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Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Image by Stacey Gledhill
Grumman AF-2S Guardian, former US Navy 123088
This aircraft was owned by the now-defunct Aero Union company when I photographed it at Chico Municipal Airport (CIC) in August 2002.
Until they were replaced by the Grumman S2F Tracker, US Navy aircraft carriers were protected from submarines by "hunter/killer" teams of AF-2 Guardians in the late 1940s and early 1950s.
AF-2W Guardians were equipped with radar for detecting submarines, and AF-2S Guardians were equipped with a choice of torpedoes, bombs or depth charges in their weapons bays.
For more about this particular AF-2S, see:
www.aerialvisuals.ca/AirframeDossier.php?Serial=5829
For more about the Guardian in general, see:
www.navalaviationmuseum.org/attractions/aircraft-exhibits...
Part of an Avro Anson wreck, which has been sitting in the forest since it crashed on October 30, 1942.
From H.E.V. Book 5 #1 Patent # 1688117 made in U.S.A. Orginally I believe you would use 2 of this design, one for each side of the vanity. I think the one motif I am missing of the set is one just like this one.
- F-111F
- Serial: 70-2415
- 494th Tactical Fighter Squadron, 48th Tactical Fighter Wing
- While no identifying markings can be seen in this photo, notes on the slide state it was taken in March 1985.
- Other photos of this jet can be found here:
www.flickr.com/photos/192710984@N05/53208253722
www.flickr.com/photos/192710984@N05/52440371734/
www.flickr.com/photos/192710984@N05/52203306074/
www.flickr.com/photos/192710984@N05/52440373059/
www.flickr.com/photos/192710984@N05/52442603503/
www.flickr.com/photos/192710984@N05/52508707134/
www.flickr.com/photos/192710984@N05/53210879561
www.flickr.com/photos/192710984@N05/54649250761
www.flickr.com/photos/192710984@N05/54648406602
www.flickr.com/photos/192710984@N05/54648406592
Source: my personal collection
Master Co-axial Chronometer.
Since the 1995 "GoldenEye" movie, the Omega Seamaster has been James Bond's watch. Now, with the latest James Bond Spectre movie just around the corner – with a late October premier date – there's bound to be a new Omega watch to go with it: Enter the Omega Seamaster 300 "Spectre" Limited Edition. Available in a numbered series of 7,007 pieces, this release marks the first time an Omega Bond watch is made available at the same time as the debut of the movie, so let's see the finer details of this well-timed limited edition.
The Omega Seamaster 300 made its debut at BaselWorld 2014, and we (of course) went hands-on with it at the time – read more about it here. This new, historically-themed, yet ultra-modern dive watch collection meant a direct visual emulation of the classic Omega Seamaster 300 watch from the 1950s. However, beyond the historical charm of it all, the Omega Seamaster 300 was and indeed still is among the very first watches from Omega to bear the Master Co-Axial designation, meaning that its in-house Omega Caliber 8400 movement is anti-magnetic up to 15,000 Gauss, thanks to the exclusive use of anti-magnetic materials in the escapement.
This in addition to the rugged looks and dive watch credentials of the Omega Seamaster 300 rendered it the perfect match for James Bond. Of course, there have been a few notable aesthetic changes that are new for the Omega Seamaster 300 "Spectre" Limited Edition when compared to the original collection from last year. The dial remains much the same, however, the 12 o'clock Arabic numeral index has been replaced with a larger Omega Seamaster logo – it is not unlikely to make it easier to spot when shown in action on the screen.
While the broad arrow hour hand and amply-lumed minute hand remains, new is the "lollipop" seconds hand that ends in a circle and not in an arrow as seen on the original version. The black polished ceramic bezel now rotates bi-directionally, and its LiquidMetal indices run from 0 to 11 – "so that time can be kept with any country in the world" – replacing the traditional uni-directional diving bezel seen in the main collection.
The most notable change, though, will be the 5-stripe black and grey Omega NATO strap, with the 007 gun logo and the Omega logo engraved on the hardware. Each Omega Seamaster 300 "Spectre" Limited Edition watch will have its own unique serial number, again, out of 7,007, engraved on the back along with the James Bond Spectre film logo, celebrating the latest on-screen adventure. Price for the Omega Seamaster 300 "Spectre" Limited Edition is 6,300 Swiss Francs. omegawatches.com
Where-4 bodies.
were-found.
Gunness Farm La Porte, Indiana
Date: 1908
Source Type: Postcard
Publisher, Printer, Photographer: Stansbury
Postmark: None
Collection: Steven R. Shook
Remark: Belle Gunness, often referred to as the Lady Bluebeard, is considered to be the first American female serial killer.
Born in 1858 in Selbu, Norway, Belle Gunness emigrated to America in the mid 1880s. Belle married Mads Sorenson in 1893, and together they operated a store in Chicago. The store burned down, and Mads and Belle collected insurance on the property. Mads Sorenson died in 1900, with Belle collecting approximately $8,000 through his life insurance policy.
On April 1, 1902, Belle married Peter Gunness in LaPorte, Indiana. Together, Peter and Belle owned and operated a small farm on McClung Road in LaPorte County. Belle again collected insurance on a husband when Peter died after a coffee grinder allegedly fell from a shelf hitting him on the head. Following Peter's death, Belle began advertising in Norwegian language newspapers in America for a husband.
Several suitors answered Belle's advertisements. However, many of these potential bridegrooms would suddenly leave in the night, leading Belle's 18 year old niece, Jenny Olson, to be suspicious as to their welfare. Jenny then mysteriously disappeared, though Belle told friends and neighbors that she had left for schooling in California.
The final man to respond to Belle's advertisement was Andrew Helgelein. Belle requested that Andrew sell his property and bring his money (about $3,000) to LaPorte, which he did in 1908. Andrew's brother, Asa Helgelein became suspicious when letters from Andrew ceased to arrive. Asa therefore traveled to LaPorte County to inquire about the welfare of his brother.
In the early morning of April 28, 1908, the Gunness farmhouse burned to the ground. The Gunness children were found in the ashes of the home, as well as the body of a headless woman. This headless body, however, was much smaller in size than the rotund stature of Belle's body. After sluicing through the ashes of the home, dental work reportedly to be Belle's was found. Asa Helgelein arrived several days after the fire, and at his urging, the LaPorte County Sheriff began to further investigate the fire and Belle's relations with out-of-town men. The investigation turned into a national sensation, as numerous bodies were soon found to be buried on Belle's farm.
The remains of Andrew Helgelein were the first to be found, buried in a shallow grave in the garden. Jenny Olson's body was soon discovered nearby. In all, at least twelve other bodies were recovered from the property. It has been estimated that Belle may have buried forty men on the farm.
Enormous crowds, numbering in the thousands, visited the farm during the investigation. Special trains from Chicago and Indianapolis, as well as from other towns and cities, brought curious onlookers to the farm. Picnics were common. A farm building was used as a temporary morgue, where onlookers could view the remains as they were recovered and put on display. Numerous postcards were produced and sold during and after the investigation.
Ray Lamphere, a farm hand of Belle's, was eventually charged with murder and arson. Though not convicted of murder, Lamphere was found guilty of arson and incarcerated in the nearby Indiana State Prison in Michigan City, where he died a few years later. While in prison, Lamphere maintained that Belle had escaped and insisted that her body was not found in the debris of the burnt house. Lamphere's statement led to numerous reported sightings of Belle Gunness across the United States for many years, none of which were ever confirmed.
Copyright 2020. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Spanish minicard (collector's card). Reclam Films, Mallorca. Scene from the third episode of the French silent crime serial Fantomas, Le Mort qui tue/ The Dead Man Who Killed (Louis Feuillade, Gaumont 1913), card 6 of 6. Fantomas René Navarre) is held at gunpoint by Inspector Juve (Edmund Breon) and Fandor (Georges Melchior), but manages to escape - again - through a hidden door in the wall behind him.
The six episodes of the next sequel, Le mort qui tue (November 1913), make it one of the longest in the series, and in reprising characters and situations from the earlier films, it is even more grisly in its violence. After Juve and Fandor escape the destruction of Lady Beltham's villa (not without injury), it is the journalist who now pursues the archcriminal, but with no more success than Juve had. As before, Fantômas's exploits take him and his pursuer through several different levels of French society. In the first episode, Fantômas chloroforms a painter named Jacques Dollon (André Luguet) in order to set him up for the murder of a wealthy baroness he has killed. In prison, the guard Nibet (Naudier) stabs Dollon to death, and Fantômas takes away the body in order to remove the skin of its right hand—for a human glove. Here, Juve (disguised as a clochard) has to rescue Fandor who has followed Fantômas to a Seine sewer inlet (where Dollon's body is dumped). Princes Danidoff [Jane Faber, whom we saw in the first episode] returns in the third episode, to give a party for her fiancé Thomery (Luitz-Morat), a sugar-plantation owner, and promptly is robbed of her jewels again by Fantômas, disguised as a banker named Nanteuil—but on her neck (she has been rendered unconscious) is a fingerprint that turns out to be Dollon's. Lady Beltham then returns in the next episode, to deliver a ransom note for the jewels to Thomery, who is lured to an empty apartment and garroted by Fantômas' s gang. In the fifth episode, Fantômas searches the Pension Bourrat, where Elizabeth Dollon (Fabienne Fabrèges) is staying, trying to recover an enigmatic list she found earlier in her brother's cell, and Fandor arrives just in time to save her from being asphyxiated—and sends her to a convent for protection. Then, hidden in a packing basket of her belongings which Fantômas has requisitioned, he is transported to the gang's hideout and discovers Thomery's body. Finally, Fandor links up again with Juve, and they confront Nanteuil, thinking that they have Fantômas at last—but he vanishes before their eyes (and guns) through a secret wall panel door.
From this narrative summary, the six episodes of Le mort qui tue would seem to correspond closely to the film's six reels. According to the National Film Archive's print, however, which covers only the last three episodes and has Czech intertitles [Note: all of the Fantômas films were restored in 1995-96 by Gaumont Studios, with the assistance of the French Government], this film, too, either carried the action across at least some of the reel breaks or else used the reel break to heighten suspense near the end of an episode. One break in the NFA print, for instance, comes just after Fantômas exits from Elizabeth's room at the pension, after having drugged her coffee and turned on the gas; the next opens with Fandor breaking into the room to turn off the gas and open a window. Yet, if Le mort qui tue resembles its predecessors in this use of reel breaks, its mode of representation is slightly different. Most of the scenes, for instance, are shot in studio decors, and frequent intertitles either link or interrupt the AS ["American Shot" (from the knees up)] / LS [Long Shot] or FS [Full Shot] / LS tableaux. Some of the decors, especially the ones with less depth, are quite spare, but this is used to good effect for moments like the garroting—where Thomery steps from a background painted-flat hallway into an empty room, through a central doorway on either side of which two hooded figures stand poised. One of the film's more interesting features, however, is the greater number of cut-in CUs [Close-Ups] and ECUs [Extreme Close-Ups] of objects, which prove more deceptive than revealing.In episode three, for instance, the CU photograph of the fingerprint lifted from the princess's neck baffles her guests, and the ECU of the pearls that Lady Beltham shows Thomery deceives him into believing that the ransom exchange is genuine—in both cases, by contrast, the spectator can conclude that this is Fantômas's handiwork. Curiously, another cut-in close shot briefly positions the spectator as superior to Fantômas—when Elizabeth stuffs the list into the back of a blotter, which he later overlooks in his search of her room. Yet, a cut-in CU of his hand turning the gas lever then threatens to take revenge on her for the sleight of hand, as well as on any spectator tempted to identify with her. These CUs culminate in the last scene as Juve rips the glove of human skin from Fantômas's hand—only to have him disappear through the wall, secreted beneath one more fake exterior.
Sources: Robin Walz at www.fantomas-lives.com/fanto4c.htm; Richard Abel, The Ciné Goes To Town: French Cinema 1896-1914; IMDb.
René Navarre (1877-1968) was a French actor of the silent cinema. He is best remembered for his part of the master criminal Fantomas.
Georges Melchior (1889-1944) was a French film actor, active in French cinema between 1911 and 1937, and known for the Fantômas serials by Louis Feuillade (1913-1914), and L'Atlantide (1921).
Edmund Breon (sometimes credited as Edmond Breon or Edmond Breon) was a Scottish actor, born Iver Edmund de Breon MacLaverty1 on 12 December 1882 in Hamilton, Scotland, who died on 24 June 1953 in Cork, Ireland.
Production still.
This serial is mostly a fun ride with a lot of positive factors going for it (but also two or three big drawbacks). We start with a quick rundown of Superman's origin on doomed Krypton, his upbringing by the upright Kents and his arrival as a goofy Clark Kent at the Daily Planet, then most of the story shows him going after the nefarious Spider Lady.
Superman's considerable physical advantages are offset by the villains' clever tricks, the threatening of Lois and Jimmy to distract the Man of Steel and the fortuitous arrival of a Kryptonite meteor right near Metropolis (lucky for the bad guys that it didn't crash unnoticed somewhere in the Outback, eh?). So it's not a five minute serial showing Superman smashing through a few walls and rounding up the crooks.
Kirk Alyn gives an energetic performance as both Superman and Clark Kent (who he plays as distinct personalities). Alyn isn't imposing in the muscular way Tom Tyler was as Captain Marvel, who looked like he could actually slam you across the room. Alyn's Superman is agile as a dancer, light on his feet and grinning delightedly as bullets ricochet of his chest. Noel Neill as Lois Lane has the same likeable qualities she showed on the TV show, although here she looks like she got the Dailey Planet job right after high school; Tommy Bond is a funny looking kid, and his Jimmy is more like a Lower East Side ruffian than the gee whiz youngster we usually find. It's very cool to see Perry White as a hardnosed old-school editor who has no hesitation trading punches with a thug (hard to imagine John Hamilton throwing a few hooks) and who, after being hurled out his office window and barely hanging on, immediately barks that they still have a paper to get out. That's a newspaperman of the classic type.
The Spider Lady herself is a disappointment. For a supposed criminal mastermind, she never seems shrewd or intimidating enough to even be in a gang, much less lead one. Despite the fact she's an impressive blonde in a black gown, she's not using sex appeal as a tool either. Carol Forman seems to be trying to sound tough, but it falls flat. Either she should have gone for the seductive female spy angle, or they should have picked an older actress who could have put some cold menace in her performance. (Her best moments come when posing dramatically in front of the big metal spiderweb she uses to electrocute folks.)
And then there are the flying scenes. Come on, Sam Katzman, spring for a few bucks. Since THE WIZARD OF OZ a decade earlier and the Republic serials with their life-size papier-mache figures, it was shown a convincing flying man could be done. Instead, cheap cartoon animation was used here. Whenever Superman takes off, he's replaced in midframe by a flat unshaded cartoon figure. Once or twice, this seems effective but most of the time, it just slaps the viewer in the face and dares us to believe it. Even worse, as long as they were using this technique, they might as well have shown our hero hurtling through the sky with real momentum and forcefulness; instead, he wavers and sways from side to side as he were about to drop back down.
Too bad. Aside from the dismal flying scenes and a lame mastermind, SUPERMAN is brisk and inventive. The Reducer Ray (which is a long range disintegrator, not something that shrinks objects as you might expect) gives the Spider Lady a little extra leverage. Superman roughing up the thugs is staged with some enthusiasm. They don't even try to break their fists on him, usually making a run for it after bouncing a few bullets at that S symbol, and he flings them all over the place, picking up two at a time and clunking their heads together in a way George Reeves would later emulate.
The ghost has come on the set in the serial gigam. Hey do not scare. This ghost does not scare you or us, but comes to scare phalguni made baby. Let us explain the whole scene. www.youtube.com/watch?v=1LQaqoKh9ww
Serial number 109980
(marked on the base of the grip)
Marked on top of the barrel
SMITH & WESSON SPRINGFIELD MASS.
Faintly marked on the side of the cylinder
PATENTED APRIL 3, 1855, JULY 5, 1859 & DEC. 18, 1860
This is a Smith & Wesson Model 1, 2nd Issue 7-shot small caliber single-action pocket revolver. It weighs approximately 10 oz. and is chambered for the brand new (at the time) .22 short rimfire metallic cartridge. The 1st Issue was the first practical metallic cartridge arm produced by Smith & Wesson, but was quickly followed by the 2nd Issue that incorporated minor changes. The octagonal barrel is just under 3.25 inches in length. This model has a square butt with rosewood grips. The barrel and cylinder are blued, and the brass frame is silver or nickel-plated. Smith & Wesson manufactured approximately 115,000 of these revolvers between 1860 and 1868. The serial numbers started at around 1100 (where the 1st Issue left off) and continued to 126400. Although some of these small revolvers were carried as personal weapons or boot pistols during the Civil War, the high serial number of this gun indicates it was not made until shortly after the war was over.
To load the revolver, the barrel and nonfluted cylinder pivot upward upon release of the spring catch under the frame. The cylinder is then removed and the .22 caliber short rimfire cartridges are inserted into the rear of the chambers before the cylinder is returned to the frame and the barrel lowered.
The bullet shown here is an original unfired Smith & Wesson .22 short rimfire cartridge from the Civil War that was found in the area near Falmouth, Virginia.
GULFSTREAM G550 NACHSHON EITAM (SERIAL: 5069) FUERZA AÉREA DE ISRAEL (569) / BASE AÉREA DE MORÓN (LEMO) / ESPAÑA-SPAIN
Manufactured by VEB Pentacon, former East Germany
Model: c. 1979, version 4.1 (A&R 1, Hummel 059), (produced between 1977-83)
All Exa 1b produced between 1977-85
as to Andrzej Wrotniak
35mm film SLR film camera
BODY
Lens release: simply screw counter clockwise
Focusing: simple matte glass screen, ring and scale on the lens
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/175
Speeds: 1/30-1/175 +B setting: dial under the rewind crank knob
Shutter release: on the left fron of the camera, w/cable release socket
Cocking lever: also winds the film, short stroke, on the right of the top plate
Frame counter: on the cocking lever knob, regressive type, manual setting
Viewfinder: eye level SLR pentaprism, interchangeable
Finder release: by a small lever on the back of top plate, turn it left and pull-up the finder
Mirror: not instant return. Mirror is actually a part of the shutter mechanism. When the shutter released, the mirror goes up as in a conventional SLR, but when the exposure is over, a second cover rotates upward to block the light. There is no real shutter curtain.
Re-wind lever: folding crank type, on the left of the top plate
Re-wind release: by a small knob beside cocking lever
Flash PC socket: on the right front of the camera, M and X, setting with the speeds knob
Cold-shoe: none
Self-timer: none
Memory dial: for ASA, a ring on the cocking lever knob under the frame counter
Back cover: removable with the bottom plate, opens by a thumb wheel on the bottom plate
Engaving on the back cover: Made in G.D.R.
Film loading: special take-up spool
Tripod socket: 1/4''
Strap lugs
Body: metal; Weight:
serial no.700490
LENS:
Domiplan (Meyer Optik), 50mm f/2.8, fully automatic, 3 elements
filter thread: 40.5mm serial no.10416736
Domiplan is the standard lens of Exa 1b.
Mount: M42 screw mount
There is a standard M42 type arc/lever on the body, that depresses the pin on the lens that closes the diaphragm blades. When the pressure is let up, the lens opens fully again. A half-depression of the shutter release allows a depth of field preview.
Aperture: f/2.8-f/22,
Focus range: 075-12m +inf
+original ever ready case
VEB Pentacon licensed the production of screw-mount Exas (some late Ib version 4.4 and all Ic version 4.5) to Certo Camera Werk, Dresden-Großzsachwitz, a part of VEB Pentacon. Cameras built by Certo have serial numbers preceded with a letter C.
The later models of Exa 1b have black plastic top- and bottom plates.
Exa 1b body is virtually identical to Exa Ia except rewind knob replaced with a crank and the lens mount is M42 (Pentax/Practica standard), instead of the traditional Exakta bayonet mount. The camera also has internal aperture coupling for M42 automatic lenses.
Exa 1b uses most standard Exakta viewfinders, waist-level and prism.
Other main lenses are Tessar, Makinon and Super Takumar.
Exa 1b is not a real part of the Exakta/Exa system, although its family relationship with Exa cannot be denied.
Exa 1b renamed as Exa 1c without practically any other changes.
More info
My BBC B running serial terminal software called Termulator, connected to my Linux desktop which is running the text only web browser Lynx to use Twitter.
The terminal software is fairly temperamental, certain codes seem to make everything freeze up. Also, it's hard to find 5 pin DIN plugs with the right pin configuration these days.
The HP50G needs to have flag -33 cleared and -78 set to use the hardware serial port, but -78 isn't available from the flags menu. Use <> in RPN or CF(-33) SF(-78) in Algebraic mode to enable the port.
This screenshot was made with the HP50G's built-in screenshot function and my Bluetooth HP82240B emulator.