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Jan 07, 2017  

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Unlike most people on the list, who are shown solo, Martin

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is surrounded by John, Paul, George, and Ringo. The brief bio quotes him saying when youre with them, you feel enriched in their presence, and

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when they go away, you feel diminished. Another person associated with the legend, Alan Williams, the Liverpool club owner who got the boys the all-important early gigs in Hamburg, died on the last day of the year, too late to make the CBS

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tribute. Lights and Camera In his story Lights, Chekhov is seeing a specific portion of the world for us, for all time, somewhere in the Russian night where the lights stretch along the line to the very horizon, then turn in a semicircle to the left and disappear in the darkness of the distance: There seemed to be something in common between them and the stillness of the night and the disconsolate song of the telegraph wire. It seemed as though some weighty secret were buried under the embankment and only the lights, the night, and the wires knew of it. Its Chekhovs eye for what matters that puts you visually into his world again and again in story after story, as if he were inadvertently leading the way to the worldwide phenomenon of cinema that would include the Turkish director whose films glow with his influence and the filmmakers pictured on the CBS site. Like Jacques Rivette, whose New Wave landmark Paris Belongs to Us was under the Christmas tree this year, and Polish director Andrzej Wajda, who thought hed never live to see freedom and gave the world the moment in Ashes and Diamonds where a young resistance fighter sets glasses of spirit aflame in a requiem for his lost comrades. Then theres Hungarian-born cinematographer Vilmos Zsigmond, who filmed the lights of the descending mother ship in the denouement of Steven Spielbergs Close Encounters of the Third Kind, and the close-up of blissed-out Julie Christie in the last shot of Robert Altmans McCabe and Mrs. Miller. Another filmmaker who died last year, Irans Abbas Kiarostami directed one of the best films of the past decade, Certified Copy, which had to be made outside Iran. Its about a couple playing at marriage (or are they really married?), a Chekhovian situation, with Juliette Binoche beautifully portraying a woman Chekhov, whose mistress was writing, would have admired with his gift for bringing to life, in a few words, a gallery of enfatuating girls and women: cunning countesses, and seductive Jewesses, heart-stirringly vulnerable peasant girls or lonely intelligent women like the title character in The Schoolmistress. At their beautiful best in the CBS gallery, after the mother and daughter it opens with, are, among others, ZsaZsa Gabor, Patty Duke, Tammy Grimes, Gloria DeHaven, Nancy Reagan, Anne Jackson, ballerina Violette Verdy, and Madeline Lebeau of Casablanca.

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You've got to do something. Show us what you have." The vice president also said that Trump as president will have to propose legislation that Congress and the public can then assess. He said that it'll be "much clearer what he's for and against" once he's in the position of governing. Biden also said it's "dangerous" for Trump to have publicly criticized the U.S. intelligence community over its conclusion that Russia interfered in the November election. Biden said it's "absolutely mindless" for a president not to have confidence in or listen to intelligence agencies. The vice president said it would be legitimate to question intelligence and ask for more detail or disagree. But he said that's different than Trump claiming he knows more than the intelligence agencies. Biden said that's like saying, "I know more about physics than my professor." He says that's worrisome, but he assumes Trump's behavior will change.