Bend is a city in, the county seat of, Deschutes County, United States. It is the principal city of the Bend-Redmond Metropolitan Statistical Area. Bend is Central Oregon's largest city, despite its modest size, is the de facto metropolis of the region, owing to the low population density of that area. Bend recorded a population of 76,693 at the time of the 2010 U. S. Census, up from 52,029 at the 2000 census; the estimated population of the city as of 2017 is 94,520. The Bend-Redmond metro population was estimated at 165,954 as of July 1, 2013, it is the fifth largest metropolitan area in Oregon. Bend is located on the eastern edge of the Cascade Range along the Deschutes River. There the Ponderosa pine forest transitions into the high desert, characterized by arid land, junipers and bitterbrush. A crossing point on the river, settlement began in the early 1900s. Bend was incorporated as a city in 1905. Economically, it started as a logging town but is now identified as a gateway for many outdoor sports, including mountain biking, hiking, rock climbing, white-water rafting, skiing and golf.
In 2015, Men's Journal ranked Bend as one of The 10 Best Places to Live Now. Bend is home to the last remaining Blockbuster LLC store in the world; the name Bend was derived from "Farewell Bend", the designation used by early pioneers to refer to the location along the Deschutes River where the town was platted, one of the few fordable points along the river. Until the winter of 1824, the Bend area was known only to Native Americans who hunted and fished there; that year, members of a fur-trapping party led by Peter Skene Ogden visited the area. John C. Frémont, John Strong Newberry, other Army survey parties came next. Pioneers heading farther west passed through the area and forded the Deschutes River at Farewell Bend. Constructed in May 1901, the Pilot Butte Development Company's little plant was the first commercial sawmill in Bend; the original location was at the rear of the Pilot Butte Inn of years. Steidl and Reed set up a small mill in Bend in 1903; this was on the Deschutes River just below the Pioneer Park area.
The mill was operated by water power. A small community developed around the area, in 1904, a city was incorporated by a general vote of the community's 300 residents. On January 4, 1905, the city held its first official meeting as an incorporated municipality, appointing A. H. Goodwillie as the first mayor; the settlement was called "Farewell Bend", shortened to "Bend" by the U. S. Postal Service. In 1910, Mirror Pond was created by the construction of the Bend Water, Light & Power Company dam on the Deschutes River in Bend; the dam provided the city with its initial source of electricity. The dam has been owned by Pacific Power since 1926 and still produces electricity that supplies 200 Bend households. In 1916, Deschutes County, Oregon was formed from the western half of Crook County and Bend was designated as the county seat. In 1929, Bend adopted the council-manager form of government. Bend sits on the boundary of the Eastern Cascades Slopes and Foothills, a Level III ecoregion designated by the United States Environmental Protection Agency in the U.
S. states of Oregon and California, the Deschutes River Valley, a Level IV ecoregion within the Blue Mountains Level III ecoregion. The Deschutes River runs though Bend. Bend's elevation is 3,623 feet. According to the United States Census Bureau, the city has a total area of 33.27 square miles, of which, 33.01 square miles is land and 0.26 square miles is water. Inside the city limits is an old cinder cone. Bend is one of three cities in the continental U. S. to have an extinct volcano within its city limits. It is reached by U. S. Route 20. A lesser known characteristic of Bend, the Horse Lava Tube System enters and borders the eastern edge of the city. Just south of Bend is Newberry National Volcanic Monument on U. S. Route 97. Bend's climate is typical of the high desert with cool nights and sunny days, classified as semi-arid. Annual precipitation averages 11.2 with an annual average snowfall of 23.8 inches. The winter season in Bend provides a mean temperature of 31.1 °F in December. Nighttime temperatures are not much lower than daytime highs during the winter.
According to the USDA Plant Hardiness Zone Map, the lowest nighttime temperature is −5 °F to −10 °F. Central Oregon summers are marked by their large diurnal temperature ranges, with a July daily average of 64.5 °F, an average diurnal temperature variation approaching 35 °F. Hard frosts are not unheard of during the summer months. Autumn brings warm, dry days and cooler nights, Bend is known for its annual Indian summer. Bend's growing season is short. S. Department of Agriculture's National Resources Conservation Service, in half of the years between 1971 and 2000, the USDA weather station in Bend recorded the last below-freezing temperatures after July 3 and the first below-freezing temperatures before August 31. Based on 1981–2010 normals, the average window for freezing temperatures is September 13 through June 19. Bend is the larger principal city of the Bend-Prineville CSA, a Combined Statistical Area that includes the Bend metropolitan area and the Prineville micropolitan area, which had a combined estimated population of 216,310 by the United States Census Bureau in 2008.
As of the census of 2010, there were 76,639 people, 31
Irving Gordon was an American songwriter. Irving Gordon was born in Brooklyn, New York, lived on Coney Island, he was named Israel Goldener but changed his name to Irving Gordon. As a child, he studied violin. In high school he wrote a symphony piece. Gordon wanted to study at Juilliard but Jews were not admitted at that time. After attending public schools in New York City, Gordon worked in the Catskill Mountains at some of the resort hotels in the area. While working there, he took to writing parody lyrics to some of the popular songs of the day. In the 1930s, he took a job with the music publishing firm headed by talent agent Irving Mills, at first writing only lyrics, but subsequently writing music as well. After Gordon was introduced to Duke Ellington in 1937, Ellington sometimes invited him to put words to his compositions; however working with Ellington was one of the most difficult commissions there was, since most of the Ellington songs were instrumental pieces whose singable potential only emerged after they had been played and recorded by one or another of the soloists in the Ellington orchestra.
While working as Ellington's lyricist, Gordon wrote the words to Billy Strayhorn's piece "Prelude to a Kiss." For years he like. After writing "Mister and Mississippi", Gordon decided he enjoyed puns on state names and wrote "Delaware,", a hit for Perry Como. Irving Gordon is best known for his song, "Unforgettable." He wrote "Allentown Jail", played by numerous musicians and told the story of a man who stole a diamond for his girlfriend and ended up in the Allentown jail, unable to make bail and was recorded by the French singer, Edith Piaf among others<https://en.wikipedia.org/wiki/Allentown_Jail>. Late in his life, Gordon won a Grammy for Song of the Year when Natalie Cole re-recorded her father Nat "King" Cole's earlier hit of "Unforgettable." Gordon wrote both the words and music for "Unforgettable." Gordon did not care for rock music, which he said was composed not of "melodies but maladies." Gordon told the Los Angeles Times that by 1960 the vogue for rhymed words and hummable melodies had passed, "So I became a tennis pro.
I have many lives."Abbott and Costello performed a baseball comedy routine, "Who's on First?" which they perfected during their years in vaudeville. Gordon has been credited with writing "Who's on first?" Although others have claimed authorship. Gordon is noted for his contribution to music and lyrics of the Americana genre. For examples it was thought that his song Two Brothers was a folk song about the civil war. For several years before his death he was writing a musical about Sigmund Freud. Irving Gordon died of lymphoma cancer in California, he was survived by three sons. "Allentown Jail" "Be Anything, But Darling Be Mine" "Blue Prelude" "Delaware" "Mama From The Train" "Me, Myself and I" "Mister and Mississippi" "Nine Tenths of the Tennessee River" "Prelude to a Kiss" "Two Brothers" "Unforgettable" "What Will I Tell My Heart" "Sinner or Saint" "Sorta on the Border" "The Kentuckian Song" "Rollin' Stone" "Too Fat For the Chimney"
Franz Waxman was a German and American composer of Jewish descent, known for his work in the film music genre. His film scores include Bride of Frankenstein, Sunset Boulevard, A Place in the Sun, Stalag 17, Rear Window, Peyton Place, The Nun's Story, Taras Bulba, he received twelve Academy Award nominations, won two Oscars in consecutive years. He received a Golden Globe Award for the former film. Bernard Herrmann said that the score for Taras Bulba was "the score of a lifetime." He composed concert works, including the oratorio Joshua, The Song of Terezin, a work for orchestra and children's chorus based upon poetry written by children in the Theresienstadt concentration camp during World War II. Waxman founded the Los Angeles Music Festival in 1947 with which he conducted a number of West Coast premieres by fellow film composers, concert composers alike. Waxman was born Franz Wachsmann in Königshütte to Jewish parents in the German Empire's Prussian Province of Silesia. At the age of three Waxman suffered a serious eye injury involving boiling water tipped from a stove, which left his vision permanently impaired.
In 1923, at age 16, Waxman enrolled in the Dresden Music Academy and studied composition and conducting. Waxman lived from the money he managed to put himself through school. While working as a pianist with the Weintraub Syncopators, a dance band, Waxman met Frederick Hollander, who introduced Waxman to the eminent conductor Bruno Walter. Waxman worked as an orchestrator for the German film industry, including on Hollander's score for The Blue Angel. Waxman's first dramatic score was for the film Liliom; that year Waxman suffered a severe beating by Nazi sympathizers in Berlin that led him to leave Germany and move with his wife first to Paris, soon after to Hollywood. In Hollywood, Waxman met James Whale, impressed by Waxman's score for Liliom; the success of his score for Whale's Bride of Frankenstein led to the young composer's appointment as Head of Music at Universal Studios. Waxman, was more interested in composition than musical direction for film, in 1936 he left Universal to become a composer at MGM.
Waxman scored a number of pictures during the next few years, but the score for Alfred Hitchcock's Rebecca made his name. Waxman was called to work on scores of horror or suspense films, Rebecca was the culmination of the genre for Waxman. Rebecca was Hitchcock's first Hollywood film as part of his contract with David O. Selznick, thus it was the first time he was allowed a full symphonic score. Selznick financed the film at the same time. Waxman's score for Rebecca is eerie and ethereal setting the mood and as Jack Sullivan put it, becoming a "soundboard for the subconscious."In 1943 Waxman left MGM and moved to Warner Bros. where he worked alongside such great film composers as Max Steiner and Erich Wolfgang Korngold. A period of extended composition followed, including such films as Mr. Skeffington and Objective, Burma!. A climactic scene in Objective, Burma! was scored fugally, this would become one of Waxman's trademarks, returning in The Spirit of St. Louis and Taras Bulba. In 1947 Waxman formed the Los Angeles Music Festival, for which he served as music director and conductor for the rest of his life.
Waxman's goal with the LA Music Festival was to bring the thriving town to "European cultural standards", according to Tony Thomas. In addition to performing the work of great masters such as Stravinsky, he collaborated with his colleagues, such as Miklós Rózsa, conducting his Violin Concerto, his time at Warner Brothers did not last long and by 1947 Waxman had left Warner Brothers to become a freelance film composer, taking only the jobs he wanted rather than being appointed by the studio. Waxman scored the film Sorry, Wrong Number, which climaxes with the use of a passacaglia, highlighting Waxman's inventive use of unusual musical forms in film. Waxman had used classical forms before: the climactic "Creation" cue from The Bride of Frankenstein "is in effect a fantasia on one note."His work on Sunset Boulevard led to an Academy Award. The score is fast-paced and powerful, utilizing various techniques to highlight the insanity of Norma Desmond, including low pulsing notes and frequent trills.
According to Mervyn Cooke, Richard Strauss's opera Salome was the inspiration for the wild trills heard during Desmond's insane final performance. Waxman received a second consecutive Oscar for A Place in the Sun. However, while awards for film music highlighted the beginning of the 1950s, the decade is the decade during which Waxman began to write serious works for the concert hall; the Sinfonietta for Strings and Timpani came in 1955 and 1959 saw the completion of Waxman's oratorio Joshua. Composed to commemorate the death of Waxman's wife, Joshua with its strong Hebrew influences and extensive use of form is a powerful example of Waxman's compositional powers by the end of the 1950s. Waxman's life continued to see extreme growth as a composer. Christopher Palmer writes that at the time of his death in 1967, "Waxman was at the zenith of his powers." Waxman's output in the 1960s was more subdued than that which came before it, however he did write Taras Bulba in 1962. Waxman worked on several television shows, including Gunsmoke, in 1966.
"The Song of Terezin" was based upon poetry by children trapped in the Nazi's Th
Western is a genre of various arts which tell stories set in the latter half of the 19th century in the American Old West centering on the life of a nomadic cowboy or gunfighter armed with a revolver and a rifle who rides a horse. Cowboys and gunslingers wear Stetson hats, neckerchief bandannas, spurs, cowboy boots and buckskins. Recurring characters include the aforementioned cowboys, Native Americans, lawmen, bounty hunters, gamblers and settlers; the ambience is punctuated with a Western music score, including American and Mexican folk music such as country, Native American music, New Mexico music, rancheras. Westerns stress the harshness of the wilderness and set the action in an arid, desolate landscape of deserts and mountains; the vast landscape plays an important role, presenting a "...mythic vision of the plains and deserts of the American West". Specific settings include ranches, small frontier towns, saloons and isolated military forts of the Wild West. Common plots include: The construction of a telegraph line on the wild frontier.
Ranchers protecting their family ranch from rustlers or large landowners or who build a ranch empire. Revenge stories, which hinge on the chase and pursuit by someone, wronged. Stories about cavalry fighting Native Americans. Outlaw gang plots. Stories about a lawman or bounty hunter tracking down his quarry. Many Westerns use a stock plot of depicting a crime showing the pursuit of the wrongdoer, ending in revenge and retribution, dispensed through a shootout or quick-draw duel; the Western was the most popular Hollywood genre from the early 20th century to the 1960s. Western films first became well-attended in the 1930s. John Ford's landmark Western adventure Stagecoach became one of the biggest hits in 1939 and it made John Wayne a mainstream screen star; the popularity of Westerns continued with the release of classics such as Red River. Westerns were popular throughout the 1950s and 1960s. Many of the most acclaimed Westerns were released during this time, including High Noon, The Searchers, Cat Ballou, The Wild Bunch and Butch Cassidy and the Sundance Kid.
Classic Westerns such as these have been the inspiration for various films about Western-type characters in contemporary settings, such as Junior Bonner, set in the 1970s, The Three Burials of Melquiades Estrada, set in the 21st century. The Western genre sometimes portrays the conquest of the wilderness and the subordination of nature in the name of civilization or the confiscation of the territorial rights of the original, Native American, inhabitants of the frontier; the Western depicts a society organized around codes of honor and personal, direct or private justice–"frontier justice"–dispensed by gunfights. These honor codes are played out through depictions of feuds or individuals seeking personal revenge or retribution against someone who has wronged them; this Western depiction of personal justice contrasts with justice systems organized around rationalistic, abstract law that exist in cities, in which social order is maintained predominately through impersonal institutions such as courtrooms.
The popular perception of the Western is a story that centers on the life of a semi-nomadic wanderer a cowboy or a gunfighter. A showdown or duel at high noon featuring two or more gunfighters is a stereotypical scene in the popular conception of Westerns. In some ways, such protagonists may be considered the literary descendants of the knight errant which stood at the center of earlier extensive genres such as the Arthurian Romances. Like the cowboy or gunfighter of the Western, the knight errant of the earlier European tales and poetry was wandering from place to place on his horse, fighting villains of various kinds and bound to no fixed social structures but only to their own innate code of honor, and like knights errant, the heroes of Westerns rescue damsels in distress. The wandering protagonists of Westerns share many characteristics with the ronin in modern Japanese culture; the Western takes these elements and uses them to tell simple morality tales, although some notable examples are more morally ambiguous.
Westerns stress the harshness and isolation of the wilderness and set the action in an arid, desolate landscape. Western films have specific settings such as isolated ranches, Native American villages, or small frontier towns with a saloon. Oftentimes, these settings appear deserted and without much structure. Apart from the wilderness, it is the saloon that emphasizes that this is the Wild West: it is the place to go for music, gambling, drinking and shooting. In some Westerns, where civilization has arrived, the town has a church, a general store, a bank and a school; the American Film Institute defines Western films as those "set in the American West that the spirit, the struggle and the demise of the new frontier." The term Western, used to describe a narrative film genre, appears to have originated with a July 1912 article in Motion Picture World magazine. Most of the characteristics of Western films were part of 19th-century popular Western
Harry Landers was an American character actor. He was born in New York City. Landers was born on September 3, 1921, in New York City, to parents Jacob and Rose Sorokin, Jewish immigrants from Russia, he was the third-oldest out of seven children. Jacob abandoned the family early on in Harry's life. Landers' education came at Thomas Jefferson High School in Brooklyn. During World War II, Landers served in the United States Merchant Marine. In the mid-1940s, he began his career as a worker at the Warner Bros. studio in California. An encounter with actress Bette Davis led to a membership of Screen Actors Guild and an acting career, he started out as an extra and was uncredited. He studied at the Actors' Laboratory Theatre, known for its left-wing political affiliation. On Broadway, Landers appeared in Billy Budd, he gained additional theatrical experience in summer stock theatre. Landers is known for being the spokesman for Taster's Choice coffee in television commercials that aired in the 1970s, he played "Go Go" in The Wild One.
He had a regular role as Dr. Ted Hoffman on the television series Ben Casey and co-starred in the TV movie The Return of Ben Casey, he had a small role in the Alfred Hitchcock film Rear Window and a supporting role as Dr. Arthur Coleman in the final episode of the original Star Trek television series, "Turnabout Intruder", first screened in 1969, he played multiple roles in Cecil B. DeMille's epic The Ten Commandments. Landers died September 10, 2017, aged 96. Harry Landers on IMDb Harry Landers at the American Film Institute Interview with Harry Landers Classic TV History Blog, April 30, 2010 Harry Landers at Find a Grave
Passport to Suez
Passport to Suez is the 20th film featuring the Lone Wolf character. It was the eleventh of fifteen in the Columbia Pictures series, the last to star Warren William as the lead character, a jewel thief turned private detective; the Lone Wolf battles Nazi spies in Egypt in World War II. Michael Lanyard, the Lone Wolf, agrees to go to Alexandria to help the Allied cause during World War II. There, he and his valet, Llewellyn Jamison, are met by nightclub owner Johnny Booth. Fritz comes to drive him to see Sir Robert Wembley, head of the British secret service in the region. However, he is taken to meet Karl, the leader of a Nazi spy ring. Karl threatens to kill Jamison; when Lanyard reluctantly agrees, the two men are released. After they leave, Karl reveals to Fritz that he expects the Lone Wolf to try to trap him, but, all part of his plan; when Lanyard meets with Wembley, the spymaster makes clear that he does not want an amateur's help, but reluctantly agrees to let the Lone Wolf play along in order to gather more information.
Complicating matters further and Jamison encounter the latter's son Donald, a British naval officer, his fiancée, reporter Valerie King in Booth's nightclub. Lanyard soon suspects. In Booth's private office, he meets freelance spies or informers, who call themselves "Rembrandt" and "Cezanne". Cézanne shows him; when the two spies leave, Rembrandt shoots Cézanne. When King returns to her hotel room, Karl is waiting for her, she is one of his agents extracting information from Donald for their real goal: the plans for the minefields and defences of the Suez Canal. Meanwhile, the Lone Wolf is approached by "Whistler", yet another unscrupulous man with information to sell. Whistler sells. Karl visits Lanyard and gives him his assignment: break into a safe at British Intelligence and steal some documents. However, it becomes clear to all that Lanyard's part is a distraction; the plans have been stolen. Wembley orders the arrest of the Lone Wolf for treason, but Lanyard escapes, he and Jamison head for the laundry.
Along the way, they come upon the unconscious Donald. They take him along. Inside, they find overpower Karl, they discover the body of Whistler and a clue, shards of a distinctive watch crystal, just like the one King has, microfilming equipment, ashes of the defence plans. Lanyard deduces; when she telephones, Lanyard learns that she is at the hotel. Before they get there, Rembrandt kills her and takes the watch to Karl. Booth has an aircraft armed with machine guns. Lanyard pilots it, finds the speeding car taking Karl and Rembrandt to the submarine, guns them both down. Principal photography under the working titles of A Night of Adventure and The Clock Strikes Twelve, took place from April 29 to May 18, 1943; the "Lone Wolf" title character was played by Warren William in his last of nine films in which he portrayed the jewel thief turned private detective, a character created by Louis Joseph Vance in a series of eight novels published between 1914 and 1934. Eric Blore continued playing Lanyard's butler "Jameson."Director Andre DeToth, a staple in B-movies of the 1940s, provided his typical treatment.
"His most enduring legacy to directors and film students, was a series of superb B movies – westerns and crime dramas that he made in the late 1940s and 1950s. They were gritty, psychologically acute and unflinchingly violent." The Los Angeles Board of Review of the War Review Board disapproved the export of Passport to Suez this because the film portrayed British Intelligence as ineffectual and naive. Film historian Leonard Maltin considered Passport to Suez as a worthy addition to the "Lone Wolf" series: "Nazi spies lead sleuth William on a wild goose chase as part of a plan to blow up the Suez Canal in this well-made Lone Wolf entry with more comedy relief from Blore than usual." Passport to Suez at the American Film Institute Catalog Passport to Suez on IMDb Passport to Suez at the TCM Movie Database Passport to Suez at AllMovie
Dark Waters (1944 film)
Dark Waters is a 1944 Gothic film noir based on the novel of the same name by Francis and Marian Cockrell. It starred Merle Oberon, Franchot Tone and Thomas Mitchell. A shaken survivor of a ship sunk by a submarine travels to her aunt and uncle's Louisiana plantation to recuperate, but her relatives have other ideas. Merle Oberon as Leslie Calvin Franchot Tone as Dr. George Grover Thomas Mitchell as Mr. Sydney Fay Bainter as Aunt Emily Elisha Cook, Jr. as Cleeve John Qualen as Uncle Norbert Rex Ingram as Pearson Jackson Nina Mae McKinney as Florella Slant Magazine's film critic, Glenn Heath Jr. liked the film writing, "Mood dictates narrative in Andre de Toth's Dark Waters, a hallucinatory jigsaw puzzle set in the deep swamps of 1940s Louisiana that becomes a perfect breeding ground for noirish shadows and deceptive wordplay... Dark Waters ends with multiple dead bodies sinking into the bayou and Leslie directly confronting what one character calls her "persuasion complex." The bravura finale through the oozing locale is a stunner, despite some surface romance that feels a bit forced, the film stays true to its mystically dark mood, a slithering distant cousin to Tourneur's I Walked with a Zombie.
List of American films of 1944 Dark Waters on IMDb Dark Waters at AllMovie Dark Waters at the TCM Movie Database Dark Waters informational page and DVD review at DVD Beaver Dark Waters film at Hulu