1.1 Davis' nonet
2 Recording
3 Composition
3.1 Music and style
3.2 Thornhill's influence
4 Release history
5 Reception and aftermath
6 Track listings
6.1 Original 78rpm singles
6.2 Classics in Jazz: Miles Davis (1954 10" LP, Capitol H-459)
6.3 Birth of the Cool (1957 12" LP, Capitol T-762)
6.4 Birth of the Cool (1989 CD, Capitol)
6.5 The Complete Birth of the Cool (1998 CD, Capitol)
6.5.1 The Studio Sessions
6.5.2 The Live Sessions
7 Personnel
8 References
9 Further reading
10 External links
Background[edit]
Davis (right center) playing in Charlie Parker's quintet, 1947.
In 1947, Miles Davis was playing in Charlie Parker's quintet, replacing Dizzy Gillespie, who had left in 1945 due to Parker's growing alcohol and drug problems. Davis recorded several albums worth of material with Parker at this time, including Parker's Sessions for the Savoy and Dial labels. Davis' first records sold under his own name were recorded with Parker's band, in 1947, and were more arranged and rehearsed than Parker's usual approach to recording.[4] By 1948, Davis had three years of bebop playing under his belt, but he struggled to match the speed and ranges of the likes of Gillespie and Parker, choosing instead to play in the mid range of his instrument.[5] In 1948, Davis, becoming increasingly concerned about growing tensions within the Parker quintet, left the group and began looking for a new band to work with.[6]
At the same time, arranger Gil Evans began hosting informal salons at his apartment, located on 55th Street in Manhattan, three blocks away from the jazz nightclubs of 52nd Street. Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra in the mid-1940s. Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of late-1940s New York. The salon featured discussions about the future of jazz, including a proposed group with a new sound. According to jazz historian Ted Gioia:
[The salon members] were developing a range of tools that would change the sound of contemporary music. In their work together, they relied on a rich palette of harmonies, many of them drawn from European impressionist composers. They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections. They brought down the tempos of their music . . . they adopted a more lyrical approach to improvisation . . .[7]
Davis' nonet[edit]
While Evans had originally hoped to work with Charlie Parker on this project, Evans felt that Parker was too dedicated to his own solo voice and not an ensemble sound that Evans was hoping to tap into.[8] With Parker out of the picture, Davis took the lead on the project; Davis and Evans met in the summer of 1947, discovering a mutual respect for each other's work.[9] The two men decided to tap into the members of the salon for the new group, this group eventually becoming the Miles Davis Nonet. Salon member, arranger, and baritone saxophonist Gerry Mulligan joined the project, having previously written for Gene Krupa's orchestra, as it was felt he could bring a lighter sound that Davis and Evans were looking for.[10]
The members of the salon came to the conclusion that the ensemble should feature two saxophones, four brass, and rhythm section for a total of nine players. Evans and Mulligan spent the winter working out instrumentation, augmenting the traditional bop quintet of saxophone (in this case, alto saxophone), trumpet, and rhythm section, with baritone saxophone, trombone, French horn, and tuba. The two men looked to create pairings within the ensemble, Mulligan stating: "We picked instruments [with matching timbres] . . . and one of each. We had a high section with a trumpet and the alto, we had a middle section with the trombone and the French horn, and a low section with the baritone and tuba. So we had those . . . basic colors to work with."[11] The omission of tenor saxophone was seen as highly unusual, as it was seen as one of the standard jazz instruments.[12][13]
Davis, Evans, and Mulligan then went about assembling the members of the nonet, Davis and Mulligan taking trumpet and baritone saxophone respectively. For alto saxophone, Davis originally wanted Sonny Stitt for the part, but it was decided that Stitt's sound, much like Parkers, was too bop for what the nonet was pursuing.[14] On Gerry Mulligan's suggestion, Davis asked salon member Lee Konitz to join the group. Konitz had played with Mulligan in Claude Thornhill's orchestra, and was seen by some as a stylistic alternative to Parker, with a much lighter and airier sound.[14] Tuba player Bill Barber and French hornist Sandy Siegelstein came to the nonet via the brass section of the Thornhill band, Siegelstein to be later replaced by Junior Collins. Trombonist and salon member J. J. Johnson was the first choice for the band, but due to engagements with the Illinois Jacquet band could not originally play with the nonet, though he was able to record with the group on the final two sessions. Both bassist Al McKibbon and pianist and arranger John Lewis had known Davis as members of Dizzy Gillespie's orchestra. Drummer Max Roach had been a member of Parker's quintet with Davis and was a natural choice for the nonet due to his enthusiastic engagement in the ideals of the salon.[15]
Davis was able to secure a two-week engagement in September 1948 for the nonet opening for Count Basie at the Royal Roost in New York. For the band's book, Mulligan contributed six arrangements, Lewis three, Evans two, and composer John Carisi arranged his own composition, "Israel", for the band. On Davis's insistence, a sign was placed outside the Roost saying, "Arrangements by Gerry Mulligan, Gil Evans, and John Lewis," an unusual advertisement that highlighted the collaborative nature of the venture.[16] The band played at the Roost from August 30 to September 18. For these live dates, Mike Zwerin played trombone and former Dizzy Gillespie vocalist Kenny Hagood sang on "Darn That Dream" and "Why Do I Love You". There was a further short residency the following year at the Clique Club, these three sets making up the nonet's only live appearances. Arranger and Capitol Records talent scout Pete Rugolo heard the nonet at the Royal Roost and offered the nonet a chance to make a record.[17]
Recording[edit]
Pete Rugolo produced the sessions for Birth of the Cool.[18]
The nonet recorded twelve tracks for Capitol during three sessions over the course of nearly a year and a half. Davis, Konitz, Mulligan and Barber were the only musicians who played on all three sessions, though the instrumental lineup was constant (excepting the omission of piano on a few songs and the addition of Hagood on "Darn That Dream"). The first session occurred on January 21, 1949, recording four tracks: Mulligan's "Jeru" and "Godchild" as well as Lewis's "Move" and "Budo". Jazz critic Richard Cook hypothesizes that Capitol, wanting to get a good start, recorded these numbers first because they were the most catchy tunes in the nonet's small repertoire.[19] That date Kai Winding replaced Zwerin on trombone, Al Haig replaced Lewis on piano, and Joe Shulman replaced McKibbon on bass.
The second recording date came three months later on April 22, 1949 with Davis filling in for Fats Navarro in Tadd Dameron's band with Charlie Parker during the interim. The band returned to the studio with five substitutions in personnel: J. J. Johnson on trombone, Sandy Siegelstein on French horn, Nelson Boyd on bass, and Kenny Clarke on drums, and John Lewis returning to piano. At this session, the nonet recorded Mulligan's "Venus de Milo", Lewis's "Rouge", Carisi's "Israel", and "Boplicity", a collaboration between Davis and Evans, credited to the pseudonym "Cleo Henry".[20]
The band did not return to the studio again until March 9, 1950. Davis did not call the band for any rehearsals or live performances between the second and third recording dates. The March 1950 date featured Mulligan's "Darn That Dream", "Rocker", and "Deception", and Evans's arrangement of Chummy MacGregor's "Moon Dreams", which had been released in a jazz arrangement by Glenn Miller and the AAF Band in 1944 on V-Disc. The band saw more substitutions, with Gunther Schuller on French horn and Al McKibbon on bass. Kenny Hagood returned for vocals on "Darn That Dream".
Composition[edit]
Music and style[edit]
One of the features of the Davis Nonet was the use of paired instrumentation. An example of this can be heard on the John Lewis arrangement "Move". In "Move", Lewis gives the melody to the pairing of trumpet and alto saxophone, baritone saxophone and tuba supply counterpoint, and trombone and French horn provide harmonies.[21] Gerry Mulligan's "Jeru" demonstrates another Nonet hallmark: the use of a unison sound and rich harmony throughout the horns.[21] Davis said, "I wanted the instruments to sound like human voices singing . . . and they did."[22] Though the album is seen as a departure from traditional bop,[23] the recordings do feature tunes that are considered close to the bop style, such as "Budo" which has the band bookending solos by Davis, Mulligan, Konitz, and Winding, similar to a bebop head arrangement.[24]
Thornhill's influence[edit]
One of the largest stated influences on the sound of The Birth of the Cool was band leader Claude Thornhill and his orchestra.[8][25][26] Out of Thornhill's band came Lee Konitz, Gerry Mulligan, and Gil Evans, Miles Davis calling the Konitz-Mulligan-Evans incarnation "the greatest band" only after "the Billy Eckstine band with Bird."[25] The Thornhill band was known for its impressionistic style, innovative use of instrumentation, such as the use of tuba and French horn, and a non-vibrato playing style, hallmarks that the Miles Davis Nonet adopted for The Birth of the Cool.[8][27] According to Evans:
Miles had liked some of what Gerry and I had written for Claude. The instrumentation for the Miles session was caused by the fact that this was the smallest number of instruments that could get the sound and still express all the harmonies the Thornhill band used. Miles wanted to play his idiom with that kind of sound.[28]
Davis saw the full 18-piece Thornhill orchestra as cumbersome and thus decided to split the group in half for his desired sound.[29] As arrangers, both Evans and Mulligan gave Thornhill credit for crafting their sound.[8][23] Thornhill's band gave Evans the opportunity to try his hand at arranging small-group bebop tunes for big band, a practice few others were participating in. Mulligan recalls Thornhill teaching him "the greatest lesson in dynamics, the art of underblowing." [23] Thornhill has also been credited with launching the move away from call and response between sections and the move towards unison harmonies.[30]
Release history[edit]
The tracks from the January 1949 session were released soon after recording as two pairs of singles. From the April 1949 date, "Israel" and "Boplicity" were doubled together on a 78 and released as well. Of the twelve tracks recorded, Capitol released relatively few. In 1954, after persuasion from Rugolo, Capitol released eight of the tracks on a 10" record titled Classics in Jazz—Miles Davis (H-459).[31] In 1957 eleven of the tracks (all except for "Darn That Dream") were released by Capitol as Birth of the Cool. The final track, "Darn That Dream" (the only song with vocals, by Hagood), was included with the other eleven on a 1971 LP. Subsequent releases have been based on this last arrangement. The album has since been reissued many times in various formats.[32] The recordings of the nonet from its time at the Royal Roost were released as Cool Boppin.[33] In 1998, Capitol Records released The Complete Birth of the Cool, which was remastered by engineer Rudy Van Gelder and collected the nonet's live and studio tracks onto a single CD.
Reception and aftermath[edit]
Professional ratings
Retrospective reviews
Review scores
Source
Rating
AllMusic [34]
Encyclopedia of Popular Music [35]
The Great Rock Discography 9/10[35]
MusicHound 5/5[35]
The Penguin Guide to Jazz [35]
Q [36]
The Rolling Stone Album Guide [35]
The band's debut performance at the Royal Roost received positive, but reserved reactions.[37] Count Basie, the Roost's headliner during the Nonet's brief tenure, however, was more open to the group's sound, saying, "Those slow things sounded strange and good. I didn't always know what they were doing, but I listened, and I liked it."[38] Winthrop Sargeant, classical music critic at The New Yorker, compared the band's sound to the work of an "impressionist composer with a great sense of aural poetry and a very fastidious feeling for tone color. . . The music sounds more like that of a new Maurice Ravel than it does like jazz . . . it is not really jazz."[39] Though he did not recognize the record as jazz, Sargeant acknowledged that he found the record "charming and exciting".[39] In the short term the reaction to the band was little to none,[39] but in the long term the album's effects have been great and lasting. The album has been credited with starting the cool jazz movement[40] as well as creating a new and viable alternative to bebop[41] In 1957, after the release of the full Birth of the Cool, Down Beat magazine wrote that Birth of the Cool "[influenced] deeply one important direction of modern chamber jazz."[42] Several tunes from the album, such as Carisi's "Israel", have gone on to become jazz standards.[43] The album was included in the book 1001 Albums You Must Hear Before You Die.[44]
Many members of the Miles Davis Nonet went on to have successful careers in cool jazz, notably Gerry Mulligan, John Lewis, and Lee Konitz. Mulligan moved to California and joined forces with trumpeter Chet Baker in a piano-less quartet, before creating his Concert Jazz Band[45] Lewis would become music director of the Modern Jazz Quartet, which would become one of the most influential cool jazz groups.[46] Evans would go on to collaborate with Davis again on the Davis albums Miles Ahead and Sketches of Spain.[47] Following Birth of the Cool, Miles Davis did not return to cool jazz, instead going to play hard bop, and eventually spearheading modal jazz.[48] Capitol Records were at the time disappointed with the sales of the nonet recordings, and did not offer Davis more work. Instead, Davis signed with the new jazz specialty record label, Prestige, for whom he would record his first album in 1951.[49]
Track listings[edit]
Arrangements by the composer unless otherwise noted.
Original 78rpm singles[edit]
Capitol Records #15404: "Move" / "Budo"
Capitol Records #57-60005: "Jeru" / "Godchild"
Capitol Records #57-60011: "Boplicity" / "Israel"
Capitol Records #7-1221: "Venus de Milo" / "Darn That Dream"
Classics in Jazz: Miles Davis (1954 10" LP, Capitol H-459)[edit]
Side A
"Jeru" (Gerry Mulligan) – 3:09
"Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:13
"Venus de Milo" (Mulligan) – 3:05
"Deception" (Davis, arranged by Mulligan) – 2:42
Side B
"Godchild" (George Wallington, arranged by Mulligan) – 3:02
"Rocker" (Mulligan) – 2:59
"Israel" (Johnny Carisi) – 2:12
"Rouge" (John Lewis) – 3:07
Classics in Jazz was a series title for a number of reissues of older jazz material on the Capitol label in 10 inch LP format. The other three instrumental tracks recorded by the Nonet were released on various artists compilations in the Classics in Jazz series.[50] The Modern Idiom (Capitol H-325)[51] included "Budo" in 1952, Trumpet Stylists (Capitol H-326)[52] included "Move", and Cool & Quiet (Capitol H-371)[53] included "Boplicity" in 1953.
Birth of the Cool (1957 12" LP, Capitol T-762)[edit]
Side A
1 "Move" (Denzil Best) – 2:29
2 "Jeru" (Gerry Mulligan, arranged by John Lewis) – 3:10
3 "Moon Dream" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:13
4 "Venus De Milo" (Mulligan) - 3:10
5 "Budo" (Bud Powell - Miles Davis) – 2:31
6 "Deception" (Davis) – 2:46
Side B
7 "Godchild" (George Wallington) - 3:08
8 "Boplicity" (Cleo Henry) – 2:58
9 "Rocker" (Mulligan) – 3:04
10 "Israel" (Johnny Carisi) – 2:15
11 "Rouge" (John Lewis) - 3:13
Recording dates
Tracks 1,2,5,7 on January 21, 1949
Tracks 4,8,10,11, on April 22, 1949
Tracks 3,6,9 on March 9, 1950
Recorded at WOR Studios, New York, New York.
Birth of the Cool (1989 CD, Capitol)[edit]
"Move" (Denzil Best, arranged by John Lewis) – 2:32
"Jeru" (Gerry Mulligan) – 3:10
"Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:17
"Venus de Milo" (Mulligan) – 3:10
"Budo" (Miles Davis, Bud Powell, arranged by Lewis) – 2:32
"Deception" (Davis, arranged by Mulligan) – 2:45
"Godchild" (George Wallington, arranged by Mulligan) – 3:07
"Boplicity" (Cleo Henry, i.e. Davis and Gil Evans, arranged by Evans) – 2:59
"Rocker" (Mulligan) – 3:03
"Israel" (Johnny Carisi) – 2:15
"Rouge" (John Lewis) – 3:13
"Darn That Dream" (Eddie DeLange, Jimmy Van Heusen, arranged by Mulligan) – 3:26
Recording dates
Tracks 1, 2, 5, and 7 on January 21, 1949
Tracks 4, 8, 10, and 11 on April 22, 1949
Tracks 3, 6, 9, and 12 on March 9, 1950
Recorded at WOR Studios, New York, New York.
The Complete Birth of the Cool (1998 CD, Capitol)[edit]
The Studio Sessions[edit]
"Move" (Denzil Best, arranged by John Lewis) – 2:32
"Jeru" (Gerry Mulligan) – 3:10
"Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:17
"Venus de Milo" (Mulligan) – 3:10
"Budo" (Miles Davis, Bud Powell, arranged by Mulligan)[54] – 2:32
"Deception" (Davis, arranged by Mulligan) – 2:45
"Godchild" (George Wallington, arranged by Mulligan) – 3:07
"Boplicity" (Cleo Henry, i.e. Davis and Gil Evans,[55] arranged by Evans) – 2:59
"Rocker" (Mulligan) – 3:03
"Israel" (Johnny Carisi) – 2:15
"Rouge" (John Lewis) – 3:13
"Darn That Dream" (Eddie DeLange, Jimmy Van Heusen, arranged by Mulligan) – 3:26
Recording dates
Tracks 1, 2, 5, and 7 on January 21, 1949
Tracks 4, 8, 10, and 11 on April 22, 1949
Tracks 3, 6, 9, and 12 on March 9, 1950
Recorded at WOR Studios, New York, New York.
The Live Sessions[edit]
"Birth of the Cool Theme" (Gil Evans) – 0:19
"Symphony Sid announces the band"
"Move" (Denzil Best arranged by John Lewis) – 3:40
"Why Do I love You" (Oscar Hammerstein II, Jerome Kern, arranged by John Lewis) – 3:41
"Godchild" (George Wallington arranged by Gerry Mulligan) – 5:15
"Symphony Sid introduction" – 0:27
"S'il vous plait" (John Lewis) – 4:22
"Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 5:06
"Budo (Hallucinations)" (Bud Powell, Miles Davis, arranged by John Lewis) – 3:24
"Darn That Dream" (Eddie DeLange, Jimmy Van Heusen, arranged by Gerry Mulligan) – 4:25
"Move" (Denzil Best, arranged by John Lewis) – 4:48
"Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:46
"Budo (Hallucinations)" (Bud Powell, Miles Davis, arranged by John Lewis) – 4:23
Recording dates
Tracks 1–9 on September 4, 1948
Tracks 10–13 on September 18, 1948
Recorded live at Royal Roost in New York for WMCA radio broadcast.
Personnel[edit]
Miles Davis – trumpet (all)
Kai Winding – trombone (January 1949)
J. J. Johnson – trombone (April 1949, March 1950)
Junior Collins – French horn (January 1949)
Sandy Siegelstein – French horn (April 1949)
Gunther Schuller – French horn (March 1950)
Bill Barber – tuba (all)
Lee Konitz – alto saxophone (all)
Gerry Mulligan – baritone saxophone (all)
Al Haig – piano (January 1949)
John Lewis – piano (April 1949, March 1950)
Joe Shulman – bass (January 1949)
Nelson Boyd – bass (April 1949)
Al McKibbon – bass (March 1950)
Max Roach – drums (January 1949, March 1950)
Kenny Clarke – drums (April 1949)
Kenny Hagood – vocal ("Darn That Dream" only)
The Complete Birth of the Cool: The Live Sessions
Miles Davis – trumpet
Mike Zwerin – trombone
Junior Collins – French horn
Bill Barber – tuba
Lee Konitz – alto saxophone
Gerry Mulligan – baritone saxophone
John Lewis – piano
Al McKibbon – bass
Max Roach – drums
Kenny Hagood – vocal (only "Why Do I Love You" and "Darn That Dream")
Jazz portal
References[edit]
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Jump up ^ Chambers, Jack. Milestones 1: The Music and Times of Miles Davis to 1960. New York: Beech Tree Books (William Morrow and Company), 1983. p. 98.
Jump up ^ Gioia, Ted. The Birth (And Death) of the Cool. Golden, Colo.: Speck Press, 2009. 83.
^ Jump up to: a b c d Hentoff, Nat. "The Birth of the Cool." Down Beat, May 2, 1957: 15–16
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Jump up ^ "By the time the band opened at the Roost, Zwerin and everyone else should have been fully aware of their collaborative nature, if only because of the billing they were given on the sidewalk sign outside the club . . . Evans recall. "Miles had it put in front, no one before had ever done that, given credit that way to arrangers." Chambers, 103.
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Berrett, Joshua and Louis G. Bourgois. The Musical World of J.J. Johnson. Scarecrow Press, 1999. ISBN 978-0-8108-3648-8.
Chambers, Jack. Milestones 1: The Music and Times of Miles Davis to 1960. New York: Beach Tree Books, 1983. ISBN 978-0-688-02635-6.
Cook, Richard. It's About That Time: Miles Davis On and Off Record. New York: Oxford University Press, 2005. ISBN 978-0-19-532266-8.
Crease, Stephanie. "Gil Evans: Forever Cool." Down Beat, May 2012. p. 33-35.
Davis, Miles. Miles Davis-Birth of the Cool: Scores from the Original Parts. Ed. Jeff B. Sultanof. Milwaukee, WI.: Hal Leonard Corporation, 2002. ISBN 978-0-634-00682-1.
Fordham, John. "50 Great Moments in Jazz: Birth of the Cool", The Guardian. Posted November 2, 2009. Retrieved April 24, 2012.
Gioia, Ted. The History of Jazz. New York: Oxford University Press, 1997. ISBN 978-0-19-512653-2.
Gioia, Ted. "Miles Davis's Memorable Nonet." Jazz.com. Posted September 3, 2008.
Gioia, Ted. The Birth (and Death) of the Cool. Golden, Colo.: Speck Press, 2009. ISBN 978-1-933108-31-5.
Gridley, Mark C. Jazz Styles. Tenth Edition. Prentice Hall, 2009.
Hamilton, Andy. Lee Konitz, Conversations on the Improviser's Art. Ann Arbor, Mich.: The University of Michigan Press, 2007. ISBN 978-0-472-03217-4.
Hentoff, Nat. "The Birth of the Cool." Down Beat, May 2, 1957: 15–16. Print.
Kernfeld, Barry. "Miles Davis." Grove Music Online. Web. Apr 24, 2012.
Klinkowitz, Jerome. Listen: Gerry Mulligan. An Aural Narrative in Jazz. New York: Schirmer Books, 1991. ISBN 978-0-02-871265-9.
Sultanof, Jeff. "The Dozens: The Birth of the Cool." Jazz.com. (No date, prbl. 1998).
Further reading[edit]
Davis, Miles; Troupe, Quincy, Miles, the autobiography, Simon and Schuster, 1990. ISBN 978-0-671-72582-2. Cf. pp.117–118
External links[edit]
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All the Pretty Horses (film)
From Wikipedia, the free encyclopedia
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All the Pretty Horses
Theatrical release poster
Directed by
Billy Bob Thornton
Produced by
Robert Salerno
Billy Bob Thornton
Screenplay by
Ted Tally
Based on
All the Pretty Horses
by Cormac McCarthy
Starring
Matt Damon
Penélope Cruz
Henry Thomas
Lucas Black
Music by
Marty Stuart
Kristin Wilkinson
Larry Paxton
Cinematography
Barry Markowitz
Edited by
Sally Menke
Production
company
Miramax Films
Distributed by
Columbia Pictures
Release date
December 25, 2000 (2000-12-25)
Running time
117 minutes[1]
Country
United States
Language
English
Spanish
Budget
$57 million[2]
Box office
$18.1 million[2]
All the Pretty Horses is a 2000 American romance western film produced and directed by Billy Bob Thornton, and based on Cormac McCarthy's novel of the same name. Starring Matt Damon and Penélope Cruz, the film was released on Christmas Day 2000 to mostly negative reviews. It grossed $18 million worldwide, against a $57 million budget.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Critical response
4.1 Awards
5 References
6 External links
Plot[edit]
In 1949, young cowboy John Grady Cole's maternal grandfather dies. John had grown up on his grandfather's ranch, but it was put up for sale when the old man died. His mother has no ties to it anymore, and would rather have the money. With no home, John asks his best friend Lacey Rawlins to leave his family ranch in San Angelo, Texas and join him to travel on horseback to cross the border 150 miles south, to seek work in Mexico. They encounter a peculiar 13-year-old boy named Jimmy Blevins on the trail to Mexico, whom they befriend but from whom they then separate. Later on they meet a young aristocrat's daughter, Alejandra Villarreal, with whom Cole falls in love.
Cole and Rawlins become hired hands for Alejandra's father, who likes their work, but Cole's romantic interest in Alejandra is not welcomed by her wealthy aunt. After Alejandra's father takes her away, Cole and Rawlins are arrested by Mexican police and taken to jail, where they again encounter Blevins, who has been accused of stealing a horse and of murder, and is killed by a corrupt police captain. Cole and Rawlins are sent to a Mexican prison for abetting Blevins' crimes, where they must defend themselves against dangerous inmates. The pair are both nearly killed.
Alejandra's aunt frees Cole and Rawlins, on the condition that she never sees them again. While Rawlins returns to his parents' ranch in Texas, Cole attempts to reunite with Alejandra over her family's objections. Her aunt is confident that Alejandra will keep her word and not get back together with Cole - so much so that she even gives Cole her niece's phone number. Cole urges Alejandra to come to Texas with him. She, however, decides she must keep her word and though she loves him, she will not go with him.
Cole then sets out to get revenge on the captain who took the Blevins boy's life, as well as to get back his, Lacey's and Blevins' horses. After making the captain his prisoner, he turns him over to Mexican men, including one with whom Cole had previously shared a cell when they were imprisoned by the captain. Cole is spared the decision to kill the captain, but it is implied the men whom the captain was turned over to will do that.
Reentering the USA and riding through a small town in Texas, towing two horses behind the one he is riding, he stops to inquire what day it is (it is Thanksgiving Day). He asks a couple of men if they would be interested in buying a rifle, as he needs the money. One is a sheriff's deputy and arrests him because all three horses have different brands, and they suspect Cole is a horse thief.
In court, Cole tells the judge his story from the beginning. The judge believes him and orders Cole freed and the horses returned to him. Later that evening, Cole shows up at the judge's home, troubled. The judge had said good things about him in court, but Cole feels guilty that Blevins was killed - and while there was nothing he could have done to prevent the killing, he never even spoke up at the time and is upset with himself for that. The judge tells him he is being too hard on himself and it could not have been helped; he must go on and live his life. Cole rides to Rawlins' family's ranch, where he asks his friend if he wants his horse back.
Cast[edit]
Matt Damon as John Grady Cole
Jesse Plemons as young John Grady Cole
Penélope Cruz as Alejandra Villarreal
Henry Thomas as Lacey Rawlins
Lucas Black as Jimmy Blevins
Ruben Blades as Don Hector de la Rocha
Robert Patrick as Cole
Julio Oscar Mechoso as Captain
Míriam Colón as Doña Alfonsa
Bruce Dern as The Judge
Sam Shepard as J.C. Franklin
Production[edit]
All the Pretty Horses was filmed on location in New Mexico and Texas.[citation needed]
The version that Thornton presented to Miramax was over three hours long. Harvey Weinstein demanded that the film be cut down to under two hours and also put aside the original musical score by Daniel Lanois, having Marty Stuart replace it.[3]
Peter Biskind suggests in his book Down and Dirty Pictures (2004)[4] that the demand to cut the length of the film was at least partially done as payback for Thornton's refusal to cut Sling Blade (1996).
Thornton's cut had an effect on the storytelling. Matt Damon publicly criticized Weinstein's decision, saying to Entertainment Weekly, "You can't cut 35% of the movie and expect it to be the same movie."[citation needed]
In an interview with Playboy, Damon expressed his displeasure with the changes, saying, "Everybody who worked on All the Pretty Horses took so much time and cared so much. As you know, the Cormac McCarthy book is set in 1949 and is about a guy trying to hold on to his old way of life. The electric guitar became popular in 1949, and the composer Daniel Lanois got an old 1949 guitar and wrote this spare, haunting score. We did the movie listening to his score. It informed everything we did. We made this very dark, spare movie, but the studio wanted an epic with big emotions and violins. They saw the cast, the director, Billy Bob Thornton, and the fact that we spent $50 million, and they never released our movie—though the cut still exists. Billy had a heart problem at that time, and it was because his heart fucking broke from fighting for that film. It really fucked him up. It still bothers me to this day."[3]
The idea of releasing the Thornton cut of the film is complicated by the fact that Lanois still owns the rights to his score and has so far refused to license it.[3]
Critical response[edit]
Reviews were generally negative, criticizing it as a poor adaptation of the novel and a dramatically un-involving film. It currently holds a 32% rating on Rotten Tomatoes based on 99 reviews.[5]
Entertainment Weekly critic Lisa Schwarzbaum said: "Faced with a choice of blunt instruments with which to beat a good book into a bad movie, director Billy Bob Thornton chooses heavy, random, arty imagery and a leaden pace."[6] The New York Times reviewer A. O. Scott thought the film "as slick and superficial as a Marlboro advertisement".[7]
Roger Ebert disagreed, awarding the film three-and-a-half out of a possible four.[8]
Awards[edit]
Wins
Best Screenplay - National Board of Review (Ted Tally)
Nominations
Best Original Score - Golden Globes (Marty Stuart, Kristin Wilkinson, and Larry Paxton)
Grand Prix - Paris Film Festival (Billy Bob Thornton)
Best Supporting Actor - Young Artist Awards (Lucas Black)
References[edit]
Jump up ^ "All the Pretty Horses (15)". British Board of Film Classification. February 20, 2001. Retrieved November 30, 2016.
^ Jump up to: a b "All the Pretty Horses (2000)". Box Office Mojo. Retrieved 2009-09-24.
^ Jump up to: a b c Kevin Jagernauth (December 19, 2012). "Matt Damon Says Original Cut Of 'All Of The Pretty Horses' With Daniel Lanois Score Still Exists". The Playlist.
Jump up ^ Biskind, Peter (2004). Down and Dirty Pictures. ISBN 9780684862583.
Jump up ^ "All the Pretty Horses Movie". Rotten Tomatoes. Archived from the original on 9 February 2010. Retrieved 2010-01-22.
Jump up ^ "All the Pretty Horses". Entertainment Weekly. 2000-12-22. Archived from the original on December 14, 2007. Retrieved 2010-01-22.
Jump up ^ Scott, A. O. (December 25, 2000). "All the Pretty Horses". The New York Times. Retrieved 2010-11-25.
Jump up ^ Ebert, Roger (December 22, 2000). "All the Pretty Horses Review". Chicago Sun-Times. Retrieved 2010-11-25.
External links[edit]
All the Pretty Horses on IMDb
All the Pretty Horses at Box Office Mojo
All the Pretty Horses at Rotten Tomatoes
All the Pretty Horses at Metacritic
‹ The template below (Billy Bob Thornton) is being considered for merging. See templates for discussion to help reach a consensus. ›
[show]
v
t
e
Films directed by Billy Bob Thornton
Sling Blade (1996)
All the Pretty Horses (2000)
Daddy and Them (2001)
Jayne Mansfield's Car (2012)
[show]
v
t
e
Works by Cormac McCarthy
Border Trilogy
All the Pretty Horses (1992)
The Crossing (1994)
Cities of the Plain (1998)
Other novels
The Orchard Keeper (1965)
Outer Dark (1968)
Child of God (1973)
Suttree (1979)
Blood Meridian or the Evening Redness in the West (1985)
No Country for Old Men (2005)
The Road (2006)
Screenplays
The Gardener's Son (1976)
The Sunset Limited (2011)
The Counselor (2013)
Plays
The Stonemason (1995)
The Sunset Limited (2006)
Adaptations
The Gardener's Son (1977)
All the Pretty Horses (2000)
No Country for Old Men (2007)
The Road (2009)
The Sunset Limited (2011)
Child of God (2013)
Related articles
Anton Chigurh
Judge Holden
The kid
Retrieved from "https://en.wikipedia.org/w/index.php?title=All_the_Pretty_Horses_(film)&oldid=799085556"
Categories:
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2000s drama films
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Films based on American novels
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text:
New Zealand free-trade agreements
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
New Zealand is party to several free-trade agreements (FTAs) worldwide.
Contents
1 History
2 Free Trade Agreements in force
3 Proposed Free Trade Agreements
4 See also
5 References
6 External links
History[edit]
The Economy of New Zealand is a market economy which is greatly dependent on international trade, mainly with Australia, the United States of America, China and Japan. It is strongly dependent on tourism and agricultural exports, and has only small manufacturing and high-tech components. Economic free-market reforms of the last decades have removed many barriers to foreign investment, and the World Bank has praised New Zealand as being the most business-friendly country in the world [1]. Regional and bilateral free trade agreements have become an important part of New Zealand's international trade policy. New Zealand has used free trade agreements also known as closer economic partnerships to liberalise trade between economies. A Closer Economic Partnership Agreement with Thailand was negotiated in 2004 and implemented in 2005. Negotiations for a Free Trade Agreement with Chile, Brunei and Singapore known as the Trans-Pacific Strategic Economic Partnership were concluded in 2005. Negotiations for further agreements with Malaysia were undertaken in 2006, but failed to reach a conclusion. The historic FTA with China was signed in Beijing in April 2008.[2]
On 27 February 2009 New Zealand and its close partner Australia signed a Free Trade Agreement with the ASEAN regional block of 10 countries. It is estimated that an FTA with ASEAN would boost aggregate GDP across the 12 countries by more than US$48 billion over the period 2000–2020 with an additional US$3.4 billion to New Zealand alone.[3][4]
Free Trade Agreements in force[edit]
Here is a list of free trade agreements of which New Zealand is part. In parentheses, the abbreviation, if applicable, membership if not stated before, and the date of coming into force are to be seen.
Australia: Closer Economic Relations (1983)[5]
China: New Zealand–China Free Trade Agreement (2008)[6]
Thailand: New Zealand and Thailand Closer Economic Partnership (2005)[7]
Singapore: New Zealand and Singapore Closer Economic Partnership (2001)[8]
Brunei: Trans-Pacific Strategic Economic Partnership (2005)[9]
Chile: Trans-Pacific Strategic Economic Partnership (2005)
Singapore: Trans-Pacific Strategic Economic Partnership (2005) – Auxiliary to New Zealand and Singapore Closer Economic Partnership
Association of Southeast Asian Nations: – negotiating along with Australia since (2004)[10][11][12]
Malaysia: Malaysia–New Zealand Free Trade Agreement announced on 2 June 2009[13][14]
Hong Kong: New Zealand–Hong Kong, China Closer Economic Partnership (2011)[15][16]
Taiwan: Agreement between New Zealand and the Separate Customs Territory of Taiwan, Penghu, Kinmen, and Matsu on Economic Cooperation (2013)[17][18]
South Korea: NZ-Korea Free Trade Agreement (2015)[19]
Proposed Free Trade Agreements[edit]
New Zealand is negotiating bilateral and multilateral free trade agreements with the following blocs and countries:
Mercosur: New Zealand-Mercosur Free Trade Agreement – negotiating since 2010 [20][21][22]
The Trans-Pacific Strategic Economic Partnership, a multilateral trade agreement involving 4 countries with which New Zealand has existing trade agreements – Malaysia, Brunei, Chile, Singapore, and Australia – and nations with which New Zealand does not have an existing FTA:
United States: New Zealand–United States Free Trade Agreement[9]
Peru: Negotiating alongside the United States, Australia and Vietnam to join the Trans-Pacific Strategic Economic Partnership[23][24]
Vietnam: Negotiating alongside the United States, Australia and Peru to join the Trans-Pacific Strategic Economic Partnership[23]
Japan: Conducting feasibility study as of (14 May 2008)[25]
Gulf Cooperation Council: Negotiations began in 2007 and concluded in 2009 but the agreement is not yet in force [26]
India India–New Zealand Free Trade Agreement – negotiating since 2007 with the establishment of a JSG (Joint Study Group) looking at the feasibility of an Indian-NZ FTA.[27]
Russia Russia-Kazakhstan-Belarus Free Trade Agreement – negotiations began in 2010[28] but are currently suspended[29]
Kazakhstan Russia-Kazakhstan-Belarus New Zealand Free Trade Agreement – negotiations began in 2010[28] but are currently suspended[29]
Belarus Russia-Kazakhstan-Belarus Free Trade Agreement – negotiations began in 2010[28] but are currently suspended[29]
EU New Zealand-European Union Free Trade Agreement – negotiating since mid-2018, planned to conclude by 2021[30]
See also[edit]
United States free trade agreements
References[edit]
Jump up ^ "Doing Business 2018; World Bank" (PDF). doingbusiness.org. Retrieved 4 April 2018.
Jump up ^ "Free Trade Agreements | Ministry of Economic Development". Med.govt.nz. Retrieved 26 October 2010.
Jump up ^ http://www.mfat.govt.nz/Trade-and-Economic-Relations/Trade-Agreements/Asean/index.php
Jump up ^ Daley, Gemma (27 February 2009). "Asean, Australia, New Zealand Sign Free-Trade Deal (Update1)". Bloomberg. Retrieved 26 October 2010.
Jump up ^ Australia and New Zealand Closer Economic Relations – NZ Ministry of Foreign Affairs and Trade
Jump up ^ New Zealand-China Free Trade Agreement – NZ Ministry of Foreign Affairs and Trade
Jump up ^ Thailand/NZ CEP Agreement – NZ Ministry of Foreign Affairs and Trade
Jump up ^ Singapore/NZ CEP Agreement – NZ Ministry of Foreign Affairs and Trade
^ Jump up to: a b Trans-Pacific Strategic Economic Partnership Agreement between Brunei Darussalam, Chile, New Zealand and Singapore – P4
Jump up ^ ASEAN, Australia and New Zealand Free Trade Agreement – NZ Ministry of Foreign Affairs and Trade
Jump up ^ New Zealand Ministry of Foreign Affairs and Trade – Inside Page
Jump up ^ "ASEAN – Australia – New Zealand Free Trade Agreement (AANZFTA) | ASEAN – Australia – New Zealand Free Trade Agreement". Asean.fta.govt.nz. Retrieved 26 October 2010.
Jump up ^ New Zealand-Malaysia Free Trade Agreement – NZ Ministry of Foreign Affairs and Trade
Jump up ^ "NZ agrees to free trade deal with Malaysia | BUSINESS News". Tvnz.co.nz. 2 June 2009. Retrieved 26 October 2010.
Jump up ^ New Zealand-Hong Kong, China Closer Economic Partnership
Jump up ^ "Hong Kong and New Zealand sign Closer Economic Partnership Agreement (with photos/videos)". Info.gov.hk. 29 March 2010. Retrieved 26 October 2010.
Jump up ^ Agreement between New Zealand and the Separate Customs Territory of Taiwan, Penghu, Kinmen and Matsu on Economic Cooperation (ANZTEC) Archived 24 December 2013 at the Wayback Machine.. New Zealand Commerce and Industry Office. Retrieved 23 December 2013.
Jump up ^ Tim Groser (November 20, 2013). Minister welcomes ANZTEC entry into force. New Zealand Government.
Jump up ^ https://www.mfat.govt.nz/en/trade/free-trade-agreements/free-trade-agreements-in-force/nz-korea-free-trade-agreement/
Jump up ^ "The Re-freshed Latin America Strategy: One Year Later Annual Report for the 2010-11 Financial Year" (PDF). New Zealand Ministry of Foreign Affairs and Trade. 30 November 2011. Retrieved 10 April 2012.
Jump up ^ "Nova Zelândia quer tratado de livre comércio com Mercosul". Senado Brasileiro. 25 May 2011. Archived from the original on 22 April 2013. Retrieved 16 November 2011.
Jump up ^ "New Zealand business and parliamentary connections in Latin America to be strengthened". New Zealand Parliament. 23 May 2011. Retrieved 16 November 2011.
^ Jump up to: a b "Australia To Join Trans-Pacific Partnership Trade Bloc – Min". News.alibaba.com. Retrieved 26 October 2010.
Jump up ^ "The challenges of regional bodies". Taipei Times. 19 October 2010. Retrieved 26 October 2010.
Jump up ^ "High powered push for Japan trade deal – 13 May 2008 – NZ Herald: New Zealand Business, Markets, Currency and Personal Finance News". NZ Herald. 13 May 2008. Retrieved 26 October 2010.
Jump up ^ "NZ - Gulf Cooperation Council FTA". New Zealand Ministry of Foreign Affairs and Trade. Retrieved 6 October 2018.
Jump up ^ India Free Trade Agreement – New Zealand Ministry of Foreign Affairs and Trade Archived 5 October 2008 at the Wayback Machine.
^ Jump up to: a b c "New Zealand eyes Russian Trade – 14 Nov 2010 – NZ Herald: New Zealand National news". NZ Herald. 14 November 2010. Retrieved 14 November 2010.
^ Jump up to: a b c "Russia – Belarus – Kazakhstan Customs Union FTA". New Zealand Ministry of Foreign Affairs and Trade. Retrieved 6 October 2018.
Jump up ^ "New Zealand-EU free trade agreement Timeline for negotiations". New Zealand Ministry of Foreign Affairs and Trade. Retrieved 6 October 2018.
External links[edit]
New Zealand Ministry of Foreign Affairs and Trade – Official site
Ministry of Economic Development New Zealand – Official site
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