strawberry fields ( 2011 film )
having enjoyed a successful premiere at the 2011 london film festival frances lea, director of strawberry fields, is destined for bigger things. part of the microwave scheme, the film marries mystery with sleepy summer visuals to evoke intrigue and curiosity .
frances lea’s' strawberry fields' picked for u. k. distribution by indie player soda pictures
written by lea and judith johnson, strawberry fields is produced by liam beatty and lucie wenigerová .
is a tale of sibling rivalry and playing of mind games set in the strawberry fields of kent. starring
frances lea’s' strawberry fields' picked for u. k. distribution by indie player soda pictures | hollywood reporter
in a recent trial, totally impermeable film (tif) was laid out over salinas fields to prevent the fumigant from leaking. the new film was compared with the standard film used by growers. fumigant concentrations under tif were 46 percent to 54 percent higher than under standard film, and the higher concentrations were correlated with higher strawberry yields and better weed control. scientists report these findings in detail in the october–december 2011 electronic edition of the university of california’s california agriculture journal .
strawberry fields will be released in april 2012 as part of soda pictures' new british cinema quarterly (nbcq) platform .
the research article “totally impermeable film retains fumigants, allowing lower application rates in strawberry” can be viewed and downloaded at urltoken .
as if the strawberry fields festival line - up wasn' t big enough, they' ve gone and added more to an already stacked roster .
microwave is the ‘training through production’ feature film venture from film london and bbc films with support from u. k. training body skillset .
uc scientists now report that use of totally impermeable film in strawberry fields can improve the effectiveness of a widely - used mb alternative known as 1, 3 - d (1, 3, dichloropropene). use of the film reduces the amount of 1, 3 - d needed to maintain yields, while lowering field emissions overall .
london – frances lea’s strawberry fields, starring fresh faces anna madeley, christine bottomley and emun elliot, has been picked up for u. k. distribution by indie player soda pictures .
nsw boutique event strawberry fields will hit festival season with everything it’s got, as the annual celebration of music and arts confirms an exciting headliner in yothu yindi' s new project and more .
described by the guardian as ‘a terrific british debut [ … filled ] with lush, summery images and an alluringly mysterious central relationship between two sisters’, strawberry fields both mesmerises and confuses. redeemingly, lea’s direction provides the film with some beautiful shots and stunning visuals of the kent landscapes .
this low - budget film is punctuated by nicely staged moments that make great use of the kent backdrop of lush fields, coastal spots and rural idyll, and while the script is subtle enough the film is often played with too much quivering and quirky emotion to really convince .
the microbudgeted indie project is a spring pictures production bankrolled by film london microwave, in association with bbc films, and kent county council film office with the assistance of screen south .
strawberry fields is the story of two sisters who both like the same man but in different ways and is a bold and inventive melodrama that offers a distinctively refreshing spin on a complex... see full summary »
the strawberry picking backdrop is appealing – despite the fact that these pickers never seem to work overly hard (it is back - breaking work after all) and have far too much time for fun in the sun – and the locations evocative, but despite having strong moments strawberry fields never quite sustains the psycho - drama it is striving for .
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co - star emun elliott provides the sisters with a physical problem as gillian struggles to escape the confines of her sister’s strong hold to enjoy time with him. lust and love fill strawberry fields and help aid the confusion the film portrays. gillian enters the film, seemingly normally, riding a bike. her actions soon evoke question marks and we watch as she steals clothes and presents herself under a new persona at a strawberry picking field. here she makes new friends that are confused to find she’s not quite who she says she is, a revelation made thanks to the arrival of her batty sister emily .
festival of art, music and creative expression strawberry fields has announced its exciting return for 2016. not only will the festival return to the majestic murray river just outside of tocumwal, it will also expand, to create almost double the activities and acts presented in the past .
long hot summers (a thing barely remembered here in the uk) and shrill, vibrant, sexual drama do tend to go hand - in - hand, and while frances lea’s strawberry fields can never quite deliver when it comes to a needed dose of sweaty sexuality, it is fine as a quivering psychological drama as a pair of damaged sisters drive each other crazy while working as pickers at a strawberry farm .
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lea’s film soon loses its focus, veering away as it does from strawberry picking and instead settling itself in a realm of weirdness. the bond between the sisters, although forming the focus of the film, never feels fully explored and the murderous intent that grows in them both is ill explained. emily is willing to do whatever it takes to keep her sister, but we’re never quite sure why .
strawberry fields is the story of two sisters who both like the same man but in different ways and is a bold and inventive melodrama that offers a distinctively refreshing spin on a complex story of lust, rivalry and liberation. a seemingly carefree woman is seen cycling through narrow lanes before reaching a strawberry farm where she takes on a job, living in a shabby caravan, starting to develop friendships with her co - workers and in particular one rugged farmhand, kev. although aloof and mysterious its not until a dazzling woman appears in the strawberry fields that we discover who she was running away from â
her sister, emily. emily is eccentric to the point of dangerous and its not long before the two sisters form a battle of wills with kev caught in the crossfire .
strawberry fields is the story of two sisters who both like the same man but in different ways and is a bold and inventive melodrama that offers a distinctively refreshing spin on a complex story of lust, rivalry and liberation. a seemingly carefree woman is seen cycling through narrow lanes before reaching a strawberry farm where she takes on a job, living in a shabby caravan, starting to develop friendships with her co - workers and in particular one rugged farmhand, kev. although aloof and mysterious it' s not until a dazzling woman appears in the strawberry fields that we discover who she was running away from - her sister, emily. emily is eccentric to the point of dangerous and it' s not long before the two sisters form a battle of wills with kev caught in the crossfire .
strawberry fields puts, to put it in one neat analogy, a lot of strawberries in one punnet. it explores the unbreakable bond held between siblings and the heady delights of summer. the sisters, gillian (anna madeley) and emily (christine bottomley), are trying to cope with growing up and growing apart. although the actresses seem to be a little old to be experiencing such dilemmas, the problem is dealt with adeptly and the strangeness inherent in both their relationship and the film is palpable .
i liked this modest film, its unusual setting, its new - folk music (by troubadour rose) and its conscious echoes of a streetcar named desire .
head - on crash... peter tork, davy jones, michael nesmith, micky dolenz in the controversial 1968 film. photograph: everett collection / rex feature
emissions are a chief concern. methyl bromide, a widely used fumigant in combination with chloropicrin, has been phased out since 2005 because it is an ozone - depleting substance targeted by the montreal protocol (a global treaty to control ozone depletion) and the u. s. clean air act. however, it is still being used in some california strawberry fields under a critical - use exemption. restrictions on the use of 1, 3 - d to 90, 250 pounds per 36 - square - mile township (called the township cap) leave few other options for growers in key strawberry production areas near densely populated areas .
the strawberry industry is highly dependent on soil fumigation to control pests and maintain high yields. the methyl bromide alternative, 1, 3 - d, can be used only in certain quantities, due to air quality concerns .
at one hour, twenty - eight minutes and fifty - eight seconds, keeping rosy isn’t a particularly long film, however, its meandering middle section makes it seem much longer; i myself found that i was checking facebook and reading the news whilst watching it, far more often than i would have liked. this is a shame because if it wasn’t for such a lacklustre narrative, some truly bad writing and terrible cinematography, keeping rosy (2014) had the potential to be a fine film. all the pieces are there, but the film never takes advantage of them .
at the height of their fame, the monkees teamed up with jack nicholson to film the psychedelic classic head – and destroy their careers in the process. so how do they feel about it now
nbcq is a soda release strategy aiming to nurture and support young british film - making talent by taking independent films from festivals and providing an alternative distribution platform to reach audiences around the u. k .
ultimately, what’s stopping keeping rosy from being subjectively ‘good’ is the chronic genre uncertainty which obviously plagued its script. through most of the film, keeping rosy is a kind of modern day hitchcock movie with an incredibly bleak london atmosphere; at times it becomes a black comedy and at others it’s a charming piece about a forty - something woman finally having a baby. yet, throughout all these genre - shifts, it still retains its bleak, london atmosphere. it’s not all bad, though. i think the use of sound in this film should be held up as an example in film schools, and the understated acting style used by peake and the rest of the cast is sublime, but such glimmers of excellence cannot save a film like this, any more than a silk shirt could function as a parachute .
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the movie, billed as a twisted tale of sibling rivalry, sexual awakening and mind games one hot english summer, is due to unspool during this year’s upcoming bfi london film festival which starts wednesday, oct. 12 .
keeping rosy’s saving grace is its actors and actresses, who, with the exception of blake harrison in the form of blackmailing security guard roger, perform their roles very well. i was particularly captured by jen, a new mother who came into work to show off her new baby and the wife of charlotte’s boyfriend, tom. in a film mostly consisting of actors playing small roles, hart managed to give her character real depth and emotional complexity, managing to introduce themes in a very short amount of time. this, combined with the relationship that she has with charlotte and tom, and the relationship that they have with each other, gave the film a blissful feeling of outside context: that this is only a small part of a much wider world, which this film desperately needed. it’s the simple things that can really elevate a film, especially an independent one like keeping rosy with its relatively limited budget .
from there, the film meanders through a long middle section which sees charlotte bonding with the baby and naming her rosy, breaking up with her long - time partner who is also the husband of jen (tori hart), one of charlotte’s former work colleagues, inviting her younger sister and niece to visit her, meeting with her relatives and realising that cctv evidence exists of her disposing of mykala’s body. then, the film ends. not with a bang, but a quiet kiss against charlotte’s flat’s railing .
arriving with a bang on 12 september, 1966, the monkees television show was the acceptable face of the counterculture, mixing cheerful anti - establishment spirit and witty, innovative direction with the old - fashioned knockabout humour of the three stooges and the marx brothers and some brilliant songs – the neil diamond - penned i' m a believer kept both good vibrations and strawberry fields forever off the top of the us charts .
the only time you saw long - haired kids on television was when they were being arrested ,
says dolenz .
and then we come along and all we want to do is have fun and dance and sing and help little old ladies across the road .
comparing tif with standard film, and methyl bromide plus chloropicrin with varying amounts of 1, 3 - d plus chloropicrin, the scientists rated the effectiveness of tif. the results, writes fennimore, suggest that to achieve fruit yield and weed control similar to methyl bromide and chloropicrin, 33 percent less 1, 3 - d plus chloropicrin is needed under tif than standard films .
blake harrison (who i must confess i did not enjoy in this film) needn’t worry about my opinion of him, though. i feel that the problem with his psychopathic, drug - taking, blackmailing security guard lies in the script and not with me. his character became villainous so quickly that i was left wondering, at times, if mr harrison’s script called for him to twirl his moustache menacingly .
jittery gillian (anna madeley) cycles through the kent countryside and stumbles across rymans farm, where they happen to be recruiting strawberry pickers. offered work and put up in a caravan on the farm along with a bunch of other itinerant pickers, she begins a tentative relationship with hunky scottish picker kev (emun elliott), but things are soon ruined for her with the arrival of her high - maintenance sister emily (christine bottomley), sporting a long red - dress and a ‘look at me’ attitude .
only those over 15 years are admitted. nobody younger than 15 can rent or buy a 15 - rated vhs, dvd, blu - ray disc, umd or game, or watch a film in the cinema with this rating. films under this category can contain adult themes, hard drugs, frequent strong language and limited use of very strong language, strong violence and strong sex references, and nudity without graphic detail. sexual activity may be portrayed but without any strong detail. sexual violence may be shown if discreet and justified by context .
this movie is startling... by denoting the typical asian american stereotypes, and showing the emotion and history of asian history. it' s important to watch this film in order to see what it' s like to try to identify with a culture. and the role the past has with dealing with the present and the future. this was a great movie, incendary at best. watch and you' ll understand. the director also did a fine job at showing the turmoil within the angst filled teen and her mother and its manifestation .
the whole scene is only a few minutes long, yet it is unbelievably effective at creating tension – i found myself jumping out of my seat. another time when the film shows promise is near the start, just after charlotte has been fired from her job. the camera angle is focussed on her face, resting against the train’s window. in the background, we can hear the other train passengers arguing. the argument escalates until, suddenly, furious about having been fired, charlotte strikes the window. in that one moment, the woman so detached from the world becomes a punctuation mark on everything happening around her. it’s perfect .
i was very impressed with the film’s music and the way that it utilised diegetic and non - diegetic sounds to intensify suspense and keep the viewer’s attention on the screen, whilst managing to use it as a storytelling device. one instance of this is near the beginning. after charlotte has murdered mykala and disposed of her body, and just after charlotte has realized that mykala’s car is still in the garage downstairs, she goes downstairs to get rid of the car. the garage is quiet. charlotte gets into the car and turns the key. the car’s stereo plays row row row your boat. behind her, charlotte hears crying. it dawns on her. we realise it too. she turns around and sees a crying infant in the back seat: mykala’s daughter – the titular rosy !
the first time they saw the final cut, the band weren' t sure what they' d just made .
it was probably more confusing to me than it was to the average moviegoer ,
tork says .
it was misunderstood by a lot of people ,
dolenz says. in retrospect, the marketing seems suicidal. posters featured the balding head of the media theorist john brockman and the slogan :
what is head all about? only john brockman' s shrink knows for sure !
the so - called monkees movie made no mention of the monkees .
most of our fans couldn' t get in because there was an age restriction and the intelligentsia wouldn' t go to see it anyway because they hated the monkees ,
dolenz says. jones thinks rafelson and nicholson were just
practising their film techniques. they were throwing us to the' gators at that point .
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according to lea, the story is inspired by a streetcar named desire (a bold statement indeed), but while it never quite reaches tennessee williams literary heights (or legendary performances) it does offer moments to intrigue despite never really convincing as a whole .
gillian has been trying to escape her sister’s manipulative behaviour, and her arrival both forces into an even more intense relationship with kev and also responding angrily to any aside or comment by emily. as emily intensifies her attempts to control her sister the scene is set for sex and violence as kev responds to emily’s machinations .
christine bottomley is impressive as the bonkers but attractive emily (the blanche dubois role here), with a nice line in flowing summery dresses and a sustained edginess, though anna madeley has a harder role as the annoyingly childlike gillian. it is the less showy role, but madeley never manages to make her sympathetic or appealing .
the three - day weekend gross (excluding previews) of july 6 - 8 was £6. 2m
british summer picking strawberries, where she meets and falls in love with fellow picker kevin. but her idyllic new life is jeopardised by the arrival of her sister emily .
) is released across the uk this week. there will be a special preview at
the isle of sheppey boasts some unique landscapes, such as salt marshes and shell beaches that have attracted many previous filmmakers, such as the hide (2009), great expectations (1989) and top gear – the sweeney (2012) .
foxbury farm is a large fruit grower in sevenoaks and was a new find for this project .
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, who play onscreen lovers, attended willard jr. high school together in the early 70s, in berkeley, california .
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an inventive melodrama referencing tennessee williams and a streetcar named desire, a complex story of lust, rivalry and liberation in kent countryside .
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
grief and a messy shared history hang in the air like a river mist that won' t clear, and the two lead stars make it worthwhile .
the movie isn' t perfect and arguably doesn' t quite come together at the end, but it works as an intense and bizarre psychological drama, and the kent landscape is gorgeously evoked .
beautifully shot and mostly well executed. lea and her cast are worth looking out for .
aside from the first - rate cinematography and editing, it' s is so disappointingly arch that we struggle to believe anything, even as it touches on important themes .
its simplicity is both effective and deceptive - a testament to the script' s intelligence and to the actors' beguiling (if slightly histrionic) performances .
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the festival will return to the picturesque banks of the murray river in tocumwal from november 17 – 19 with the aforementioned headline act painting a good picture of what to expect from its eclectic line - up .
yothu yindi will deliver classic hits and new material, all with an “ electronic twist” for the treaty project — an endeavour that sees the aussie icons reunite with gavin campbell of filthy lucre fame who produced a widely acclaimed remix of the song 25 years ago .
in keeping with the anniversary celebrations, legendary amsterdam label rush hour will mark 20 years with a showcase that includes antal, hunee and soichi terada, while fellow dance gurus andrew weatherall, optimo and mr scruff share the stage with local favourites total giovanni, sampa the great and more .
andrew weatherall, archie hamilton, aurora halal, cc: disco! , dj bone, fatima & alexander nut, frankey & sandrino, francis inferno orchestra, harvey sutherland & bermuda, k + lab, lovebirds, mall grab, monkey safari, monolink, mr scruff, nicola cruz, optimo, oxia, peggy gou, rush hour 20th anniversary showcase ft. antal, hunee & soichi terada, sampa the great, sebastian mullaert, the teskey brothers, total giovanni, yo! mafia, vaal and yothu yindi presents the treaty project
the annual celebration of music and arts has today added the likes of extrawelt, matthias meyer, sampology, daniel avery and afta - 1, as well as a whole host of other international and australian acts .
the boutique event, taking place on the picturesque banks of the murray river in tocumwal from november 17 – 19, announced back in june that the yothu yindi dance music project would be headlining the festival .
andrew weatherall, archie hamilton, aurora halal, cc: disco! , dj bone, fatima & alexander nut, frankey & sandrino, francis inferno orchestra, harvey sutherland & bermuda, k + lab, lovebirds, mall grab, monkey safari, monolink, mr scruff, nicola cruz, optimo, oxia, peggy gou, rush hour 20th anniversary showcase ft. antal, hunee & soichi terada, sampa the great, sebastian mullaert, the teskey brothers, total giovanni, yo! mafia, vaal and yothu yindi presents the treaty project
since its debut seven years ago, the festival has had young, local and international names play its grounds including alex smoke, andy scott, tiga, soul cap and palms trax .
punters can also head on down to the festival from thursday for the first time ever, spending a day splashing in the murray river before festival proceedings kick off .
the festival will take place from 17 nov to 20 nov this year. check out the 2015 aftermovie below .
wonderfully understated acting and a wonderful soundscape made disappointing by terrible writing, lackluster cinematography and unpredictable genre and tonal shifts .
when charlotte' s life disintegrates, we follow her on a heart - racing journey of self - discovery, atonement and danger .
high - class, subdued acting from every member of the cast, as well as a wonderful soundscape worthy of academic study .
keeping rosy is the story of a woman named charlotte (maxine peake), who, after getting fired from her job at a leading media company in london, murders her eastern european maid, mykala (elisa lasowski), following an argument about smoking in her apartment and her belief that mykala had stolen a bottle of champagne. things are only complicated when, in the process of disposing of her former maid’s body and her possessions, charlotte discovers mykala’s baby in the back seat of her car .
but if keeping rosy’s use of sound is perfect, then its cinematography is god - awful with a capital awful. too many lingering shots, too many close - ups from positions that make me wish i could pick up the camera and move it. extreme close - ups are used to convey intimacy and show the importance of things, but they’re unnecessary in cases such as this, where the characters are the only thing of interest on screen. in the director’s defence, the cinematography does manage to convey the overbearing sense of loneliness in london very well, and there are a few shots that i did like, but such instances are rare .
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avy jones doesn' t really want to talk about head. the former monkees heartthrob is happy to talk about his old home in manchester, his new home in florida, his racehorses, his theatre career – anything, basically, except the cryptic, psychedelic art movie that, in 1968, marked the end of the monkees' short tenure as the biggest rock band in america .
we were pawns in something we helped create but had no control over ,
he says crossly .
we should have made ghostbusters, ok ?
head could never be mistaken for ghostbusters. it' s a fourth - wall - shattering, stream - of - consciousness black comedy that mocks war, america, hollywood, television, the music business and the monkees themselves. these days, it is fondly remembered as one of the weirdest and best rock movies ever made, and a harbinger of the so - called new hollywood. quentin tarantino and edgar wright are both fans. dj shadow and saint etienne have sampled its dialogue. according to director bob rafelson, the beatles and the rolling stones both requested private screenings, while thomas pynchon attended a screening disguised as a plumber. but to the fans who had made the monkees household names, it might as well never have existed .
the movie dropped like a ball of dark star ,
says bassist peter tork .
the simile of a rock in the water is too mild for how badly that movie did .
jones, tork and drummer micky dolenz are about to embark on a reunion tour but, even after 43 years, the subject of head still stirs complicated emotions. jones is more peevish than his cute television persona, and tork more thoughtful than the clueless dope he portrayed. only dolenz is instantly recognisable as the up - and - at -' em showbiz pro. (guitarist mike nesmith, who is prickly and distracted in head, is sitting out this reunion .) their memories of head are as different as their personalities .
i can only give you my personal view on this ,
dolenz insists .
you' ll get very different answers from them. it' s like rashomon .
rafelson, a charismatic director hungry for his big break, dreamt up a tv show about a rock band, inspired by the beatles and especially richard lester' s a hard day' s night. his business partner in the production company raybert, bert schneider, was the son of the head of columbia pictures, whose tv division agreed a deal for the show in 1965. putting out a call for
four insane boys ,
they auditioned such future stars as harry nilsson, stephen stills and van dyke parks before settling on two former child actors (jones and dolenz) and two unknown folksingers (nesmith and tork) .
hurt by (accurate) claims that they didn' t play on their own records, the band practised hard and went out on tour. led by nesmith, who told dolenz the process was like pinocchio becoming a real little boy, they seized creative control with their third album, headquarters, and became bona fide rock stars. they hung out with the beatles and toured with jimi hendrix as support. during one visit to tork' s laurel canyon mansion, singer jackson browne later recalled :
jimi hendrix was up there jamming with buddy miles in the pool house, and peter' s girlfriend was playing the drums, naked .
when we made headquarters, i thought i' d died and gone to heaven ,
says tork .
my whole goal had been to be a member of a band that worked. the next thing i know we' re making a movie and it doesn' t have anything to do with the business of being in a band together .
the movie was conceived at the height of their success, but fame, dolenz once said ,
was slowly burning a hole through the centre of our brains
. there is still dispute over the point of a monkees movie .
there' s some weight behind the idea that bob and bert wanted to wreck the monkees, to stop it cold in its tracks ,
says tork .
i' ve never known for sure. bert and bob might have thought out loud:' let' s kill the monkees!' or they may have not thought so out loud but at some unconscious level, they were sick of the monkees and wanted to do something else .
rafelson is 78, retired and sick of interviews, but he agreed to answer a few questions via his daughter, gabrielle .
bob was urged by his partners and friends not to make a movie with the monkees ,
gabrielle says .
they felt he had done his work with them, and their audience was already defecting. but bob felt he wanted to complete the cycle. he felt the truth of the monkees story had not been told – their manipulation, protest and substantial talents. he felt the true story, in abstract [ form ], would be more than worth the telling .
rafelson introduced the band to his friend, a struggling b - movie actor and screenwriter named jack nicholson .
jack was fabulous ,
tork says .
we adored him, all of us. michael practically fell in love with him, in a manly sort of way .
dolenz agrees :
he was such a wonderful, charismatic, funny guy. jack spent a lot of time with us. he hung out on the [ tv ] set and came out on tour, just picking up the vibe .
one weekend in late 1967, they all decamped to a hotel suite in california' s ojai valley for a brainstorming session. amid clouds of pot smoke, they talked all weekend with the tape recorder running. nicholson then took the tapes and turned the conversations into a screenplay; according to rafelson, he structured it while on lsd .
originally called changes, the movie was retitled head, partly as a drug reference and partly so that raybert' s next production, easy rider, could be marketed with the slogan
from the guys who gave you head
– a plan torpedoed by head' s box - office nosedive. dolenz remembers raybert working on easy rider simultaneously; nicholson, dennis hopper and pete fonda all make cameo appearances in head, as do frank zappa and the former world heavyweight champion sonny liston .
the movie was using the monkees to deconstruct the studio system ,
dolenz reckons .
there' s a scene with me and teri garr in the old west and i get hit by arrows and i say,' bob, i can' t do this fake shit any more.' well, that was a metaphor for people being fed up with the studio system .
by that stage, the monkees were doing a good job of deconstructing themselves. the domineering nesmith hired hard - nosed agent jerry perenchio and staged a walk - out over pay on the first day of the three - month shoot. while tork, thinking it another nesmith powerplay, ducked out, the others were wooed back with a token $ 1, 000 each and production resumed under a cloud .
it was a joy seeing a movie being made, but i didn' t like working for bob rafelson ,
tork says .
i did what he told me, but i can' t say that i ever had any heart connection with him .
his favourite scene, in which he recounts what he has learned from an indian mystic, was actually directed by nicholson .
but rafelson honestly believed it would work .
bob was disappointed because he had hoped that the movie transcended the group' s name ,
gabrielle says. he soon realised his error. at a greenwich village screening, hipsters lured in by the enigmatic posters walked out the minute the monkees appeared. the reviews were savage. of its $ 790, 000 budget, it recouped just $ 16, 111 .
rafelson and nicholson soon hit pay dirt with easy rider and went on to make five easy pieces and other archetypal 70s films, but the band they left behind floundered. with the show over, album sales were in freefall, even though the head soundtrack contained inspired contributions from tork (can you dig it ?), nesmith (circle sky) and carole king (porpoise song). a disillusioned tork was the first to quit .
i didn' t have a band. i wanted this kind of connection and i didn' t get it, so i felt it was up to me to leave .
nesmith followed in 1970 .
tork has seen head around 80 times but it took him years to work out why it bothered him so much. in the movie, the monkees are hoodwinked, bamboozled, chased, assaulted, mocked, trapped in a black box and reduced to dandruff in the hair of the actor victor mature, before ending up back where they started. in the words of the sardonic nicholson - penned theme tune ,
so make your choice and we' ll rejoice / in never being free !
most people are dazzled by the psychedelia, and that' s fine, but for me finally the point of the movie is the monkees never get out ,
tork says sadly .
which is to say bob rafelson' s view of life is you never get out of the black box you' re in. there' s no escape .
there might have been a scene where we get out ,
he says wistfully .
we jump in the water and get away .
the monkees' 45th anniversary tour begins at the liverpool echo arena on 12 may. .
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producing 85 percent of the nation’s strawberries, california growers urgently need alternatives to methyl bromide fumigation if they are to maintain yields. methyl bromide has been phased out for all but critical uses because it depletes ozone in the upper atmosphere .
impermeable films have three benefits, according to lead author steven fennimore, uc cooperative extension specialist and weed scientist in uc davis department of plant sciences. the films trap the fumigant in the soil for a longer time and thereby increase its effectiveness; they reduce fumigant emissions, which after reacting with nitrogen oxides, can convert to ground - level ozone; and they reduce the amount of fumigant needed for effective pest control .
tif may ease some of the burdens of fumigant regulations on end - users, as well as ease concerns of the general public about exposure to fumigants, he concludes .
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strawberry fields is a 2011 light psycho-drama film set in the kent countryside of england during the summer fruit picking season . it was filmed entirely on location in kent county , and the background reflects the extensive fruit growing economy of kent ( sometimes called " the garden of england " ) . 
strawberry fields is a 2011 light psycho-drama film set in the kent countryside of england during the summer fruit picking season. it was filmed entirely on location in kent county, and the background reflects the extensive fruit growing economy of kent (sometimes called " the garden of england ").
strawberry fields is a 2011 light psycho-drama film set in the kent countryside of england during the summer fruit picking season. it was filmed entirely on location in kent county, and the background reflects the extensive fruit growing economy of kent (sometimes called " the garden of england ").