Lili-Marlene Premilovich, later known as Lene Lovich, preternaturally idiosyncratic—and gifted—songstress, happens to play saxophone, is an animal rights activist, and initially wore her hair in braids to keep the locks from the clay, when in art school, studying sculpture. And, damn, she can deliver a tune. With octaves to spare {hear: Momentary Breakdown}.
Category: videos
“Car Lot“, from Psycho soundtrack. Composed by Bernard Herrmann.
The plot of Psycho, directed by Alfred Hitchcock, pivots on the fulcrum of a red herring. Janet Leigh’s character fears that she is in imminent legal danger, and suffers from a troubled conscience, when in fact something far, far worse, something having absolutely nothing even remotely to do with events up to that point, awaits her.
When he dines initially with Leigh, the reaction/mood of Norman Bates {portrayed iconically by Anthony Perkins} changes rather drastically, from chipper, to utterly incredulous, to overtly hostile, to a resigned world-weariness, to a last attempt at joviality. He appears to be friendly and caring, if a bit troubled and mercurial.
When the dogged, unswerving Milton Arbogast {Martin Balsam} calmly dissembles the slowly dissolving structural integrity of Norman’s version of events, he opts to trot out the heavy artillery, proclaiming “If it doesn’t gel, it isn’t aspic; and this ain’t gelling.” Stunned silence proceeds to take over the entire universe, and Norman Bates is clearly rattled. The two shall meet again, soon enough.
Actor Matt O’Toole gives a remarkable, bravura, iconic performance as serial killer Paul Millander, invoking dread, menace, yet some sympathy (of a sort…) as well. Highly intelligent, and courteous, with a traumatic youth-hood, to put it mildly, Millander nonetheless is that most threatening of characters; always he seems to have the advantage.
Three of the Highest Echelon: The Ultimate Computer; Where No Man Has Gone Before; and The Man Trap.
Towering genius Dr. Richard Daystrom, in the midst of further un-understanding, plans to “show” Leonard McCoy—plans to show everyone, in fact—and delivers, in his stentorian manner, a powerfully declamatory oration, all the while teetering on the very brink of sanity/insanity.
In trying earnestly to persuade the well-nigh legendary (and Great) M5 Multitronic Unit (which displays its textbook Uncompromising Stance) to do, and to not do, certain things, the mighty and almost eternal Dr. Richard Daystrom begins an ill-fated rumination on his life and work, and the all-too-prevalent injustices therein. A last, desperate, titanic, paradigmatic, æon-defining manifestation of wild grandiosity brings with it predictable results.
Mr. Spock (Leonard Nimoy) and Captain Kirk (William Shatner) employ a potent cocktail of chicanery and subterfuge to subdue the solitude-defending archaeologist, Professor Robert Crater (Alfred Ryder). They proceed to interrogate him vigorously, mainly/entirely concerning the whereabouts of his wife.
Gary Mitchell leaves little doubt of his seriousness—he is most certainly *not* joking—with Lee Kelso. He then ruminates, with ever-increasing wonder, about his newly found, awesome, and steadily burgeoning powers. Gary Lockwood delivers a masterful performance as the metamorphosing Mitchell.



































































































