They Call Me Trinity DVD: A Fun and Funny Western Parody

I love these movies. They are definitely the high point of comedy Spaghetti Westerns, in my experience. In fact, by some distance. I just heard recently that they were released in quality editions, as they very much deserve to be treated respectfully.

For those cheapskates out there like me. You can actually down load the first movie for free over at archive.org. Along with other films that have fallen into public domain. Plus they have a vast live music area.

they call me trinity dvd

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Follo wing the success of They Call Me Trinity, writer / director Enzo Barboni Revived the characters Trinity (Terence Hill) and Bambino (Bud Spencer) for the sequel Trinity Is Still My Name. In this one, the boys promise their "dying" father (John Ford regular Harry Carey, Jr..) That they'll Straighten Up and Become The Notorious bandits he always wanted Them to Be. They try But deprecated Wind Up Helping an itinerant family and breaking up an arms smuggling gang with the Sami high humor and slapstick That Drove the original Trinity movie. Trinity Is Still My Name became An Even Greater Success Than ITS predecessor, rakingin Almost Twice as much in Italy as Sergio Leone's The Good, The Bad And The Ugly and Becoming The Highest grossing Spaghetti Western in cinema history.

Hill and Spencer's birth names are Mario Girotti and Carlo Pedersoli, respectively. They first worked together under their real names in Hannibal (1959), but not as a duo, as they only appear in supporting roles and have no scenes in common. Their first movie as a duo was God Forgives... I Don't! Peter Martell was originally chosen as the leading actor next to Spencer, but the day before the first shoot Martell broke his foot and was replaced by Hill, which launched their partnership.[4][5] The film director asked the two actors to change their names, deeming them to be too Italian-sounding for a Western movie. At the time cast and crew in Italian Westerns frequently adopted American names to give the film a better chance of selling in non-Italian speaking countries; Girotti changed his name to "Terence Hill" and Pedersoli chose "Bud Spencer", with Bud inspired by Budweiser beer and Spencer by the actor Spencer Tracy.[6]

... All the Way, Boys! (1972) was the first film set in a modern context, although many other slapstick elements of the earlier films were carried over. [Note 1] They starred in more non-Westerns: Watch Out, We're Mad! (1974), Two Missionaries (1974), Crime Busters (1977), Odds and Evens (1978), I'm for the Hippopotamus (1979), Who Finds a Friend Finds a Treasure (1981), Go for It (1983) and Double Trouble (1984). Miami Supercops (1985) was their final non-Western film together and their last movie before they reunited nine years later for their final pairing in Troublemakers (1994).

I am the author and maintainer of the driver that talks to thisentire class of devices. To me, it's not a mystery.USB mass storage devices are handled by a virtual HBA in the SCSIsubsystem. For direct-access type devices (disks, Flash, etc.),sd.c checks the write-protect status with a MODE_SENSE command.The problem is, MODE_SENSE isn't used by Microsoft Windows.Thus, the firmware to recognize, process and respondto that command properly often is lacking from USB devices, especially thosethat are under extreme price pressure, such as the keychain-typeFlash devices discussed in the article. Sometimes, they simplyrespond with incorrect data.

I recently asked the Computer History Museum(www.computerhistory.org) if they would like my back copies ofLinux Journal. Museums always are reluctant to take items, asit is hard to raise money to take care of the things. So, it wasgreat to hear they were excited to add LJ to their collection.I thought you might like to see Linux Journal becoming a partof history; here is museum curator Sharon Brunzel holdingLJ #1.Note that she is wearing curator's gloves, required when handlingall historical objects.

April 10, 2008 at 01:23 PM I've worked with a number of people who taught themselves in order to play fiddle music, and then came for lessons. What I notice with many is that they come to "logical" conclusions about technique that are very contrary to common practice, and then need lots of extra time to undo before they can play more successfully. As a simple example, a student decides to hold the violin more or less straight, thinking that it is a good thing to be able to look directly at the fingers with both eyes. Or pulls the bow mostly from the shoulder. Watching very good players and READING all the teaching content in books designed for school programs would be some help. Being in Viet Nam with no available teachers is one thing. But there have been many posts here about ways to get some solid instruction via group lessons, joining a community group for "advanced beginners", etc., for someone who feels they can't budget some private lessons. At some point it does come down to what your time is worth, when you have to redo, or plateau out much too soon. Sue

That's one way to keep an external check on your progress. But you could get by without, though presumably a real affinity (natural understanding for and perhaps to some degree a natural talent for its technique) for the instrument would help. If you struggle obviously you will be in far more danger of picking up bad habits. Even the very talented can pick up such bad habits, so you have to become very knowledgable about the subject of violin technique, how to hold the instrument, what to do and what not to do, and performance style (also what they call taste). This is possible with time, hard work, and love for the instrument and for music.

I can remember once standing talking to some people in the crowd of audience members during intermission of a classical music concert. We were all violinists, or associated with learning violin in some way. The mother of one of the violinists asked me, "and tell me, who do you study with?". I said, "Actually, I'm teaching myself", and smiled at her. She smiled with a sudden worried look on her face and physically backed away from me. That was the end of that conversation. In her eyes, I instantly became a charlatan, or at best an amateur not worth knowing.

In my own case I chose self teaching because I could not find the right kind of teacher. There are no violinists similar to Clayton Haslop around where I live, and he represents the style of playing, musically and technically, that I have realised is the most suitable for me to learn from.

Do you have access to high speed internet and a web cam? I bet you could play for people over the internet. It's not the best solution, but it's better (much better!) than nothing at all. Lessons by snail mail video would work too, I suppose, but slower. Basically, ANY input from a teacher, using some sort of video would help you out. Barring that, start watching every video you can of good players. Go to as many concerts as you can afford and try to get at least a few lessons somehow!

Most teacher(well,may be all,I'm not sure)consider private student as a cow,trying to milk as much money from him as possible.They don't teach you everything they can,because they consider their knowledge as something so precious that they only teach their favorite.

The biggest benefit I got out of my recent teacherless time the opportunity to define and refine some of my own personal goals. I was able to figure out and come up with something intelligent to actually say to a teacher once I had one. My experience has been that teachers expect more in that particular area from adult students than from kids: they expect adults to know where they want to go, if not necessarily how to get there. Which makes sense: the teacher can be of much more help to you if you know this.

That leads to the point that finding the right kind of teacher is in a way more important than finding a teacher. I completely agree with. But finding a right teacher to me is 10% luck and 90%, faith commitment and financial priority, and unlimited amount of faith that they are out there to be found. With limited financial resources and seemingly unlimited responsibilities we have these days, how much is too much to allocate the money to a highly qualified and reputable teacher is a very personal decision.

April 18, 2008 at 08:13 AM Hey Juda, Violinmasterclass.com is an excellent site, I've used that myself. I got this new book recently called "Basics" by Simon Fischer, it's extremely detailed and very helpful. Also, he wrote a book called "Practice" which is very helpful, I recommend it strongly. There are pictures and step by step guides for every technique on the violin. VERY helpful. Learn more than you would from most teacher, really.

So I started looking around for a teacher. My local violin shop was very helpful and provided me with a shortlist of teachers whom they believed would suit my purposes. The one I chose had been trained under Shinichi Suzuki in Japan as a classical professional and is currently very active in the folk world, both on stage and in the recording studio. She analyzed my technique thoroughly over the first two lessons and completely reconstructed it. What I hadn't appreciated earlier was that being a cellist would only take me so far, but beyond that level there is a great deal of essential detail in playing the violin that cannot be learned from cello playing and is not all that obvious from observation of other players, unless you already know exactly what you're looking for (which I didn't). Face-to-face teaching is essential to sort it out.

My teacher did indeed sort out my problems and after a couple of years my progress was such that I started wondering seriously about changing from cello to violin in my orchestra. I mentioned this to my teacher and she considered I would be ready to make the switch in a few weeks. So at the first rehearsal of the new year I turned up with violin instead of cello and took up a place in the seconds (the orchestra secretary, the concert master, and leader of the seconds knew, but no-one else). That was three years ago, and they haven't suggested that I return to the cello section :). 2ff7e9595c