Autumn Almanac

"Autumn Almanac" is a pop song written by Ray Davies and recorded by the rock group The Kinks in 1967. "Autumn Almanac" has since been noted for being an "absolute classic", "a finely observed slice of English custom", a "weird character study" and for its "mellow, melodic sound that was to characterize the Kinks' next [musical] phase..." Some have placed this and other Davies compositions in the pastoral-Romantic tradition of the poetry of Wordsworth, among others.

In his 1995 autobiography X-Ray and in subsequent performances of his VH1 Storytellers effort, Davies described the song as being inspired by a local hunch-backed gardener in his native Muswell Hill neighbourhood of North London.

Autumn Almanac was a non-album single in between 1967's Something Else by the Kinks and 1968's The Kinks Are the Village Green Preservation Society. The song was a big success in the UK, reaching #3 on the singles chart, but not in the US, where it only reached #73 on Billboard 200. Like many recordings of the mid-to-late 1960s, "Autumn Almanac" was released in both mono and stereo versions. The mono version was released as single and appears as a bonus track on the 1998 CD reissue of Something Else by The Kinks as well as most compilations. The stereo version, which is ten seconds longer and features more "psychedelic" audio effects such as a tape loop during the fadeout, appears on the 1972 compilation The Kink Kronikles as well as the deluxe 2-CD reissue of Something Else.

Béla Tarr

Béla Tarr (born 21 July 1955) is an acclaimed Hungarian film director. Much of his work is marked by philosophical elements and a pessimistic view of humanity. His films utilize unconventional storytelling methods, such as long takes and/or non-professional actors to achieve realism.

Debuting with his film Family Nest in 1979, Tarr underwent a period of what he refers to as "social cinema", aimed at telling mundane stories about ordinary people, often in the style of cinema vérité. Over the next decade, the cinematography of Tarr's films gradually changed; Damnation (1988) was shot with languid camera movement aimed at establishing ambience. It marked Tarr's earliest experimentation with philosophical themes, focused mostly on bleak and desolate representations of reality. Sátántangó (1994) and Werckmeister Harmonies (2000) continued this approach; both are considered by some critics to be among the greatest films ever made. Tarr would later compete in the 2007 Cannes Film Festival with his film The Man From London.