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Getting airborne from runway 28L at London Heathrow, autumn 1977.
9G-ABO was delivered new to Ghana Airways in January 1965 and spent its entire career with the airline, before being retired in December 1980.
Scan of a slide (possibly Agfachome) from my collection; the purple tinge is typical of that brand! Image not taken by me.
Pub, former townhall / Pulheim / Rhein-Erft-Kreis / North Rhine-Westphalia / Germany
Album of Germany (the west): www.flickr.com/photos/tabliniumcarlson/albums/72157713209...
No invites please, I just want you to smile like I did when I saw this and reminded my childhood when we did the same to an opposing team when we play football (soccer)
Opie had to be tricked into getting his H1N1 shot today...
Annie didn't seem to mind doing the "dirty work."
Located between village Liepa and the primeval valley of River Gauja.
Lode clay deposit was discovered in 1953 by the geologist J.Slienis. Ten years later industrial extraction of clay for brick-making was started. The clay-pit became world famous when the geologist V.Kuršs in 1970 first time in the history of the world discovered well preserved fossils of Upper Devonian armoured fish and Strunius kurshi fish. Still nowhere else fish fossils in such good condition have been discovered; part of the fossils can be viewed in the expositions and funds of Latvian Museum of Natural History. Nowadays clay is extracted by the company „Lode“ which produces finishing, oven-chimney, and construction bricks, as well as other clay items. The Lode armoured fish deposit is a protected nature monument.
Information taken from www.entergauja.com/
Located between village Liepa and the primeval valley of River Gauja.
Lode clay deposit was discovered in 1953 by the geologist J.Slienis. Ten years later industrial extraction of clay for brick-making was started. The clay-pit became world famous when the geologist V.Kuršs in 1970 first time in the history of the world discovered well preserved fossils of Upper Devonian armoured fish and Strunius kurshi fish. Still nowhere else fish fossils in such good condition have been discovered; part of the fossils can be viewed in the expositions and funds of Latvian Museum of Natural History. Nowadays clay is extracted by the company „Lode“ which produces finishing, oven-chimney, and construction bricks, as well as other clay items. The Lode armoured fish deposit is a protected nature monument.
Information taken from www.entergauja.com/
Name: Sara Harvard
Age: 20
Hometown: Honolulu, Hawaii
Style: ''Can be very casual, but most of the times I like to wear classic and vintage clothes.''
Height: 5'5
What role will you have in the house? ''I can be very playful, but sometimes I admit I can be very crazy. I consider myself a good friend, I'm very sociable, but tbh I don't know what my role would be in the house, I guess it depends on the other girls.''
Who are you? ''I'm just a regular girl who moved to L.A to become a model. I grew up with basically nothing, but I always had big dreams for myself. My parents unfortunately died when I was just 4, so I had to live with my grandmother, who moved with me to L.A recently. She is the person I love the most in the world and she always believed in me, so I wanna give her everything she deserves, and hopefully she will be proud of me.''
Why did you audition for BNDM? ''I know this is a competition that can change lives, and made careers, and that's what I want.''
Why do you think you will win? ''I think I have an interesting look, I work hard and I'll give my everything every week, hopefully that will be enough, but we'll see.''
It's been nearly a year now:
Waterer
Compost lifter
Flat-bed trolley wheeler
Passable plantsman
Fruit tree elf
Greenhouse skulker
Hedging honcho
Sweeper upper
Terracotta pot lifter
Norfolk dialect listener
In 1982 it was still possible to “bunk round” depots and on 9th May 1982 I am doing just that my local depot, Toton. Amongst a line of Class 08 shunters stabled in the yard is 08021.
Locomotive History
08021 was originally 13029 and then later under the 1957 renumbering scheme D3029. It was built at Derby Works and entered traffic October 1953. For the first half of its career it was based in the West Midlands with its first Allocation being Tyseley. In August 1960 it transferred to Stourbridge Junction and then to Bescot when Stourbridge closed in April 1967. It transferred to Toton in July 1968 (one of the Class 10 replacements) where it remained until withdrawn in December 1986. Following withdrawal it has entered preservation and is the resident shunter at the Tyseley Locomotive Works, its first home in 1953.
Toton Diesel Shunter Allocation – 1967/68
In the 1950’s and early 1960’s British Railways built/purchased around two thousand diesel shunters which replaced considerably more steam shunting engines. By the middle of the 1960’s changing operating methods and the reducing size of the network lead to a surplus of diesel shunting locomotives. Withdrawal commenced with the classes containing only a few locomotives however as the surplus grew a start was made on the larger less reliable classes.
I first started visiting Toton MPD in the summer of 1966 and in November 1966 Toton MPD had an allocation of twenty five diesel shunters. Over the next two years this fleet would be totally replaced and was also reduced to fifteen locomotives. The diesel shunter allocation in November 1966 consisted of four types of locomotive:
Class D2/2 - (TOPS class 03) –204bhp diesel mechanical shunter built by Swindon and Doncaster works between 1957 - 1961
Class D3/3 – 350bhp diesel electric shunter (mechanically a class 08) fitted with a Crossley ESNT6 engine and Crompton Parkinson electrical equipment, built by Derby Works in 1955.
Class D3/4 - (TOPS class 10) –350bhp diesel electric shunter (mechanically a class 08) fitted with a Blackstone ER6T engine and GEC electrical equipment built by Darlington and Doncaster Works between 1953 and 1962.
Class D3/8 (TOPS class 11) - 350bhp diesel electric shunter (the prototype for the class 08) fitted with an English Electric 6KT engine and English Electric electrical equipment built at Derby Works between 1945 and 1952.
Those allocated were as follows
Class D2/2 (class03) – D2116
Class D3/3 – D3117 – D3126 (complete class)
Class D3/4 (class 10) – D3476/93/95/97-99, D3500-02, D3632
Class D3/8 (class 11) – 12038/55/63/82
Of note is D2116 which had officially arrived in September 1966 but despite regular visits at this time I can not personally ever recall seeing it at Toton.
The first change was the transfer of the four D3/8 locomotives in November/December 1966 (with 12038 going to Speke Junction and 12055/63/82 going to Crewe) and the withdrawal of four of the class D3/3 locomotives D3122-24/26. These were replaced by eight class D3/4 locomotives, D3446/47/48/49/50 from Peterborough, D3452/75 from Tinsley and D3473 from Doncaster.
In April 1967 a further class D3/3 locomotive was withdrawn D3121 and in July 1967 the remaining five class D3/3 locomotives D3117-20/25 were withdrawn.
In September 1967 the class D2/2 locomotive D2116 was transferred to Barrow
In November 1967 the first two class D3/2 (TOPS class 08) locomotives D3400/02 arrived from Cardiff
In December 1967 two further class D3/2 locomotives D3050 and D3997 arrived from Willesden and Bescot respectively as did two class D3/4 locomotives D3442/89 from Colwick however a start was made on withdrawing the D3/4 locomotives with the withdrawal of D3449.
So the situation at the end of 1967 was an allocation of twenty five diesel shunters (the same total as November 1966) of only two types:
Class D3/2 (class 08) - D3050, D3400/02, D3997
Class D3/4 (class 10) – D3442/46-50/52/73/75/76/89/93/95/97-99, D3500-02, D3632.
This was to be the high point as over the next nine months twenty of the class D3/4 locomotives were withdrawn with the remaining one D3497 being transferred to Colwick. As replacements eleven class D3/2 locomotives arrived, D3021/25/29/34/36/37 from Bescot, D3026 from Tyseley, D3039 from Derby and D3340/45/90 from the Scottish Region (Thornton Junction, Dunfermline and Eastfield respectively). One class D3/4 D3490 also arrived from Colwick but was withdrawn one month later.
So by September 1968 in less than two years the Toton diesel shunter allocation was totally replaced initially by additional class D3/4 (class 10) locomotives which were in turn quickly withdrawn and replaced by class D3/2 (class 08) locomotives. Also in the first nine months of 1968 the fleet was significantly reduced, being reduced from twenty five to fifteen locomotives as follows.
D3/2 (class 08) – D3021/25/26/29/34/36/37/39/50, D3340/45/90, D3400/02, D3997
As a young spotter this meant plenty of new “cops” on a regular basis.
Praktica LTL, Boots Colourslide 5
"All right lads, today we have a very special guest to talk about the exciting career possibilities of being a bounty hunter. Now let's give a warm Stormtrooper High welcome to Mr. Boba Fett!"
(inspired by Mr. 8 Skeins of Danger's photos of Boba!) :D
(Just found out this was explored on April 27, currently ranked at #393! Woo Hoo!
Thanks from me, Boba Fett, and the Stormtroopers!) :D
Why to choose an ordinary job/Career?
Want to work with brands like #MercedesBenz,#Lamborghini,#Ferrari ?
To grab the opportunity visit @ bit.ly/23o1j9Q
German postcard by H.S.K.-Verlag, Kölm (Cologne), no. 505. Photo: Paramount. Ray Milland in Copper Canyon (John Farrow, 1950).
British actor and director Ray Milland (1905-1986) had a screen career that ran from 1929 to 1985. He appeared in many Hollywood movies as the archetypal, unflappable British gentleman. Milland is best remembered for his gut-wrenching, Academy Award-winning portrayal of an alcoholic writer in The Lost Weekend (1945), for the murder-plotting husband in Dial M for Murder (1954), and as Oliver Barrett III in Love Story (1970).
Ray Milland was born Reginald Alfred John Truscott-Jones on a mountain called Cymla, above the town of Neath in Wales in 1905. Milland was the son of Alfred Jones and Elizabeth Annie (née Truscott). As a child, he took the name of his stepfather, Mullane, and was known in his early career as Jack Mullane. He later took his stage name Raymond Milland from the flat area of land called the mill lands in Neath, which he remembered fondly from his youth. In 1925, Milland enlisted as a guardsman with the Royal Household Cavalry in London. As part of his training, he became skilled in fencing, boxing, horsemanship and marksmanship. An expert shot, he became a member of his company's rifle team, winning many prestigious competitions, including the Bisley Match in England. When his duty service was completed in 1928, Milland stumbled into acting when a British filmmaker spotted him at a party and offered the 22-year-old a bit part in the romance The Plaything (Castleton Knight, 1929). More small and big roles in the British cinema and on stage followed. Among his British films were the silent ‘backstage’ drama Piccadilly (Ewald André Dupont, 1929) starring Anna May Wong, the adventure The Flying Scotsman (Castleton Knight, 1929) and the drama The Informer (Arthur Robison, 1929). Raymond Milland was discovered by a Hollywood talent scout while performing on the stage in London, and travelled to America under a short-term contract with MGM. MGM shortened his first name to Ray and continued casting the acting novice in minor supporting roles. MGM agreed to loan him out for more substantial parts in Will Rogers' Ambassador Bill (Sam Taylor, 1931) at Fox in which he tries to overthrow the boy-king of a fictional European country, and Warner Bros.' Blonde Crazy (Roy Del Ruth, 1931) in which he competes with con-artist James Cagney for Joan Blondell's affections.
When his contract with MGM expired, Ray Milland bounced around taking whatever roles he could get, including a supporting part in Fox's Charlie Chan in London (Eugene J. Forde, 1934). He returned to England for roles in This Is the Life (Albert de Courville, 1933) with Gordon Harker and the comedy Orders is Orders (Walter Forde, 1934), a satire on Hollywood movie-making. Finally, based on the strength of two films he made with Carole Lombard - Bolero (Wesley Ruggles, 1934) and We’re Not Dressing (Norman Taurog, 1934) - as well as the endorsement of his leading lady, Paramount Pictures signed Milland to a long-term contract. He would remain with the studio for some twenty years. Charming and debonair, he can be seen as suave, self-assured romantic leading man in a number of excellent drawing-room comedies, mysteries and adventures, including The Big Broadcast of 1937 (Mitchell Leisen, 1936), The Jungle Princess (William Thiele, 1936) featuring Dorothy Lamour, Beau Geste (William Wellman, 1939) with Gary Cooper, and I Wanted Wings (Mitchell Leisen, 1941) with Veronica Lake. At Film Reference, Frank Thompson writes: “The quintessential Milland performances of the ‘leading man’ variety are contained in Leisen's delightful Easy Living and Kitty. The darker, more sinister side of his personality first came to the fore in Farrow's Alias Nick Beal, a film in which Milland plays the Devil himself.” Easy Living (Mitchell Leisen, 1937) was a depression-era screwball comedy and social satire written by Preston Sturges and starring Jean Arthur. Reel Classics calls it “an often-overlooked delight”. Kitty (1945, Mitchell Leisen) was a variation on Pygmalion, in which a London aristocrat (Milland) takes it upon himself to make a lady of a guttersnipe (Paulette Goddard). Milland had a terrible accident during the filming of Hotel Imperial (Henry Hathaway, 1939) with Isa Miranda, when, taking his horse over a jump, the saddle-girth broke and he landed head-first on a pile of bricks. His most serious injuries were a concussion that left him unconscious for 24 hours, a 3-inch gash in his skull that took 9 stitches to close, and numerous fractures and lacerations on his left hand. When the Second World War began, Milland tried to enlist in the U.S. Army Air Forces, but was rejected because of his impaired left hand. He worked as a civilian flight instructor for the Army, and toured with a United Service Organisation (USO) South Pacific troupe in 1944.
Ray Milland had made over 60 feature films by the time he won an Oscar for his portrayal of an alcoholic trying to kick the booze in Billy Wilder's The Lost Weekend (1945). It would be pinnacle of Ray Milland's career and an acknowledgement of his serious dramatic abilities. The surprise shown by the critical establishment at Milland's proficiency in the role suggests that nothing much had ever been expected of him. Milland was the first Welsh actor to ever win an Oscar. He was also the first actor not to have spoken a single word during his acceptance speech, preferring to simply bow his appreciation before casually walking to the stage exit. For this performance, he was also given an award at the first Cannes Film Festival. Five years later, he gave a strong performance in Close to My Heart (William Keighley, 1951), starring with Gene Tierney as a couple trying to adopt a child. As Milland grew older and his value as a romantic lead began to wane, the more sinister aspects of this self-assuredness became more evident. In 1954, he starred as the suave and mannerly accomplice opposite Grace Kelly in Dial M for Murder (Alfred Hitchcock, 1954). Other films that exploited the murderous glint in Milland's eloquent eyes include The Thief (Russel Rouse, 1951) a Film Noir without any dialogue, and The Girl in the Red Velvet Swing (Richard Fleischer, 1955) with Joan Collins. He made many television appearances. He starred as a professor in the CBS sitcom Meet Mr. McNutley (1953-1955). The program was renamed in its second season as The Ray Milland Show. From 1959–1960, he starred in the CBS detective series Markham. In the late 1960s, he hosted rebroadcasts of certain episodes of the syndicated western anthology series, Death Valley Days under the title Trails West.
In 1955, Ray Milland started directing films, such as the western A Man Alone (Ray Milland, 1955) with Raymond Burr, and the well-paced espionager Lisbon (1956, Ray Milland) with Maureen O’Hara for Republic Pictures that he also produced and starred in. He did it with surprising proficiency, but the films failed to make him successful. He achieved more success with directing for television. According to Kit and Morgan Benson at Find A Grave, he “was considered a solid and capable director and producer.” Milland returned as a film character actor in such fascinating low-budget horror films as The Premature Burial (Roger Corman, 1962) and The Man with the X-ray Eyes (Roger Corman, 1963), the latter providing Milland with the wittiest, most energetic role of his later career. He appeared in the TV classic Daughter of the Mind (Walter Grauman, 1969) in which he was reunited with Gene Tierney, and he played Ryan O'Neal's father in the hit tearjerker Love Story (Arthur Hiller, 1970). He can also be seen in such dreadful horror films as The Thing with Two Heads (Lee Frost, 1972), the British Crazy House/The House in Nightmare Park (Peter Sykes, 1973), and Terror in the Wax Museum (Georg Fenady). One of the best of that bad lot is Frogs (George McCowan, 1972), a surprisingly enjoyable entry from the ‘nature-run-amok’ horror subgenre. Milland wrote an autobiography, Wide Eyed in Babylon, published in 1974. Toward the end of his life, he guest starred in TV series as Battlestar Galactica (Glen A. Larson, 1978-1979) and the Harold Robbins’ adaptation The Dream Merchants (Vincent Sherman, 1980). His last film was the Spanish fantasy-adventure The Sea Serpent (Gregory Greens, 1986) with Timothy Bottoms, after which his declining health forced him to retire. A book-loving homebody, Milland kept away from the Hollywood glitter and was rarely mentioned in the gossip columns. At 81, he died of lung cancer in Torrance, California in 1986. He was survived by his wife, Muriel ‘Mal’ Weber, to whom he had been married since 1932. They had a son, Daniel, and an adopted daughter, Victoria. Frank Thompson at Film Reference: “Hollywood never quite knew what it had in Ray Milland, but he continuously showed himself to be an adventurous artist, always interested in exposing his established image to radical and surprising lights.”
Sources: Frank Thompson (Film Reference), Lynn Dougherty (Classic Movie Favorites), Kit and Morgan Benson (Find A Grave), Reel Classics, AllMovie, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
My Career Path
When I graduated from high school in 2003 I was a very confused young man. I did not know much about life but I knew few things about Jesus Christ. I did not have street smarts—I matured very late!--but I knew few Biblical principles. One of the things I knew was that God has a plan for my life and being a new high school graduate I wanted to know His will for my career. So I decided after high school I would work wherever until I discern my God-given talents, and once I know His will for my career then I would pursue getting an education that prepares me for that career path. My high school teachers did not understand why would a student whose overall average never dropped below 90% would want to be a general labourer.
Anyway, after graduating I went to few temporary work agencies to find work. I had to buy steel toed safety shoes because most general labour jobs require them. Pretty soon I found myself working in the warehouse of a clothing company. My boss was a Chinese man who had spent 30 years working there, and my supervisor was an older Chinese man who been working there for many years too. They soon liked me and hired me after 6 months, while temporary workers who have been working there for years were still working for the agency. Two months after being hired the company had their annual wages raise and I did not qualify for it because I had to be working as a full-timer for a full year to qualify for it. But my boss called me into his office and told me that he liked the work I did and wanted to help me and so he gave me a 6% raise which I really appreciated. When I left the office the senior full time workers asked me how much I had gotten for a raise so I told them 6% and suddenly they disliked me! I did not know why their attitude changed toward me until the next day when I found out that the reason was becausethat all full-time workers had gotten only a 3% raise. Like I said, I was very naive and I did not know better as not to disclose this information. Anyway, in the next 3 years my boss had given me about 45% raise, while they had gotten anywhere between 1-3% annual raise.
The reason my boss liked me is that I did every and anything without complaining—I simply did whatever they asked me no matter how menial it was. The Bible says in Colossians 3:23, “Whatever you do, work at it with all your heart, as working for the Lord, not for men.” And my mottos were, “I get paid by hour so I work by hour”, and, “There is a reason why it is called ‘general labour’”—so I never complained about the type of work I had to do or the pay because when I accepted a general labour position I understood two things: I will get paid little, and I will have to do a physical and dirty work.
Anyway, my boss realized I loved to fix mechanical things: paper shredder, lift truck, a table, a cart. So over 3 years he kept asking me to fix broken things around the warehouse, and I realized how much I loved working with gears and mechanical things in general. These experiences brought back memories of how in my teenage years in Iraq I spent all my summer breaks building remote controlled cars, airplanes, and making toy guns and foosball tables, and so on! So I knew I wanted to become a mechanical engineer and therefore 4 years after working in the warehouse I started studying mechanical engineer at UofT.
What I really want to draw attention to is God’s goodness. See, I did not choose the warehouse I worked at but our heavenly Father put me in the right place working for the right boss. People told me that I was working in the wrong place because of their limited wisdom, but God in His infinite wisdom knew what He was doing. God knew what I needed, and so He put me where I needed to be. Being a stubborn person I knew better than listening to people—no matter how well intended their intentions were—because I knew few things:
1) God is real—He exists! (Hebrews 11:6)
2) He is the God of the Bible and I know Him because He revealed Himself in the person of Jesus Christ. Whenever I wondered, “Who is this God I am waiting for?” I realized I knew who He is because I knew who Jesus Christ is. (John 14:9)
3) He is a good, loving, faithful, wise and powerful God, and He is my heavenly Father.
4) He has His own timing and ways of doing things.
So working at the warehouse was His way of helping me find my God-given talent. When I applied to UofT I was told that it was a good thing I had applied then because any high school diplomas older than 4 years old would not be accepted; I did not know that but God did and that was His timing.
***
I worked at the warehouse for 2 summer breaks while I was a student at university. In the third summer, in 2010, the clothing company was going through bankruptcy and so they did not have work for me. I needed work because I needed money for the next school year so I applied to some summer engineering internship. I got an interview so I went to it. The interview lasted 2.5 hours and it was by far the worst interview I had ever heard of! It was so bad that it did not matter what I answered to the questions of the engineer who was interviewing me, the answers were wrong! I mean, he even criticized the font size I used in my resume—which was 11 points instead of 12! I wanted to be out of there so bad, and I hoped he would not hire me because I was too embarrassed to see him again! At the end of the interview he told me that his career was delayed 4 years also because when he graduated, some 30 years earlier, Canada was going through a recession and he could not find a job for 4 years.
After the interview my sister asked, “How did the interview go?” And I told her, “Don’t even ask. If he hired me it would truly be a miracle!” And she said, “That’s right. We have a God who works on our behave.” Two weeks later he called me offering the job alongside one of my classmates. He initially just wanted to hire one student—which was my classmate--but decided to hire me anyway. My boss (the interviewer) turned out to be a very cool and nice man who I learned a lot from. I think I did a good job there and I was offered a full-year internship but I really wanted to go back to school and finish it as soon as possible. Of course this 4 months long engineering experience helped me a lot to include an actual engineering experience on my resume.
For some reason I never felt qualified to do that job, even though I believe I did a good job. I think it is because the engineer who hired me did so more because he felt sorry for me than needed my services. (I think he also hired me because he was able to associate with the experience of having your career delayed 4 years.) I want you to keep this in mind because I will touch back on this point later.
After graduating in 2011 I was desperate for a job, any job, and after few months I found myself working at a government company. I worked there for 6 months and I did not like the job even though the people were nice and the pay was good. My task in the last 2 weeks was so boring that on the last day I was afraid my boss would extend my contract! I so wanted to be out of there even though I knew that would mean I would be unemployed and without money!
After a couple of weeks and getting bored of staying at home I prayed a short and simple prayer asking for two things:
1) I told God that the point of studying mechanical engineering was not to become any engineer or to make money, but to put the talents He had given me into practice. That means I want a design position, and engineering is such a broad field that you can do so many things that are not related to your God-given talents.
2) I told God that I wanted to work at a company that wants to hire. A company that believes I am valuable to it. A company where I feel appreciated.
Few weeks ago I saw this job advertisement on the internet seeking a mechanical designer at an office furniture company. The job required the candidate to have 2-3 years experience and knowledge of sheet metal and a design software called AutoCAD. I did not have any of the requirements so I did not apply to that position, and I can still remember thinking, “This sounds like the job I want, but too bad I don’t qualify otherwise I would’ve applied to it!” Next day a staffing agency called me and told me to come see them about that same position. I was very surprised and so I went to the agency. I was so surprised by the whole ordeal that at the end of the interview with the agency personnel I asked him, “How did you get my resume?” He looked surprise and said, “What do you mean? You sent it to me!” I am sure I sent him my resume and I don’t remember it because I applied to quite few jobs, but the strange thing is that I only remember not sending the resume!
I told the agency that I have no experience in design and I have no knowledge with sheet metal or AutoCAD, but they told me it is ok because the company wants to interview me. So I went to the interview and half way through the interview the senior engineer and hiring manager asked me, “When can you start?” And I was taken aback by his question because they usually ask that question after the interview is over and they usually ask it very casually like, “If you are the successful candidate, what date are you available to start?” So I asked, “Me?” And he laughed and said, “Yes!” And his expression was like, “Who else?!” And I felt like the senior engineer really wanted to hire me, not because he felt sorry for me, but because he believed I can be a valuable member of his team.
The week after I was interview by a human resources lady and half way through the interview she said, “That’s impressive.” And again I felt like I was being valued at this company. That is when I remembered the request in my prayer.
***
Christians we often say, “Trust and obey.” In my life I noticed that is not the complete picture because it is more like, “Trust, obey and trust.” See our obedience is not the end of the story because our obedience is not what gets things done. Our obedience is only an expression of our faith; you say you trust God? Ok then act on this trust by obeying Him. But it is God who gets things done—God’s work is the end of the story. That is why after obedience we still need to trust again to see Him complete His work. For example Gideon trusted God will bring victory though him so he obeyed by downsizing his army to mere 300 men, and then he trusted again as he saw God defeating the enemy—trust, obey, and trust again.
There are few things I want to draw your attention to:
1) We must pray according to God’s will. Supposed that I had prayed for God to make me a successful singer, do you think He will honour my request? The answer is no, because singing is not my talent. When you pray according to God’s will then you do not have to beg and you can pray with confidence. You cannot disobey God and expect Him to fix your deliberate mistakes by simply praying about it.
See, I like classical music but that does not mean I have to become a musician—I can simply enjoy the music of others. I like tennis but that does not mean I have to become a tennis player—I can simply enjoy the game of others. I like cars but that does not mean I have to build my own car—I can simply enjoy the cars made by others. It is wonderful and freeing to know and accept God’s will for our lives. If we do then we can accept ourselves and others, appreciate our talents and the talents of others, and be confident of the path we are to take.
2) Focus on God’s goodness. When I was a new Christian I thought that I was saved by grace but I am to live by works, but we are both saved and are to live the Christian life by God’s grace. If I told you how imperfect and sinless I am then you would say, “Fadi, there is no way God was involved in answering your prayers or your career path!” But this is not about me but about God’s goodness. I have come to the point if life when I do not worry much because I trust in the goodness of God. I am not saying this to encourage you to sin but to free you from worry and the false teaching of living by works.
See, our God is a good God. We are His children not because of our works but because of the Cross of Jesus Christ. For example, suppose that you are Christian and you are an alcoholic and you are struggling with quitting drinking and suppose that your marriage is in trouble and your family needs a healing. Do you think God is going to say, “Gee! Look at this Christian! He can’t stop getting drunk and now He needs my help to heal his marriage! There is no way I am doing that for him! Let him fix himself first then come asking for My help! I am so going to destroy his marriage in the meantime!” No, of course not! At least that is not how the God of the Bible operate and He is the only real God.
Suppose if I am holding the hand of my nephew and we are walking on the side walk but he really wants to run into the busy street to play, do you think I will let him do so just because he wants to? Of course not! I won’t act based on his attitude or actions, but based on my goodness and the fact that I am his uncle and he is my nephew and that I love him! For you this may not be big news but to me it is because I grew up in a Middle Eastern culture where there is no Biblical understanding of who God is. That is why I want to stress the goodness and love of God to you.
3) We are not ruled by the ways this world rule. We are God’s children born by the power of the Holy Spirit, and therefore we do not belong to this world. The principles of this world do not apply to us because we are governed by spiritual principles such as God’s goodness, obedience, and glorifying our heavenly Father. The way God works in our lives is not the same way the world strive to achieve their dreams. Recently I offered to help a Christian facebook friend with her resume because she did not have one and she was about to give up applying to better jobs because she had no resume. The first thing she told me is that people have told her that she needs a really good resume to get a job as a hospital pharmacist. And that made me reflect on my career path and I answered her saying that if God wants her to work somewhere He can do it even if she had no resume at all! That is what He did to me: I got a job I am so unqualified for! He made me find favour in the eyes of the engineers who interviewed me; they knew I was not qualified for the original job posting so maybe they created a junior job position for me.
4) Do not worry. My mom says it is not good that I am worry free (I do worry, of course, but much less than the average person) because she wants me to hurry and get married, and have kids, and buy a house, etc. But why should I worry? If, motivated by love, God sent His only and beloved Son to die for my sins before I was even born, then what can separate me from the love of my heavenly Father? See, my attitude toward life does not come from self-confident (if you had read my older writings you will realize I grew up with no self-confidence), nor my careless attitude toward life as some people think I am, but from my trust “that in all things God works for the good of those who love him, who have been called according to his.” (Romans 8:28) It is good to read the Bible and understand it, but a time must come when we start living it.
I talked about God’s goodness toward me and my career path, but His goodness extends to all areas of our lives: spiritually, physically, emotionally, mentally, financially, relationships, and so on. He wants to take care of you whether it is in regard to your career, marriage, big decisions such as buying expensive things like a house or a car, or planning a career move or even finding the right mechanic for your car!
Few years ago I asked, “How can I get to know God as my heavenly Father since I do not have an idea what a good father is?” I asked that question because I rarely saw my earthly father while growing up because he had to spend most of his time in the army. I learned about what is it like to have a good father from God Himself; God did not need someone to go ahead of Him to show the way—He showed the way! He set the pattern of love, goodness, generosity, and serving and He set the pattern of how to be a good Father.
(Toronto, ON; summer 2012.)
Late afternoon at Hinton Waldrist.
Now into winter and my new paintings go on. These closely follow the themes of my recent show See also:- The Pace of Nature, which were exhibited in October. There is also a selection of my Ipsden paintings (winter) on show at West Ox Arts Gallery til 22nd December 2013. The past 18 month have been among the most busy of my entire career as a painter, and the work has been very focussed upon working "En Plein Air" both here in Oxfordshire and during the summer in Michigan USA.
An Interview with me in Glow Magazine
And about my iPad work...
Featuring an interview on Witney TV about iPad art
My first book on Ipsden featuring the autumn paintings and studies 2012
Many of these paintings are still available for sale, please contact me via Flickr-mail if you are interested in details.
Belgian postcard, no. 5464. José Ferrer in I Accuse! (José Ferrer, 1958).
José Ferrer (1912- 1992) was an American actor and film director, who was born in Puerto Rico. He won the Academy Award for Best Actor in a Leading Role for his title role in Cyrano de Bergerac (1951). Ferrer was frequently used as a villain in his later film career.
José Ferrer was born José Vicente Ferrer de Otero y Cintrón in San Juan, the capital city of Puerto Rico in 1912. Ferrer's father was Rafael Ferrer, a lawyer, landowner and author who was born and raised in San Juan. Ferrer's mother was María Providencia Cintrón, a native of the coastal town of Yabucoa. Ferrer's paternal grandfather was Dr. Gabriel Ferrer Hernández, who had campaigned for Puerto Rican independence from the Spanish Empire. The Ferrer family moved to New York City in 1914, when José was 2 years old. As a school student, Ferrer was educated abroad at the Institut Le Rosey, a prestigious boarding school located in Rolle, Switzerland. According to the wishes of his father, José should become a concert pianist. Ferrer studied architecture, music and composition at Princeton University. He wrote a dissertation called French Naturalism and Pardo Bazán, about the Spanish naturalist writer Emilia Pardo Bazán. In 1934, Ferrer transferred to Columbia University, where he studied Roman languages. In 1934, while still a college student, Ferrer made his theatrical debut in Long Island-based theatre. In 1935, he was hired as the stage manager at the Suffern Country Playhouse. Later in 1935, Ferrer made his Broadway debut in the comedy play 'A Slight Case of Murder' by Damon Runyon and Howard Lindsay. Ferrer had a major success on Broadway in the play 'Brother Rat' by John Monks Jr. and Fred F. Finklehoffe. The play ran 577 performances from 1936 to 1938. Very successful were also 'Mamba's Daughters (1938) and 'Charley's Aunt' (1940). Even more successful was the 1943 play 'Othello' in which he co-starred as the villainous Iago opposite the Othello of Paul Robeson. 'Othello' was the longest-played Shakespeare play in the United States. The record remains unbroken to this day. In 1946, Ferrer starred in 'Cyrano de Bergerac', his most successful play. He won a Tony Award for his performance. In 1948, Ferrer made his film debut by co-starring with Ingrid Bergman in Joan of Arc (Victor Fleming, 1948). He played the historical monarch Charles VII of France, the ruler who Joan of Arc served during the Hundred Years' War. For his debut role, Ferrer was nominated for an Oscar for Best Male Supporting Actor. Ferrer's success as a film actor, helped him gain more film roles in Hollywood-produced films. He played the smooth-talking hypnotist David Korvo in the Film Noir Whirlpool (Otto Preminger, 1949) with Gene Tierney, and dictator Raoul Farrago in the Film Noir Crisis (Richard Brooks, 1950) starring Cary Grant. In 1950, Ferrer won an Oscar for Best Actor for his role as Cyrano de Bergerac in the film version, Cyrano de Bergerac (Michael Gordon, 1950). He was the first Puerto Rican actor and also the first Hispanic actor to win an Academy Award.
In 1952, José Ferrer won three Tony Awards for directing three plays, namely 'The Shrike', 'Stalag 17' and 'The Fourposter' and he won another Tony for acting in 'The Shrike'. In 1952, Ferrer played the French painter Henri de Toulouse-Lautrec in the historical drama Moulin Rouge (John Huston, 1952). His role earned him an Oscar nomination, but the award was instead won by Gary Cooper. The film also marked a financial success for Ferrer, who received 40% of the film's profits. In 1954, Ferrer took on the role of defence attorney Barney Greenwald in The Caine Mutiny. From 1955 onwards, he also directed a number of films, most of which he also starred in as an actor. First, he directed a film version of The Shrike (José Ferrer, 1955). I Accuse! (José Ferrer, 1958) is a reimagining of the Dreyfus Affair. While still critically well-received, several of these films were box office flops. He took a hiatus from film productions. In 1959, he directed a play called 'The Andersonville Trial', about the consequences of the American Civil War. The play featured George C. Scott. He then took over directing the musical 'Juno'. After sixteen performances, the musical stopped due to a lack of success, which was a setback for Ferrer's directing career. Ferrer attempted a comeback as a film director with the sequel film "Return to Peyton Place" (1961) and the musical film "State Fair" (1962). Both films were box office flops. As an actor, Ferrer appeared as a Turkish Bey in the historical drama Lawrence of Arabia (David Lean, 1962) with Peter O'Toole, as historical monarch Herod Antipas, Tetrarch of Galilee and Perea in the Bible epic The Greatest Story Ever Told (1965) and Ship of Fools (Stanley Kramer, 1965). In television, Ferrer gained a notable role as the narrator in the pilot episode of the hit sitcom Bewitched (1964). In 1968, he featured as a voice actor, playing the villain Ben Haramed in the TV film The Little Drummer Boy. But at this time, he started having legal troubles. The Internal Revenue Service (IRS) accused Ferrer of still owing unpaid taxes since 1962.
José Ferrer had many film roles in the 1970s, but no outstanding highlights. He played one of the many passengers in Voyage of the Damned (Stuart Rosenberg, 1976) with Faye Dunaway, Doctor Vando in Fedora (Billy Wilder, 1978) with William Holden and Marthe Keller and Athos in The Fifth Musketeer (Ken Annakin, 1979), starring Beau Bridges and Sylvia Kristel. In the 1980s, he starred in the popular comedy series Newhart as Julia Duffy's father. In the early 1980s, he also played the role of Reuben Marino in the soap opera Another World. In the cinema, he appeared in A Midsummer Night's Sex Comedy (Woody Allen, 1982), To Be or Not to Be (Mel Brooks, 1983) and Dune (David Lynch, 1984), an adaptation of the 1965 novel 'Dune' by Frank Herbert. This was among the last notable roles of Ferrer's long career. Ferred retired from acting entirely in 1991, due to increasing health problems. His last theatrical performance was a production of the generation-gap drama 'Conversations with My Father'. José Ferrer, who spoke perfect French, Italian and German in addition to Spanish and English, was married a total of four times. His wives were Uta Hagen (1938-1948), actress Phyllis Hill (1948-1953) and the singer and actress Rosemary Clooney (1953-1961 / 1964-1967). From 1977 until his death, he was married to Stella Magee. With Uta Hagen, he had a daughter. With Rosemary Clooney, he had five children born between 1955 and 1960. His oldest son, actor Miguel Ferrer (1955-2017) was known for his role in Medical Examiners. He was followed by Maria Ferrer (1956;) Gabriel Ferrer (1957) married to singer Debby Boone, daughter of Pat Boone; Monsita Ferrer (1958) and Rafael Ferrer (1960). Ferrer was the uncle of actor George Clooney. In 1992, José Ferrer died of colorectal cancer at the age of 80 in Coral Gables, Florida. He was buried in Santa Maria Magdalena de Pazzis Cemetery in Old San Juan in his native Puerto Rico.
Sources: Dimos I (IMDb), Wikipedia (English, German and Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
I ran into hockey legend Dennis Polonich, while he was walking his dogs in Calgary, Alberta.
Dennis "Polo" Polonich (born December 4, 1953 in Foam Lake, Saskatchewan) is a retired professional ice hockey centre who spent his entire NHL career with the Detroit Red Wings. He was selected in the eighth round, 118th overall, by the Detroit Red Wings in the 1973 NHL Amateur Draft. Polonich became a full-time Red Wing in the 1975–76 NHL season. Polonich brought an instant force to the team and started wreaking havoc in the highest league in hockey. Polonich set a club record on March 24, 1976 by sitting out eight penalties – five minors, a major and a misconduct. In the 1976–77 season Polonich had a short tenure as captain of the Detroit Red Wings while Danny Grant was injured. He finished second on the team in scoring with 46 points and first on the team (second in the league behind Tiger Williams) in penalty minutes with 274. On October 25, 1978, Polonich got under the skin of the Colorado Rockies' Wilf Paiement. In what has been termed as the worst-ever case of brutality in the NHL, Paiement (6'1", 210 lbs) smashed Polonich (5' 6", 166 lbs) across the face with his stick, leaving Polonich with a concussion, severe facial lacerations, and a broken nose requiring reconstructive surgery. Polonich sued, and was rewarded with a settlement of $850,000. Polonich suffered from breathing problems for the remainder of his career. After 390 NHL games, Poonich played his final major league game during the 1982–83 season, and retired as a professional hockey player in 1987.
I made my barbie a career girl outfit!:) I love the outfit, but I'm not about to pay big cash for something I can make!lol I made it specifically for my childhood bubblecut:) she's inlove with her new treds! She's ready to get a job!lol I wish!lol
Apollo Career Center in Lima, Ohio. These Ford Crown Victoria's are training cars and have been worn from years of sitting outside.
Italian postcard by B.F.F. Edit., no. 2255. Photo: RKO Radio.
Blue-eyed American actor Henry Fonda (1905-1982) exemplified not only integrity and strength, but an ideal of the common man fighting against social injustice and oppression. He is most remembered for his roles as Abe Lincoln in Young Mr. Lincoln (1939), Tom Joad in The Grapes of Wrath (1940), for which he received an Academy Award Nomination, and more recently, Norman Thayer in On Golden Pond (1981), for which he received an Oscar for Best Actor in 1982. Notably he also played against character as the villain 'Frank' in Sergio Leone's classic Spaghetti Western Once upon a time in the West (1968). Fonda is considered one of Hollywood's old-time legends and his lifelong career spanned almost 50 years.
Henry Jaynes Fonda was born in Grand Island, Nebraska in 1905. His parents were Elma Herberta (Jaynes) and William Brace Fonda, who worked in advertising and printing and was the owner of the W. B. Fonda Printing Company in Omaha, Nebraska. His distant ancestors were Italians who had fled their country around 1400 and moved to Holland, presumably because of political or religious persecution. In the early1600's, they crossed the Atlantic and were among the early Dutch settlers in America. They established a still-thriving small town in upstate New York named Fonda, named after patriarch Douw Fonda, who was later killed by Indians. In 1919, young Henry was a first-hand witness to the Omaha race riots and the brutal lynching of Will Brown. This enraged the 14 years old Fonda and he kept a keen awareness of prejudice for the rest of his life. Following graduation from high school in 1923, Henry got a part-time job in Minneapolis with the Northwestern Bell Telephone Company which allowed him at first to pursue journalistic studies at the University of Minnesota. In 1925, having returned to Omaha, Henry reevaluated his options and came to the conclusion that journalism was not his forte, after all. For a while, he tried his hand at several temporary jobs, including as a mechanic and a window dresser. At age 20, Fonda started his acting career at the Omaha Community Playhouse, when his mother's friend Dodie Brando (mother of Marlon Brando) recommended that he try out for a juvenile part in You and I, in which he was cast as Ricky. Then he received the lead in Merton of the Movies and realized the beauty of acting as a profession. It allowed him to deflect attention from his own tongue-tied personality and create stage characters relying on someone else's scripted words. The play and its star received fairly good notices in the local press. It ran for a week, and for the rest of the repertory season, Henry advanced to assistant director which enabled him to design and paint sets as well as act. A casual trip to New York, however, had already made him set his sights on Broadway. In 1926, he moved to the Cape Cod University Players, where he met his future wife Margaret Sullavan. His first professional role was in The Jest, by Sem Benelli. James Stewart joined the Players a few months after Fonda left, but he would become his closest lifelong friend. In 1928, Fonda went east to New York to be with Margaret Sullavan, and to expand his theatrical career on Broadway. His first Broadway role was a small one in A Game of Love and Death with Alice Brady and Claude Rains. Henry played leads opposite Margaret Sullavan, who became the first of his five wives in 1931. They broke up in 1933. In 1934, he got a break of sorts, when he was given the chance to present a comedy sketch with Imogene Coca in the Broadway revue New Faces. That year, he also hired Leland Hayward as his personal management agent and this was to pay off handsomely. Major Broadway roles followed, including New Faces of America and The Farmer Takes a Wife. The following year he married Frances Seymour Brokaw with whom he had two children: Jane Fonda and Peter Fonda, also to become screen stars.
The 29-year old Henry Fonda was persuaded by Leland Hayward to become a Hollywood actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for The Farmer Takes a Wife (Victor Fleming, 1935) opposite Janet Gaynor. I.S. Mowis at IMDb: “With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit.” Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor Western The Trail of the Lonesome Pine (Henry Hathaway, 1936) with Sylvia Sidney, and the gritty Depression-era drama You Only Live Once (Fritz Lang, 1937) with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance). Then followed the screwball comedy The Moon's Our Home (William A. Seiter, 1936) with ex-wife Margaret Sullavan, the excellent pre-civil war-era romantic drama Jezebel (William Wyler, 1938) featuring Bette Davis, and the Western Jesse James ( Henry King, 1939) starring Tyrone Power. Fonda rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck and Gene Tierney - with both he shared an excellent on-screen chemistry - in The Mad Miss Manton (Leigh Jason, 1938), The Lady Eve (Preston Sturges, 1941) and the successful Rings on Her Fingers (Rouben Mamoulian, 1942). Henry gave his best screen performance to date in Young Mr. Lincoln (John Ford, 1939), a fictionalized account of the early life of the American president as a young lawyer facing his greatest court case. Henry made two more films with director John Ford: the pioneering drama Drums Along the Mohawk (1939) with Claudette Colbert, and The Grapes of Wrath (1940), an adaptation of John Steinbeck's novel about an Oklahoma family who moved west during the Dust Bowl. In his career-defining role as Tom Joad, Fonda played the archetypal grassroots American trying to stand up against oppression. His relationship with Ford would end on the set of Mister Roberts (John Ford, Mervyn LeRoy, 1955) when he objected to Ford's direction of the film. Ford punched Fonda and had to be replaced.
The Grapes of Wrath (John Ford, 1940) set the tone for Henry Fonda’s subsequent career. In this vein, he gave a totally convincing, though historically inaccurate, portrayal in the titular role of The Return of Frank James (Fritz Lang, 1940), a rare example of a sequel improving upon the original. He projected integrity and quiet authority whether he played lawman Wyatt Earp in My Darling Clementine (John Ford, 1946) or a reluctant posse member in The Ox-Bow Incident (William A. Wellman, 1943). In between these two films, Fonda enlisted in the Navy to fight in World War II, saying, and served in the Navy for three years. He then starred in The Fugitive (John Ford, 1947), and Fort Apache (John Ford, 1948), as a rigid Army colonel, along with John Wayne and Shirley Temple in her first adult role. The following years, he did not appear in many films. Fonda was one of the most active, and most vocal, liberal Democrats in Hollywood. During the 1930s, he had been a founding member of the Hollywood Democratic Committee, formed in support of President Franklin D. Roosevelt's New Deal agenda. In 1947, in the middle of the McCarthy witch hunt, he moved to New York, not returning to Hollywood until 1955. His son Peter Fonda writes in his autobiography Don't Tell Dad: A Memoir (1999) that he believes that Henry's liberalism caused him to be gray-listed during the early 1950s. Fonda returned to Broadway to play the title role in Mister Roberts for which he won the Tony Award as best dramatic actor. In 1979, he won a second special Tony, and was nominated for a Tony Award Clarence Darrow (1975). Later he played a juror committed to the ideal of total justice in 12 Angry Men (Sidney Lumet, 1957) which he also produced, and a nightclub musician wrongly accused of murder in The Wrong Man (Alfred Hitchcock, 1956). During the next decade, he played in The Longest Day (Ken Annakin, Andrew Marton a.o., 1962), How the West Was Won (John Ford, Henry Hathaway, George Marshall, 1962) and as a poker-playing grifter in the Western comedy A Big Hand for the Little Lady (Fielder Cook, 1966) with Joanne Woodward. A big hit was the family comedy Yours, Mine and Ours (Melvillle Shavelson, 1968), in which he co-starred with Lucille Ball. The same year, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's Western epic C'era una volta il West/Once Upon a Time in the West (1968) opposite Charles Bronson and Claudia Cardinale. With James Stewart, he teamed up in Firecreek (Vincent McEveety, 1968), where Fonda again played the heavy, and the Western omedy The Cheyenne Social Club (Gene Kelly, 1970). Despite his old feud with John Ford, Fonda spoke glowingly of the director in Peter Bogdanovich's documentary Directed by John Ford (1971). Fonda had refused to participate until he learned that Ford had insisted on casting Fonda as the lead in the film version of Mr. Roberts (1955), reviving Fonda's film career after concentrating on the stage for years. Illness curtailed Fonda’s work in the 1970s. In 1976, Fonda returned in the World War II blockbuster Midway (Jack Smight, 1976) with Charlton Heston. Fonda finished the 1970s in a number of disaster films wilth all-star casts: the Italian killer octopus thriller Tentacoli/Tentacles (Ovidio G. Assonitis, 1977), Rollercoaster (James Goldstone, 1977) with Richard Widmark, the killer bee action film The Swarm (Irwin Allen, 1978), the global disaster film Meteor (Ronald Neame, 1979), with Sean Connery, and the Canadian production City on Fire (Alvin Rakoff, 1979), which also featured Shelley Winters and Ava Gardner. His final screen role was as an octogenarian in On Golden Pond (Mark Rydell, 1981), in which he was joined by Katharine Hepburn and his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, Henry Fonda died soon after at the age of 77, having left a lasting legacy matched by few of his peers. His later wives were Susan Blanchard (1950-1956), Leonarda Franchetti (1957-1961) and Shirlee Fonda (1965- till his death in 1982). With Blanchard he had a daughter, Amy Fishman (1953). His grandchildren are the actors Bridget Fonda, Justin Fonda, Vanessa Vadim and Troy Garity.
Sources: Laurence Dang (IMDb), I.S. Mowis (IMDb), Wikipedia, and IMDb.
I got the Barbie Careers Scientist doll and was pleasantly surprised to see that her coat was a separate piece and the pattern on her top goes all the way around. Oh and this one didn't have glue in her head! See, Mattel you can do it!
Knowles milked his publicity stunt for all it was worth, and beyond. In today's terms, it became his brand.
That's somewhat surprising, because he looks nothing like the idealized "modern caveman" he depicted in this visual summary of his experience living in the wild.
However, these vignettes are a tribute to his skill as an artist, which he wisely chose to cultivate during his years in Seaview,Washington.
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The Columbia Pacific Historical Society in Ilwaco, Washington, has mounted an exhibit of the art of Joe Knowles.
Knowles, a skilled artist and relentless self-promoter moved to Seaview, Washington, after a notorious scandal on the East Coast.
He's been called one of early start of reality performance. Before looking at his art, it's worth exploring the chapter in his life that led him to pull up stakes back East and move to an isolated village on Washington's Long Beach Peninsula.
Here's the story. I'll post photos of some of his art later today.
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[In 1913], Joe Knowles stripped down to his jockstrap, said goodbye to civilization, and marched off into the woods to prove his survival skills. He was the reality star of his day. For eight weeks, rapt readers followed his adventures in the Boston Post. He returned home to a hero’s welcome. That’s when things got interesting.
The expedition began on a drizzly August morning, in a sort of no-man’s land outside tiny Eustis, Maine. The spot was some 30 miles removed from the nearest rail line, just north of Rangeley Lake, and east of the Quebec border. Knowles showed up at his starting point, the head of the Spencer Trail, wearing a brown suit and a necktie. A gaggle of reporters and hunting guides circled him.
Knowles stripped to his jockstrap. Someone handed him a smoke, cracking, “Here’s your last cigarette.” Knowles savored a few meditative drags. Then he tossed the butt on the ground, cried, “See you later, boys!,” and set off over a small hill named Bear Mountain, moving toward Spencer Lake, 3 or 4 miles away. As soon as he lost sight of his public, he lofted the jockstrap into the brush—so that he could enjoy, as he would later put it in one of his birch-bark dispatches, “the full freedom of the life I was to lead.”
If Knowles made himself sound like Tarzan, it was perhaps intentional. One of the most popular stories in Knowles’s day was Tarzan of the Apes, an Edgar Rice Burroughs novella. Published in 1912 in the pulp magazine All-Story, it starred a wild boy who goes “swinging naked through primeval forests.” The story was such a hit that in 1914 it was bound into book form.
Pulp magazines (so named because they were published on cheap wood-pulp paper) represented a new literary form, born in 1896. They offered working-class Americans an escape into rousing tales of life in the wilderness. Bearing titles like Argosy, Cavalier, and the Thrill Book, they took cues from Jack London, whose bestselling novels, among them The Call of the Wild (1903) and White Fang (1906), saw burly men testing their mettle in the wild. They were also influenced by Teddy Roosevelt, who insisted that modern man needed to avoid “over-sentimentality” and “over-softness” while living in cities. “Unless we keep the barbarian virtue,” Roosevelt argued, “gaining the civilized ones will be of little avail.”
On the morning of October 5, the Post’s front page blared, “KNOWLES, CLAD IN SKINS, COMES OUT OF THE FOREST.” A subhead continued, “Boston Artist, Two Months a ‘Primitive Man,’ Steps into the Twentieth Century near Megantic, Province of Québec.” Subsequent copy read, “Tanned like an Indian, almost black from exposure to the sun…. Scratched and bruised from head to foot by briars and underbrush…. Upper garment sleeveless. Had no underwear.”
Picked up nationwide, the Post’s piece explained that Knowles had just traversed the most inhospitable portion of the Maine woods, after which, when he had emerged on the outskirts of Megantic, he had made his first human contact—a young girl he had found standing by the railroad track. “And the child of 14, wild-eyed, stared at him,” the story said, “and into her mind came the memory of a picture of a man of the Stone Age in a history book.”
Not everyone believed the story. In late October, after he had returned to civilization, an editorial in the Hartford Courant wondered whether “the biggest fake of the century has been palmed off on a credulous public.” Meanwhile, a reporter from the rival Boston American had begun working on a long story about Knowles. The paper specialized in blockbuster exposés, and its investigative bloodhound, Bert Ford, had spent seven weeks combing the woods around Spencer Lake, aided in his research by a man he would call “one of the ablest trappers in Maine or Canada,” Henry E. Redmond.
On December 2, in a front-page article, Ford went public with the explosive allegation that Knowles was a liar. He zeroed in on Knowles’s alleged bear killing, noting that the Nature Man’s bear pit was but 4 feet wide and 3 feet deep. In boldface, the story asserted, “It would have been physically impossible to trap a bear of any age or size in it.” Knowles’s club was likewise damning evidence. Found leaning against a tree, it was a rotting stub of moosewood that Ford easily chipped with his fingernails.
According to the Boston American, Knowles had a manager in the Maine woods, and also a guide who bought the bearskin from a trapper for 12 dollars. The bear had not been mauled, but rather shot. “I found four holes in the bear skin,” Ford averred after meeting Knowles and studying the very coat he was wearing. “Experts say these were bullet holes.”
Ford argued that Knowles’s Maine adventure was in fact an “aboriginal layoff.” He wasn’t gutting fish and weaving bark shoes, as the Post’s dispatches suggested. Rather, he was lounging about in a log cabin at the foot of Spencer Lake and also occasionally entertaining a lady friend at a nearby cabin.
No matter; Knowles had gained the notoriety he needed to launch a national tour of speaking engagements, publish a book, and sell his artwork.
Prior to his notoriety for adventure, Knowles was an illustrator whose work graced the cover of numerous periodicals. The “Golden Age” of illustration was in full swing and Knowles’ artwork fit right in. By the early 1920s Knowles had settled in Seaview, Washington where he made his living from his paintings, prints and commissioned works.
This exhibition will focus on Joe Knowles as an artist. His paintings, prints and drawings were widely collected and played an important role in this community where he spent the final decades of his career. “By placing his work in the context of early 20th century American art and illustration we hope that viewers will gain a better understanding of Joe Knowles as a creative and accomplished artist,” said CPHM Director and Curator, Betsy Millard.
www.bostonmagazine.com/news/2013/03/26/naked-joe-knowles-...
Looking back over my career in the transport industry I reckon that my time working as a driver for Rennies at Cairneyhill was the most fun. I was exclusively rostered to work route 6 which ran from the bus station in Dunfermline to Blairhall. My first vehicle was ex Tyne & Wear PTE MCW Metropolitan OTN 457R followed by former Brighton Atlantean JFG 361N and finally Atlantean TSD 611S from A1 Service. On days off overtime was regularly available and here is former Brighton JFG 360N about to leave the depot at Cairneyhill with me working a day in on the Abbeyview Circular.
Italian postcard by TV Stelle in the Star Collection, no. 7. Design: C. Rea.
Hunky Italian actor Kim Rossi Stuart (1969) started as a teen idol in B-films and TV movies,. He turned his career in a more serious direction with arthouse hits like Michelangelo Antonioni’s Al di là delle nuvole and Romanzo Criminale/Crime Novel (2005). He also became a notable film director himself.
Kim Rossi Stuart was born in Rome in 1969 and named after the Rudyard Kipling novel Kim. His father, Giacomo Rossi Stuart, was an actor of Italian and Scottish descent. Kim's mother, Klara Müller, is a former top model of German and Dutch descent. Kim has three sisters, two of them actresses: Loretta Rossi Stuart and Valentina Rossi Stuart, the latter also stunt-woman. Ombretta is his third sister. Kim began acting at the age of 5 with his father Giacomo in the film drama Fatti di gente perbene/The Murri Affair (Mauro Bolognini, 1974), starring Catherine Deneuve. In 1983, the 14-years-old left his parents' home and also left school to further his career as an actor. He studied theatre and in 1986 he began to act regularly for TV and film. He played a novice in Der Name der Rose (Jean-Jacques Annaud, 1986), the film version of Umberto Eco’s bestseller The Name of the Rose. He became popular with his lead in the martial arts film Il ragazzo dal kimono d'oro/Karate Warrior (Fabrizio De Angelis, 1987) and its sequels. Seymour Asses at IMDb: “It's a poorly made "young guy learns karate from old Asian master in order fight his arch nemesis over a girl" type movie. The plot is lifted from The Karate Kid 2, but Karate Warrior expands on this by adding magic to the mix. Really, really stupid magic.” More interesting was the dark and funny comedy Lo zio indegno/The Sleazy Uncle (Franco Brusati, 1989), starring Vittorio Gassman. Rossi-Stuart was again a smash among young Italian audiences as a dashing prince in the TV movie Fantaghirò/Cave of the Golden Rose (Lamberto Bava, 1991) with Alessandra Martines. and the success lead to several sequels. He began to focus on quality films, like Senza pelle/No Skin (Alessandro D'Alatri, 1994), where his role, a man with psychological problems, was appreciated by the critics. A popular film was the crime-drama Poliziotti/Policemen (Giulio Base, 1995), with Claudio Amendola and Michele Placido. Then he acted for legendary director Michelangelo Antonioni in Al di là delle nuvole/Beyond the Clouds (Michelangelo Antonioni, Wim Wenders, 1995).
In the mid 1990s, Kim Rossi Stuart returned to the theatre to play in William Shakespeare’s Re Lear (King Lear), directed by Luca Ronconi, and with Turi Ferro in Il visitatore (The Visitor) written by Eric-Emmanuel Schmitt and directed by Antonio Calenda. On TV, he played Julien Sorel in the French-series Le Rouge et le Noir/The Red and the Black (Jean-Daniel Verhaeghe, 1997), based upon the famous book by Stendhal. In 2002 he participated in the film Pinocchio (Roberto Benigni, 2002) as Lucignolo. Then, he played in Le Chiavi di Casa/The Keys to the House (Gianni Amelio, 2004), as a young father who attempts to forge a relationship with his teenage, handicapped son after he meets him for the first time. The film and his performance won several awards. Later he played Mimmo in the TV-film Il tunnel della libertà/The tunnel of the Freedom (Enzo Monteleone, 2004) and he had one of the leading-roles in Michele Placido's Romanzo Criminale/Kings of Crime (Michele Placido, 2005). This film was also highly acclaimed and won 15 awards. Rossi Stuart wrote the screenplay, directed and acted in the film Anche libero va bene/Along the Ridge (Kim Rossi Stuart, 2006). It was followed by a lead role in Piano, solo (Riccardo Milani, 2007), a film based on the life of Italian jazz great Luca Flores, with Rossi Stuart playing Flores. He then starred in the comedy-drama Questione Di Cuore/A Question of the Heart (Francesca Archibugi, 2009). Then followed Vallanzasca - Gli Angeli Del Male/Angel of Evil (Michele Placido, 2011), based on the life of Renato Vallanzasca, a famous 1970s Italian bank robber. Wallys Chamber at IMDb: “Kim Rossi Stuart has a lot of charm, mixed with a crazy brutality and a great face to slap on the front of a newspaper. There's a fantastic scene where Vallanzasca dresses as a business man and just strolls straight through into the bank's back room to help himself and it's only with this charm that he manages to go through with it.” In the French romantic comedy L'ex de ma vie (Dorothée Sebbagh, 2014) he appeared as the Italian ex Nino of Géraldine Nakache. And he directed himself in the comedy-drama Tommaso (Kim Rossi Stuart, 2016). Kim Rossi Stuart was in a relationship with the actresses Veronica Logan and and Simona Cavallari. He speaks English, French and Italian, is an accomplished swimmer and also plays the trumpet. He has a son Ettore (2011) by his girlfriend Ilaria Spada.
Sources: Dante Balzano (IMDb), Wikipedia and IMDb.
Career in your crosshairs
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Akihabara back then. No moe, no maids, some eroge but no figures.
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