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Characterization of the isotopic composition of car gasoline exhaust sampled directly in the tail pipe of cars. Photo Andreas Christen, UBC.
Part of album Emission attribution of CO2 in urban air
www.youtube.com/watch?v=HZ2HUfD0QSw&feature=share&...
Universal, 15 Chapters, 1938. Starring Larry “Buster” Crabbe, Jean Rogers, Charles Middleton, Frank Shannon, Beatrice Roberts, Richard Alexander, Donald Kerr, C. Montague Shaw, Wheeler Oakman.
Flash Gordon’s Trip to Mars picks up almost exactly where Flash Gordon left off, with our courageous trio of interplanetary adventurers–Flash Gordon (Larry “Buster” Crabbe), Dale Arden (Jean Rogers), and Dr. Zarkov (Frank Shannon)–returning to Earth from the planet Mongo. They are greeted to a royal welcome, since their voyage has saved the Earth from being destroyed by the late Emperor Ming of Mongo. Zarkov, however, attempts to curb the Earthlings’ ebullience by cautioning them that the defeat and death of Ming does not mean that their planet is free from other threats of extraterrestrial invasion. As usual, Zarkov is correct; shortly after his warning speech, the Martian Queen Azura (Beatrice Roberts) begins an operation designed to siphon off the “nitron” (aka nitrogen) in the Earth’s atmosphere. Azura’s primary goal is to create nitron-powered weapons with which to wage a war against her mortal foes, the Clay People of Mars. She’s indifferent to the devastating effect that it will have on the Earth, while her chief adviser and military consultant regards the destruction of Earth as the main attraction of the plan. That adviser is none other than Ming (Charles Middleton), still very much alive and longing for revenge on Flash and Zarkov for toppling him from his throne and driving him into exile on Mars.
As the Earth begins to experience catastrophic floods and storms, due to the effects of Azura’s “Nitron Lamp,” Zarkov, Flash, and Dale launch another interplanetary trip to discover the cause of the catastrophes, which Zarkov has determined are due to a beam that emanates from outer space. They discover an unexpected stowaway aboard after takeoff–reporter “Happy” Hapgood (Donald Kerr), who had set out to track down Zarkov and get his opinion of the world-wide disasters. Not long after arriving on Mars, our quartet of Earth adventurers find themselves embroiled in the war between Azura and the Clay People. The latter are one-time rivals of the Queen, who have been transformed into living clay by Azura’s magical powers and banished to underground caverns from whence they carry on a guerilla war against Azura’s forces. The Clay People’s king enlists the aid of Flash and his party, as both of them want to stop Azura’s nitron-collecting plans, and, with additional aid from Prince Barin (Richard Alexander)–who arrives on Mars to try to convince the Martians to expel Ming–Flash and his party pit themselves against Azura’s magic, Ming’s machinations, Ming’s savage allies the Forest People, and many other hazards, in their quest to save the Earth.
Flash Gordon’s Trip to Mars is fully as good as the first Flash Gordon serial, although its strengths are in slightly different areas. While Trip to Mars doesn’t measure up to Flash Gordon when it comes to colorful characters and fantastic monsters, its focused plotline surpasses the episodic story of the earlier serial. In Flash Gordon, the protagonists merely responded to the perpetual perils that were hurled at them by Ming, King Vultan, and King Kala, while Ming’s own plans for destroying the Earth were largely abandoned after the first chapter in favor of his attempts to marry Dale and destroy Flash. In Trip to Mars, Flash, Dale, and Zarkov initiate events instead of just coping with them, and Ming’s new grand design drives the plot far more strongly than his earlier one, giving the good guys a clear-cut objective (the destruction of the Nitron Lamp) beyond simple escape from Mongo.
While Trip to Mars has no characters to rival Flash Gordon’s King Vultan and no bizarre beasts like the Orangopoid or the Fire Dragon, it still has excellent other-worldly atmosphere. The sets are not as varied and intricate as in the first serial, but still surpass the backdrops of almost any other chapterplay. Especially striking are Ming’s “powerhouse,” with its laboratory equipment and its disintegration room, Azura’s massive palace with its unique architectural design (particularly the futuristic pocket doors), the Clay People’s eerie caves, and the wonderfully-designed realm of the Forest People, with its twisted trees, climbing vines, hidden tunnels amid tree roots, and treehouse-like observation platforms.
In addition to the big sets, there are dozens of other major and minor props and special effects that make Trips to Mars memorably atmospheric; there’s the the Martians’ flying capes, the Martian televiewer screens (which are cleverly incorporated into the recap sequences at the beginning of each chapter), the Clay People’s vapor-healing chamber, and the bridge of light that connects Azura’s rocket tower to the rest of her palace and is powered by a simple switch like any Earthling lamp (the scene where Flash and Zarkov are first forced to cross the unsafe-looking thing is quite funny), to name but a few. I also appreciate the fact that Azura’s spaceship squadrons–her “stratosleds”–are designed differently than any of the ships in the first Flash Gordon serial; one would expect the aerial fleets of differing planets to differ in appearance. Another neat touch of internal consistency is the use of three completely different forms of salute by the three principal Martian races–Queen Azura’s subjects, the Clay People, and the Forest People.
The serial’s screenplay maintains good continuity with the previous Flash outing, despite being the work of a completely different team of writers–Ray Trampe, Norman S. Hall, Wyndham Gittens, and Herbert Dalmas. The new writing team avoids any of the clunky lines that occasionally crept into Flash Gordon’s dialogue exchanges; they also, despite having to resort to a few flashbacks to the first serial for padding purposes, manage to make their plot fit its fifteen-chapter length quite nicely. The major plot thread of the heroes’ attempts to destroy Ming and Azura’s Nitron Lamp is skillfully interwoven with several subplots–the Clay People’s efforts to regain their natural shape, the attempts by both Flash and Ming to get hold of the Black Sapphire of Kalu (a talisman that can neutralize Azura’s magic), and Ming’s plot to undermine Azura and seize the Martian throne.
Trip to Mars’ script wisely spreads its plot developments over the course of the serial, instead of introducing all its ideas in the first chapter and letting them tread water until the final one: the Clay People aren’t introduced till the second chapter or the Forest People until the sixth, while Prince Barin first arrives in Chapter Seven. The Nitron Lamp is destroyed in Chapter Nine and rebuilt over the course of the following chapters until it must be destroyed again at the climax, and one of the principal villains is killed off in Chapter Thirteen.
The cliffhangers aren’t quite as varied as in the first Flash serial, due to the lack of the various monsters that frequently attacked Flash for chapter-ending purposes in the earlier outing. However, writers still manage to avoid excessive repetition; for instance, while there are three chapter endings involving stratosled crashes, each one is set up differently–the first has Flash crashing a stratosled into another stratosled to stop it from bombing Dale and Happy, the second has a stratosled crashing on top of Flash and Zarkov, and the third has Flash and the pilots of a ’sled grapping for the controls as it soars towards yet another crash. There’s also an excellent cliffhanger in which Flash, Dale, Happy, and Zarkov are surrounded by an ever-narrowing ring of fire in the Forest People’s kingdom, and a memorably unusual one that has a hypnotized Dale stabbing an unsuspecting Flash in the back.
Though Trip to Mars has no swordfights or wrestling matches corresponding to those in Flash Gordon, it still features a nice variety of action scenes–including stratosled dogfights, fights among the vines and treetops of the Forest Kingdom, and chases through Azura’s big palace; the palace sequence in Chapter Five, which has the nimble Flash vaulting through windows to avoid the guards, is a particular standout. Directors Ford Beebe (a Universal serial veteran) and Robert Hill (a talented director who rarely escaped from low-budget independent serials and B-films) do a fine job of orchestrating these action scenes, assisted by stuntmen Eddie Parker (doubling Buster Crabbe), George DeNormand, Tom Steele, Bud Wolfe, and Jerry Frank. All of the aforementioned stuntmen, except Parker, also pop up in minor acting roles.
The performances in Trip to Mars are all first-rate; the returning actors from the first serial are all just as good as they were in Flash Gordon, while the new major players fit in smoothly. Buster Crabbe’s Flash is just as tough, chipper, athletic, and likable as in the first serial–and a good deal more wise and resourceful than before, improvising strategy and coming up with plans in tough situations instead of just trying to batter his way out. Frank Shannon’s Zarkov, as consequence of Flash’s new-found intelligence, has a reduced part, not guiding the good guys’ actions as he did in the first serial; he still functions as the scientific brains of the group, though, and is still as intense, serious, and sincere as before.
Jean Rogers, with her long blonde hair bobbed and dyed brown to better match the comic-strip version of Dale Arden (she’s also dressed in less arresting fashion), isn’t as stunning as in Flash Gordon, but is still a warm, welcome, and lovely presence. Her part here is smaller than in the first serial, though, since Ming is not romantically interested in her this time out (Ming, though no gentleman, evidently prefers blondes). Richard Alexander’s Prince Barin is a lot more self-assured when it comes to delivering dialogue this time around (helped, no doubt, by the absence of any overly high-flown lines), while his convincingly royal bearing and his commanding size are as effective as before.
Charles Middleton’s Ming is even more entertainingly sinister here than he was in Flash Gordon, getting a good deal more screen time and given a more devilish appearance by a notably forked beard. Though still given opportunities to break into tyrannical and bloodthirsty rages (particularly in his insane rant in the final chapter), Middleton spends much of the serial displaying duplicity and sly subtlety instead, since his Ming must pretend to friendship with Azura even while plotting against her. Middleton carries off this slightly more multi-faceted version of Ming masterfully, winning a few laughs with his crafty cynicism while remaining thoroughly sinister and hateful.
Beatrice Roberts does a fine job as Queen Azura, eschewing the sneering, aggressive demeanor of other serial villainesses for a regal, dignified manner (with a wryly humorous undercurrent) that contrasts interestingly with her often cruel behavior. Her Azura comes off as selfish and ruthless, but not an abusive tyrant like Ming. Donald Kerr as reporter Happy Hapgood, the other principal new character, is as controversial among fans as most other serial comedy-relief characters are. Speaking for myself, though, I found him quite likable and entertaining; he provides an amusingly commonplace point-of-view towards the fantastic world of Mars and is never obtrusive, gratingly stupid, or obnoxious. Additionally, his character is allowed to be quite heroic and helpful when the chips are down, a far cry from one-dimensional cowardly “comic” pests like Sonny Ray in Perils of Pauline or Lee Ford in SOS Coast Guard.
Wheeler Oakman is very good as Tarnak, Ming’s wily lab assistant and co-conspirator against Azura. C. Montague Shaw, concealed under heavy makeup for most of the serial, conveys an impressive air of ruined dignity as the King of the Clay People and manages to seem both sinister and sympathetic at different times. Usual hero Kane Richmond brings appropriate depth of characterization to his key role as a Martian pilot, who proves instrumental in helping Flash overthrow Ming in the later chapters. Anthony Warde has a small part as Toran, king of the Forest People, but extracts as much snarling nastiness as possible from the role. Future director Thomas Carr is his second-in-command, Kenne Duncan is the officer in charge of Azura’s airdrome, Lane Chandler and Jack Mulhall both appear as pilots of her Death Squadron, and Warner Richmond has a small role as one of Ming’s palace cohorts.
Hooper Atchley and James Blaine pop up as self-important Earth scientists, propounding ingenious and inaccurate theories as to the causes of the damage brought about by the Nitron Lamp, while Edwin Stanley is the general presiding over a council comprised of these two and additional savants. Louis Merrill (a radio actor who played character roles in several feature films) has a brief but memorable turn as the blunt and slightly uncouth Dr. Metz, who alone among the scientists has the humility to admit that Zarkov is the only one capable of unravelling the riddle of the disasters. Merrill’s characterization is so vivid that one wishes the actor had taken a larger part in this chapterplay or in other serials.
Flash Gordon’s Trip to Mars is a nearly ideal sequel, in that it manages to preserve the basic strengths of its predecessor while deviating from it in some areas and improving on it in others. It’s also a nearly ideal serial, independent of its relation to the earlier Flash Gordon; it balances good acting, atmosphere, action, and plotting in such fine style that it would still be a notable achievement if it were the sole entry in the Flash Gordon series.
Flash, Dale, and Dr. Zarkov return from their former space adventures only to find that their enemy, Ming the Merciless of planet Mongo, has a new weapon: a deadly ray that crosses space to wreak havoc on earth. Earth's only hope is for our heroes to take off again and stop the ray at its source on Mars, where they (and a stowaway) familiar to sci-fi serial fans as Happy Hapgood the space traveling reporter). Must battle Ming's ally, Queen Azura, who turns her enemies into lumpish clay people.With the aid of the Clay People and Prince Barin, Flash and his friends are triumphant in destroying the ray and putting an end to the scheme of Ming the Merciless. Can they survive 15 chapters of deadly perils? Find out next week...
The Deadly Ray From Mars was an edited version of the 1938 Universal serial "Flash Gordon's Trip to Mars" that was released to TV in a syndication package in 1966.
Mars Attacks the World was the feature version of the 1938 serial titled Flash Gordon's Trip to Mars. aka "Space Soldiers' Trip to Mars" - USA (TV title)
Mars Attacks the World is the feature compilation version of the serial Flash Gordon's Trip to Mars, while Rocket Ship is the the feature compilation of the serial Flash Gordon.
Jean Rogers as Dale Arden
Charles Middelton as Emperor Ming
Frank Shannon as Dr. Zarkov
Beatrice Roberts as Queen Azura
Richard Alexander as Prince Barin
Montague Shaw as The Clay King
Donald Kerr as Happy Hapgood the space traveling reporter.
The title of this serial was originally going to be "Flash Gordon and the Witch Queen of Mongo." It was changed so that Universal could save money by shooting the outdoor scenes on the back lot and not have to build costly sets, and by reusing the set for Emperor Ming's palace.
In the stock footage from Flash Gordon, shown in this film, as Flash is telling The Clay People about his previous encounter with Emperor Ming, Ming is bald and Dale Arden has blond hair. In this sequel, Ming has "pasted on" hair and Dale is a brunette. It has been reported that Jean Rogers (Dale Arden) had many other film roles pending at that time (1938) which had called for her to portray a brunette.
King Features Syndicate released the 3 Flash Gordon serials as well as "Buck Rogers," Red Barry", "Ace Drummond" and other comic strip cliffhangers to US TV in 1951. Because the television show Flash Gordon, starring Steve Holland as Flash, was in syndication in late 1953, the three Universal Pictures Flash Gordon theatrical serials were retitled for TV broadcast. Flash Gordon became "Space Soldiers", Flash Gordon's Trip to Mars became "Space Soldiers' Trip to Mars", and Flash Gordon Conquers the Universe became "Space Soldiers Conquer the Universe". To this day both the 3 original "Flash Gordon" serial titles and the 3 "Space Soldiers" titles are used.
Chapter Titles:
1. New Worlds To Conquer
2. The Living Dead
3. Queen of Magic
4. Ancient Enemies
5. The Boomerang
6. Treemen of Mars
7. Prisoner of Monga
8. Black Sapphire of Kalu
9. Symbol of Death
10. Incense of Forgetfulness
11. Human Bait
12. Ming the Merciless
13. Miracle of Magic
14. Beasts at Bay
15. An Eyes For An Eye
Star Trek- The Menagerie , “Return to Talos IV”
youtu.be/v5XBfgPy43A?t=2s The full feature.
The Menagerie Review: February 8, 2014 by neoethereal
As the only two-part episode in The Original Series, “The Menagerie” also cleverly serves as a re-telling of the very first Star Trek story ever filmed, “The Cage.” This week on The Uncommon Geek, I examine all of these episodes in full detail, highlighting their connections to other aspects of the Trek mythos. As well, I take a look at the ground broken by Gene Roddenberry concerning the nature of reality, decades before movies like “The Matrix” challenged the perception of our everyday world.
Equipped with little more than a shoestring budget and massive constraints on time with which to work, Gene Roddenberry and his Star Trek production team had to get extremely creative in order to make the show work. Nowhere, in my opinion, is that more evident than here in “The Menagerie,” an entry that served the purpose of buying the production team time to properly finish subsequent episodes, and as well, afforded Gene Roddenberry a unique opportunity to re-tell the story he had wanted to get on the air all along, “The Cage.”
This episode begins with the Enterprise having been called out of its way, to Starbase 11. Confusion arises when the starbase’s commanding officer, Commodore Mendez, reveals to Captain Kirk that the base never sent any message to the Enterprise. Spock claims to have received that message, which puts Kirk into the difficult position of whether to trust the starbase computers, or the word of his first officer and friend.
It turns out that Captain Christopher Pike, the former commander of the Enterprise, who was recently crippled and disfigured in a terrible accident, is on Starbase 11, and suspicion arises that perhaps he relayed a message to Spock. When Kirk finally gets to see Pike, however, he realizes that it would have been impossible for Spock’s former commanding officer to have done this, for Pike is now wheelchair bound, and his communication with others is limited to electronic beeps that fill in for “yes” and “no.
While Kirk and Mendez wrestle over the truth, Spock executes a daring and clever plan to hijack the Enterprise, taking Captain Pike with him. It goes to show just how dangerous an opponent someone as smart and calculating as Spock can be when he puts his mind to it. Spock sets the Enterprise on a locked course for Talos IV, a planet which the ship visited on a past mission under Christopher Pike, and a planet that invites the death penalty upon any Starfleet officer who goes there
The secret file on Talos IV, and the article of General Order 7
I personally find the idea of a death penalty being associated with Talos IV to be somewhat dubious; although there is a very good reason why Starfleet wants the existence of the Talosians kept secret, I find it hard to believe that if the Federation is capable of having a death penalty, that it only applies to one law. It may just be a grand bluff, and indeed, there is some evidence to that effect later in the episode. Regardless, breaking General Order 7 is a serious offense, and Spock is if nothing else, putting his career and livelihood on the line.
Kirk, of course, isn’t going to sit by while his ship is abducted. He and Mendez make a daring attempt to chase the Enterprise in the Shuttlecraft Picasso, knowing full well that while they would never catch up, they would appear on the Enterprise sensors. Kirk gambles his life on the fact that his friend Spock would not leave him to die in the void of space, as the shuttle runs out of fuel. Kirk’s illogical gambit causes Spock’s plan to unravel, and he surrenders himself to custody, pleading guilty to every charge leveled against him. However, Spock has locked the Enterprise into a course for Talos IV that cannot be broken, which will potentially extend the death sentence that is on himself, to Kirk as well.
The court martial that proceeds against Spock is highly unusual; as mentioned, Spock pleads guilty without defense, but through some legal technicality, manages to arrange for the court to hear out his evidence as to why he went through with his illegal actions. Given that Kirk is presiding over the hearing, and that the crew has little else to do but wait until they reach Talos IV, I get the lenience, but I am not sure what real court would remain in session to examine evidence for someone who just admitted their guilt. Or admittedly, maybe I just don’t know enough about legal proceedings.
Spock’s evidence, as it turns out, is a transmission from Talos IV, beamed directly to the Enterprise, which details the vessel’s first trip there under the command of Captain Pike. Of course, this transmission is the original Star Trek pilot, “The Cage,” and from this point on, “The Menagerie” consists almost entirely of footage from that episode.
Aside from some really goofy tech dialogue, and incomplete characterizations, “The Cage” holds up surprisingly well. We get to see that Jeffrey Hunter’s Captain Pike is a darker, colder man than James Kirk; he is someone whose decisions and responsibilities as a commander are weighing on him heavily, and he is nearing the point of considering resignation. Pike’s first officer is only referred to as Number One (played by Majel Barrett), who is an amazing example of a strong female role for 1960’s television, but unfortunately her character had to be discarded by Roddenberry when the studio forced him to choose between keeping his strong, logical female, or his alien Spock. Roddenberry ended up giving Spock Number One’s cold, emotionless, logical persona, and thus the Spock we know and love was born.
It really is a shame that NBC put so much pressure on Roddenberry to alter his concept of women in the 23rd Century; aside from Number One, the other female crew members of the Cage-era Enterprise also seem to be on equal footing with the men, and there isn’t a mini-skirt in sight. Of course, this reviewer by no means, from an aesthetic point view, objects to how the women of the Enterprise look in said mini-skirts, but cheekiness and my own red-blooded male impulses aside, the female officers in Starfleet should have been offered the same, more professional uniform as the males. Unfortunately we would have to wait until The Motion Picture to see more fairness in the way men and women are presented in Star Trek.
When Enterprise finds evidence of human survivors on Talos IV, from a doomed expedition many years ago, Pike, Spock, and an away team beam down to investigate. What at first seems like a wonderful discovery of lost, homesick men, turns out to be just an elaborate, life like illusion created by the Talosians. Pike is abducted when he is lured in by the only true human survivor from the crash, Vina, whom he is extremely attracted to.
Pike is subjected to a variety of illusions crafted by the Talosians, in order to foster cooperation, as well as to strengthen his attraction toward Vina. Vina is presented to Pike in a variety of forms; as a damsel in distress on Rigel VII, as a wife in the countryside on Earth, and as a primal, animalistic Orion slave woman, all in an attempt to make him submit to his situation.
However, Pike is every bit as stubborn as Captain Kirk, and certainly has a darker, more furious edge to him. When he discovers that primitive, base human emotions such as hatred, and anger, block out the Talosian’s illusions and their telepathic abilities, he mines that weakness long enough to take one of them captive. Once the illusion is broken, the Enterprise crew find out that their attempts to break Pike out from his underground cage with phaser fire were actually working, but all along they weren’t able to see it.
The Talosians had, thousands of centuries ago, devastated their planet and their civilization with war. They retreated underground, where their telepathic abilities flourished, but their physical bodies and their technology atrophied. They had apparently been testing various species for many years, looking for a suitable slave race to use for rebuilding their world, but none had shown as much promise as humanity.
However, when the away team threatens to kill themselves with an overloaded phaser, and as well when the Talosians finish screening the Enterprise‘s records, they realize that humans would rather die than be enslaved, and would be too violent to keep in captivity. With of course, the sad exception of Vina, who in reality is too badly disfigured to live a normal life outside of Talos IV.
(I once heard a suggestion that Vina could be repaired using the transporter. I don’t think 23rd century transporters were sophisticated enough for that, plus, there wouldn’t be an original, unaltered version of her pattern to reference.)
The ending of “The Cage” leads us to the final moments of “The Menagerie,” where it is revealed that not only have the Talosians been transmitting a signal to the Enterprise, but even Commodore Mendez himself has been one of their illusions all along!
It is also revealed that Spock’s only intention was to take Captain Pike to Talos IV, so that the crippled starship commander could live out the rest of his life as a healthy, happy man with Vina. Even Kirk seems to relent that it is better to live with an illusion of health and happiness, than a reality of living as a useless vegetable. That Commodore Mendez was an illusion, and that Starfleet sends a signal to the Enterprise, apparently excusing their violation of Talos space, seems to let Spock off the hook. Perhaps too easily in fact; despite acting out of nothing but loyalty to his former Captain, and despite that the way he enacted his plan was done in such a manner as to put the blame only on himself, Spock seems to get out of his predicament with apparently no trouble at all. We can make a guess that perhaps this incident is why he doesn’t receive a promotion or command of his own until years later, but there is nothing spoken on-screen to that effect.
We are also left to ponder about how much of the incident was real at all. Since the Talosians can apparently project their powers through subspace, one wonders just how long they conspired with Spock, and also, how much we see of Mendez was real or an illusion. My guess is that the Mendez we see at the base was real, and what goes onto the shuttle with Kirk was the illusion, but unfortunately, again, there is little to back that up. What we do know for sure is that the Talosian’s powers are not to be trifled with, and it is truly for wise for Starfleet to give them a wide berth.
Despite some problems with logic and consistency, “The Menagerie” is an entertaining, fascinating episode that shows original series Trek at some of its most interestingly cerebral. Gene Roddenberry’s first pilot examines the nature of reality decades before The Matrix did, and asks the questions: What is real? How does one define their purpose, their reality? Is our reality just relative, defined only by experience? Is there a such thing as an absolute reality, or only what our senses perceive, or for that matter what they think they perceive? This is smart, ahead of its time writing for the 1960s.
Through the tragedies that befell both Vina and Pike, we must also question the quality of human life, and the value we place on it. Is it worth staying alive if you can’t function? If your brain is sound but your body is broken, can you still truly live? Speaking for myself, I certainly would despise the existence that Captain Pike is forced to endure in his wheelchair. I’d rather be dead than live that way. I’m not sure how I would react exactly to being forced to live in an illusion, but it is certainly preferable to a reality of uselessness and immobility. Besides, is our everyday life not just an elaborate series of deceptions spun before our very eyes; maybe not as powerful as a trick of telepathy played by an alien race, but an illusion nonetheless?
For even provoking these thoughts, and much more, “The Cage,” and by extension, “The Menagerie,” are what I consider among the best of Star Trek’s purely cerebral stories about human nature. It is imaginative, thoughtful, and quite engaging.
Part 1 “ The Menagerie”
Star Trek- The Menagerie , “Return to Talos IV”
youtu.be/v5XBfgPy43A?t=2s The full feature.
The Menagerie Review: February 8, 2014 by neoethereal
As the only two-part episode in The Original Series, “The Menagerie” also cleverly serves as a re-telling of the very first Star Trek story ever filmed, “The Cage.” This week on The Uncommon Geek, I examine all of these episodes in full detail, highlighting their connections to other aspects of the Trek mythos. As well, I take a look at the ground broken by Gene Roddenberry concerning the nature of reality, decades before movies like “The Matrix” challenged the perception of our everyday world.
Equipped with little more than a shoestring budget and massive constraints on time with which to work, Gene Roddenberry and his Star Trek production team had to get extremely creative in order to make the show work. Nowhere, in my opinion, is that more evident than here in “The Menagerie,” an entry that served the purpose of buying the production team time to properly finish subsequent episodes, and as well, afforded Gene Roddenberry a unique opportunity to re-tell the story he had wanted to get on the air all along, “The Cage.”
This episode begins with the Enterprise having been called out of its way, to Starbase 11. Confusion arises when the starbase’s commanding officer, Commodore Mendez, reveals to Captain Kirk that the base never sent any message to the Enterprise. Spock claims to have received that message, which puts Kirk into the difficult position of whether to trust the starbase computers, or the word of his first officer and friend.
It turns out that Captain Christopher Pike, the former commander of the Enterprise, who was recently crippled and disfigured in a terrible accident, is on Starbase 11, and suspicion arises that perhaps he relayed a message to Spock. When Kirk finally gets to see Pike, however, he realizes that it would have been impossible for Spock’s former commanding officer to have done this, for Pike is now wheelchair bound, and his communication with others is limited to electronic beeps that fill in for “yes” and “no.
While Kirk and Mendez wrestle over the truth, Spock executes a daring and clever plan to hijack the Enterprise, taking Captain Pike with him. It goes to show just how dangerous an opponent someone as smart and calculating as Spock can be when he puts his mind to it. Spock sets the Enterprise on a locked course for Talos IV, a planet which the ship visited on a past mission under Christopher Pike, and a planet that invites the death penalty upon any Starfleet officer who goes there
The secret file on Talos IV, and the article of General Order 7
I personally find the idea of a death penalty being associated with Talos IV to be somewhat dubious; although there is a very good reason why Starfleet wants the existence of the Talosians kept secret, I find it hard to believe that if the Federation is capable of having a death penalty, that it only applies to one law. It may just be a grand bluff, and indeed, there is some evidence to that effect later in the episode. Regardless, breaking General Order 7 is a serious offense, and Spock is if nothing else, putting his career and livelihood on the line.
Kirk, of course, isn’t going to sit by while his ship is abducted. He and Mendez make a daring attempt to chase the Enterprise in the Shuttlecraft Picasso, knowing full well that while they would never catch up, they would appear on the Enterprise sensors. Kirk gambles his life on the fact that his friend Spock would not leave him to die in the void of space, as the shuttle runs out of fuel. Kirk’s illogical gambit causes Spock’s plan to unravel, and he surrenders himself to custody, pleading guilty to every charge leveled against him. However, Spock has locked the Enterprise into a course for Talos IV that cannot be broken, which will potentially extend the death sentence that is on himself, to Kirk as well.
The court martial that proceeds against Spock is highly unusual; as mentioned, Spock pleads guilty without defense, but through some legal technicality, manages to arrange for the court to hear out his evidence as to why he went through with his illegal actions. Given that Kirk is presiding over the hearing, and that the crew has little else to do but wait until they reach Talos IV, I get the lenience, but I am not sure what real court would remain in session to examine evidence for someone who just admitted their guilt. Or admittedly, maybe I just don’t know enough about legal proceedings.
Spock’s evidence, as it turns out, is a transmission from Talos IV, beamed directly to the Enterprise, which details the vessel’s first trip there under the command of Captain Pike. Of course, this transmission is the original Star Trek pilot, “The Cage,” and from this point on, “The Menagerie” consists almost entirely of footage from that episode.
Aside from some really goofy tech dialogue, and incomplete characterizations, “The Cage” holds up surprisingly well. We get to see that Jeffrey Hunter’s Captain Pike is a darker, colder man than James Kirk; he is someone whose decisions and responsibilities as a commander are weighing on him heavily, and he is nearing the point of considering resignation. Pike’s first officer is only referred to as Number One (played by Majel Barrett), who is an amazing example of a strong female role for 1960’s television, but unfortunately her character had to be discarded by Roddenberry when the studio forced him to choose between keeping his strong, logical female, or his alien Spock. Roddenberry ended up giving Spock Number One’s cold, emotionless, logical persona, and thus the Spock we know and love was born.
It really is a shame that NBC put so much pressure on Roddenberry to alter his concept of women in the 23rd Century; aside from Number One, the other female crew members of the Cage-era Enterprise also seem to be on equal footing with the men, and there isn’t a mini-skirt in sight. Of course, this reviewer by no means, from an aesthetic point view, objects to how the women of the Enterprise look in said mini-skirts, but cheekiness and my own red-blooded male impulses aside, the female officers in Starfleet should have been offered the same, more professional uniform as the males. Unfortunately we would have to wait until The Motion Picture to see more fairness in the way men and women are presented in Star Trek.
When Enterprise finds evidence of human survivors on Talos IV, from a doomed expedition many years ago, Pike, Spock, and an away team beam down to investigate. What at first seems like a wonderful discovery of lost, homesick men, turns out to be just an elaborate, life like illusion created by the Talosians. Pike is abducted when he is lured in by the only true human survivor from the crash, Vina, whom he is extremely attracted to.
Pike is subjected to a variety of illusions crafted by the Talosians, in order to foster cooperation, as well as to strengthen his attraction toward Vina. Vina is presented to Pike in a variety of forms; as a damsel in distress on Rigel VII, as a wife in the countryside on Earth, and as a primal, animalistic Orion slave woman, all in an attempt to make him submit to his situation.
However, Pike is every bit as stubborn as Captain Kirk, and certainly has a darker, more furious edge to him. When he discovers that primitive, base human emotions such as hatred, and anger, block out the Talosian’s illusions and their telepathic abilities, he mines that weakness long enough to take one of them captive. Once the illusion is broken, the Enterprise crew find out that their attempts to break Pike out from his underground cage with phaser fire were actually working, but all along they weren’t able to see it.
The Talosians had, thousands of centuries ago, devastated their planet and their civilization with war. They retreated underground, where their telepathic abilities flourished, but their physical bodies and their technology atrophied. They had apparently been testing various species for many years, looking for a suitable slave race to use for rebuilding their world, but none had shown as much promise as humanity.
However, when the away team threatens to kill themselves with an overloaded phaser, and as well when the Talosians finish screening the Enterprise‘s records, they realize that humans would rather die than be enslaved, and would be too violent to keep in captivity. With of course, the sad exception of Vina, who in reality is too badly disfigured to live a normal life outside of Talos IV.
(I once heard a suggestion that Vina could be repaired using the transporter. I don’t think 23rd century transporters were sophisticated enough for that, plus, there wouldn’t be an original, unaltered version of her pattern to reference.)
The ending of “The Cage” leads us to the final moments of “The Menagerie,” where it is revealed that not only have the Talosians been transmitting a signal to the Enterprise, but even Commodore Mendez himself has been one of their illusions all along!
It is also revealed that Spock’s only intention was to take Captain Pike to Talos IV, so that the crippled starship commander could live out the rest of his life as a healthy, happy man with Vina. Even Kirk seems to relent that it is better to live with an illusion of health and happiness, than a reality of living as a useless vegetable. That Commodore Mendez was an illusion, and that Starfleet sends a signal to the Enterprise, apparently excusing their violation of Talos space, seems to let Spock off the hook. Perhaps too easily in fact; despite acting out of nothing but loyalty to his former Captain, and despite that the way he enacted his plan was done in such a manner as to put the blame only on himself, Spock seems to get out of his predicament with apparently no trouble at all. We can make a guess that perhaps this incident is why he doesn’t receive a promotion or command of his own until years later, but there is nothing spoken on-screen to that effect.
We are also left to ponder about how much of the incident was real at all. Since the Talosians can apparently project their powers through subspace, one wonders just how long they conspired with Spock, and also, how much we see of Mendez was real or an illusion. My guess is that the Mendez we see at the base was real, and what goes onto the shuttle with Kirk was the illusion, but unfortunately, again, there is little to back that up. What we do know for sure is that the Talosian’s powers are not to be trifled with, and it is truly for wise for Starfleet to give them a wide berth.
Despite some problems with logic and consistency, “The Menagerie” is an entertaining, fascinating episode that shows original series Trek at some of its most interestingly cerebral. Gene Roddenberry’s first pilot examines the nature of reality decades before The Matrix did, and asks the questions: What is real? How does one define their purpose, their reality? Is our reality just relative, defined only by experience? Is there a such thing as an absolute reality, or only what our senses perceive, or for that matter what they think they perceive? This is smart, ahead of its time writing for the 1960s.
Through the tragedies that befell both Vina and Pike, we must also question the quality of human life, and the value we place on it. Is it worth staying alive if you can’t function? If your brain is sound but your body is broken, can you still truly live? Speaking for myself, I certainly would despise the existence that Captain Pike is forced to endure in his wheelchair. I’d rather be dead than live that way. I’m not sure how I would react exactly to being forced to live in an illusion, but it is certainly preferable to a reality of uselessness and immobility. Besides, is our everyday life not just an elaborate series of deceptions spun before our very eyes; maybe not as powerful as a trick of telepathy played by an alien race, but an illusion nonetheless?
For even provoking these thoughts, and much more, “The Cage,” and by extension, “The Menagerie,” are what I consider among the best of Star Trek’s purely cerebral stories about human nature. It is imaginative, thoughtful, and quite engaging.
From Paradise lost, 1695, by John Milton (1608-1674)
Paradise Lost was the major work which solidified Milton’s reputation as one of the greatest English poets. This early edition of the first illustrated version contains stunning engravings by the Dutch artist Jean Baptist Medina. Milton defined the purpose of his biblical epic as to ‘justify the ways of God to men.’ Paradise Lost has been an inspiration for some of the finest and most startling illustrations of hell. Centuries later Milton’s work continues to inspire writers. Phillip Pullman’s successful epic His Dark Materials is a version of Paradise Lost, that draws on Milton’s plot, themes and method of characterization.
Paradise lost : a poem in twelve books / John Milton, the author ; to which is prefix'd an account of his life.
John Milton 1608-1674.
London : Printed for the Company of Stationers, 1739
Cadbury Research Library r PR3560
birmingham-primo.hosted.exlibrisgroup.com/primo-explore/f...
Jean Fouquet (ca.1420–1481) was a French painter and miniaturist. A master of panel painting and manuscript illumination, and the apparent inventor of the portrait miniature, he is considered one of the most important painters from the period between the late Gothic and early Renaissance. He was the first French artist to travel to Italy and experience first-hand the early Italian Renaissance.
Little is known of Fouquet's early life and education. Though long assumed to have been an apprentice of the so-called Bedford Master of Paris it is now suggested that he may have studied under the Jouvenal Master in Nantes, whose works were formerly assumed to be early works by Fouquet. Sometime between 1445 and 1447 he travelled to Italy where he came under the influence of Roman Quattrocento artists such as Fra Angelico and Filarete. During the 1450s he began working at the French court, where he counted kings Charles VII and his successor Louis XI among his many patrons.
He was born in Tours. Little is known of his life, but it is certain that he was in Italy before 1447, when he executed a portrait of Pope Eugene IV, who died that year. The portrait survives only in copies from much later.
Upon his return to France, while retaining his purely French sentiment, he grafted the elements of the Tuscan style, which he had acquired during his period in Italy, upon the style of the Van Eycks, forming the basis of early 15th-century French art and becoming the founder of an important new school.
He worked for the French court, including Charles VII, the treasurer Étienne Chevalier, and the chancellor Guillaume Jouvenel des Ursins. Near the end of his career, he became court painter to Louis XI.
His work can be associated with the French court's attempt to solidify French national identity in the wake of its long struggle with England in the Hundred Years' War.
One example is when Fouquet depicts Charles VII as one of the three magi. This is one of the very few portraits of the king. According to some sources, the other two magi are the Dauphin Louis, future Louis XI, and his brother.
Fouquet's excellence as an illuminator, his precision in the rendering of the finest detail, and his power of clear characterization in work on this minute scale secured his eminent position in French art. His importance as a painter was demonstrated when his portraits and altarpieces were for the first time brought together from various parts of Europe for the exhibition of the "French Primitives" held at the Bibliothèque Nationale in Paris.
His self-portrait miniature would be the earliest sole self-portrait surviving in Western art, if the 1433 portrait by Jan van Eyck—usually called Portrait of a Man or Portrait of a Man in a Turban—is not in fact a self-portrait, as some art historians believe.
Far more numerous are his illuminated books and miniatures. The Musée Condé in Chantilly contains forty miniatures from the Hours of Étienne Chevalier, painted in 1461 for Chevalier. Fouquet also illuminated a copy of the Grandes Chroniques de France, for an unknown patron, thought to be either Charles VII or someone else at the royal court. Also from Fouquet's hand are eleven of the fourteen miniatures illustrating a translation of Josephus at the Bibliothèque Nationale. The second volume of this manuscript, unfortunately with only one of the original thirteen miniatures, was discovered and bought in 1903 by Henry Yates Thompson at a London sale, and restored by him to France.
One of Fouquet's most important paintings is the Melun Diptych (c. 1450), formerly in the Collegiate Church of Notre Dame, Melun. The left wing of the diptych depicts Étienne Chevalier with his patron saint St. Stephen, and is now in the Gemäldegalerie, Berlin. The right wing shows a pale Virgin and Child surrounded by red and blue angels and is now at the Royal Museum of Fine Arts, Antwerp. Since at least the seventeenth century, the Virgin has been recognized as a portrait of Agnès Sorel.
The Louvre has his oil portraits of Charles VII, of Count Wilczek, and of Guillaume Jouvenel des Ursins, and a portrait drawing in crayon.
The National Library of France has illuminated parchment manuscripts which recount the history of the Jewish people from Creation to the outbreak of the Jewish revolt against the Romans in A.D. 66.
Amboise is a commune in the Indre-et-Loire department in central France. Today a small market town, it was once home of the French royal court.
Amboise lies on the banks of the river Loire, 27 kilometres (17 mi) east of Tours. It is also about 18 kilometres (11 mi) away from the historic Château de Chenonceau, situated on the river Cher near the small village of Chenonceaux. Amboise station, on the north bank of the Loire, has rail connections to Orléans, Blois and Tours.
Clovis I (c. 466 – 511) and the Visigoths signed a peace treaty of alliance with the Arvernians in 503, which assisted him in his defeat of the Visigothic kingdom in the Battle of Vouillé in 507.
Joan of Arc passed through in 1429 on her way to Orleans to the Battle of Patay.
Château du Clos Lucé was the residence of Leonardo da Vinci between 1516 and his death in 1519. Da Vinci died in the arms of King Francis I, and he was buried in a crypt near the Château d'Amboise. The house has lost some of its original parts, but it still stands today containing a museum of da Vinci's work and inventions, and overlooks the river Loire.
The Amboise conspiracy was the conspiracy of Condé and the Huguenots in 1560 against Francis II, Catherine de' Medici and the Guises.
The Château at Amboise was home to Mary Stewart, Queen of Scots, for much of her early life, being raised there at the French court of Henry II. She arrived in France from Scotland in 1548, aged six, via the French king's favourite palace at Saint-Germain-en-Laye near Paris, and remained in France until 1561, when she returned to her homeland—sailing up the Firth of Forth to Edinburgh on 15 August that year.
The Edict of Amboise (1563) conceded the free exercise of worship to the Protestants.
Here was born in 1743 Louis Claude de Saint-Martin, French philosopher, known as Le Philosophe Inconnu (d. 1803).
Abd el Kader Ibn Mouhi Ad-Din (c. 1807 – 1883) was imprisoned at the Château d'Amboise.
In 2019, the 500th anniversary of da Vinci's death, Amboise held many events celebrating the master's life and his work completed in the town. The number of visitors to Château du Clos Lucé, for example, was estimated as 500,000 in 2019, a 30% increase over the typical annual number.
The city is known for the Clos Lucé manor house where Leonardo da Vinci lived (and ultimately died) at the invitation of King Francis I of France, whose Château d'Amboise, which dominates the town, is located just 500 m (1,640 feet) away. The narrow streets contain some good examples of timbered housing.
Just outside the city is the Pagode de Chanteloup, a 44-metre-tall (144 ft) Chinese pagoda built in 1775 by the Duke of Choiseul. The pagoda is seven levels high, with each level slightly smaller than the last one. An interior staircase to reach all levels is open to the public.
The Musée de la Poste (in the Hôtel Joyeuse) is a museum tracing the history of the postal delivery service.
A 20th-century fountain by Max Ernst stands in front of the market place.
historical Hermetism : religio mentis The influence of Ancient Egypt on Greek philosophy as well as the history of the rise of Hermetism have been discussed elsewhere. These studies showed the presence of three fundamental phases :native Hermopolitan theology : as early as the Old Kingdom (ca. 2670 - 2198 BCE), the perennial worship of the native Egyptian Thoth, "the mightiest of the gods", was centered in Hermopolis ("Hermoupolis Magna"). Although the contents of this theology is only know from Ptolemaic sources, "Khnum Khemenu", "the Eight town" (also called "Per-Djehuty", the "house of Thoth") existed in the Vth Dynasty (ca. 2487 - 2348 BCE) and was associated with the Ogdoad or company of eight precreational gods (frog heads) & goddesses (serpent-headed). A few of them were mentioned in the Pyramid Texts, but the complete list is first mentioned in the Middle Kingdom (ca. 1938 - 1759 BCE). These deities emerged from Nun (the primordial, undifferentiated ocean) and constituted the soul of Thoth. They may also be understood as further characterizations of this dark, unlimited pre-creational realm : Amun and Amaunet (hiddenness), Heh and Heket or Huh and Hauhet (eternity), Kek and Keket or Kuk and Kauket (darkness), Nun and Nunet or Nun and Naunet (primordial chaos). Hermopolitan theology will provide the framework for Ptolemaic Hermetism. Other textual traces of this worship are found in the Coffin Texts, the Book of the Dead and the Books of the Netherworld, whereas in the Late Period (ca. 664 - 30 BCE), its theology was written down on the walls of more than one Ptolemaic temple (ca. 332 - 30 BCE). Because Thoth was Lord of Time, he was associated with astrology, in particular when the astral science of Chaldea entered Egypt (at the end of the Third Intermediate Period, ca. 1075 - 664 BCE) ;
historical Hermetism : or the identification of Thoth, "Thrice Greatest", with Hermes Trismegistus, who, in his philosophical teachings, is Greek and human (although Egyptian elements persist), but who assumed, in the technical Hermetica, the cosmicity of the native Egyptian Thoth. The technical Hermetica are attested under the Ptolemies, and the existence, in the first century BCE, of an Alexandrian multi-cultural Hermetic Lodge is likely. The philosophical sources are the 17 treatises of the Corpus Hermeticum, the Latin Asclepius, the Armenian Hermetic Definitions and the Coptic Hermetica found at Nag Hammadi, in particular The Eighth and the Ninth Sphere (Codex VI.6), which all date from the first centuries CE. It is possible to see Hermetism as a "gnosticism" (for "gnosis", i.e. direct spiritual insight, is all-important). But Hermetic gnosticism is particular to imperial Alexandrian culture, for the notion of an evil demiurge (as in Christian Gnosticism) is not present. Constituted by Egyptian, Greek and Jewish elements, Hermetism will influence Judaism (the Merkabah mystics of the Jewish gnostics of Alexandria), Christianity (Clement of Alexandria, the Greek Fathers, the "Orientale Lumen") and the Islam (the Hermetic star worshippers of Harran and Sufism) ;literary Hermeticism : Renaissance Hermeticism produced a fictional Trismegistus as the Godhead of its esoteric concept of the world as an organic whole, with an intimate sympathy between its material (natural) and spiritual (supernatural) components. This view was consistent with the humanistic phase of modernism, which was followed by a mechanization of the world and the "enlightenment" of the 18th century. These new forces ousted all formative & final causes from their physical inquiries, and reduced the four Aristotelian categories of determination (material, efficient, formal and final cause) to material & efficient causes only. Astrology, magic and alchemy were deemed scientifically backward & religiously suspect. "Actio-in-distans" was deemed impossible, and Paganism was Satanical. In 1666, Colbert evicts astrology from the Academy of Sciences (the court-astrologer Morin de Villefranche, 1583 - 1656, was concealed behind a curtain in the royal apartment at the time when the future Grand Monarque was born). In the nineteenth century, under the influence of the morbid but exotical fancies of the Romantics, Hermeticism became part of Rosicrucianism, Freemasonry, Theosophy and generalized egyptomania (cf. Golden Dawn, Thelemism, Pyramidology, etc.). Today it returns as the ideological core of the expanding New Age religion.Before the first, steady interactions between Greek & Egyptian culture emerged (ca. 670 BCE), the "Hermetic" particularities of Late New Kingdom henotheist theology were inscribed on the Shabaka Stone and elucidated in its Memphite theology. This XXVth Dynasty (ca. 716 - 702 BCE) stone copy of an important Ramesside papyrus scroll, contained thoughts which look remarkably like those developed in the contexts of the Platonic, Philonic and Christian "logos". More than a century ago, Breasted wrote regarding the Memphite theology :"The above conception of the world forms quite a sufficient basis for suggesting that the later notions of nous and logos, hitherto supposed to have been introduced into Egypt from abroad at a much later date, were present at this early period. Thus the Greek tradition of the origin of their philosophy in Egypt undoubtedly contains more of the truth than has in recent years been conceded. The habit, later so prevalent among the Greeks, of interpreting philosophically the function and relations of the Egyptian gods (...) had already begun in Egypt before the earliest Greek philosophers were born ..."
Breasted, 1901, p.54.Indeed, the Greek words "nous" ("mind, thinking, perceiving") and "noés" ("perceive, observe, recognize, understand"), could be derived from the Egyptian "nu" ("nw"), "to see, look, perceive, observe" :On the one hand, according to Stricker (1949), the Corpus Hermeticum is a codification of the Egyptian religion. Ptolemy I Soter (304 - 282 BCE) and his son Ptolemy II Philadelphus (282 - 246 BCE) promised to publish the secret literature of the three groups of citizens of Egypt : native Egyptians, Greeks and Jews. For him, Hermetism is the Greek version of a redaction of Egyptian literature. Its form is Greek, but its contents is Egyptian (the Septuagint being the equivalent Jewish redaction). On the other hand, father Festugière (1945) claims the CH contains extremely little Egyptian elements, except for the context, the ideas expressed being those of popular Greek thought, a mixture of Platonism, Aristotelism and Stoicism ... Both positions are avoided. Most agree the CH contains no Christian elements (the opposite is true - cf. the influence of Philonic thought in particular and Alexandrian philosophy in general on the apostle Paul - Quispel, 1992).
Let us conjecture the emergence, under the first three Ptolemies, of a Greek elitist version of the Egyptian religion, a Graeco-Egyptian religion, and this among the upper native classes (of priest, scribes, administrators & high-skilled workmen). This Graeco-Egyptian religion would be based in Alexandria and Memphis, and (at first) entail a strong emphasis on the native component. It emerged in the priestly scribal class and had its focus on Thoth, who created the world by means of his Divine words, in accord with the verbal tradition founding Egypt. For the Greeks, Thoth was "Hermes, Trismegistos", indicative of both his antiquity and greatness. Because of the important influence of the native intellectual milieu on the genesis of this Alexandro-Egyptian cultural form, "Graeco-Egyptian religion turns out to be based on a profound imbalance, in favour of the autochthonous, between its two constituent elements." (Fowden, 1986, p.19). Zandee (1992, p.161) mentions a Hermetical text going back to the third century BCE and for Petrie (1908) at least some passages of the Corpus Hermeticum had to refer to the Persian period ... This feature proves to be essential in a possible thematical reconstruction.
But, the Hellenization entailed by using the Greek language and participating in the syncretic Alexandrian intellectual climate (the Mouseion and Serapeion), should not be underestimated, and makes Stricker's proposals too unlikely. These native Egyptians must have been proud of their Hermopolitan & Memphite theologies (both verbal & scribal), but eventually accepted to incorporate uncompromisingly un-Egyptian elements in their Hermetism (like the popular Greek denial of the physical body, evasive mysteries and an elusive, vague description of the afterlife). The importance of the Netherworld is no longer felt.
Many other Greek themes are to be found in the Corpus Hermeticum, showing Festugière was not completely wrong. In a study of Zandee published in 1992, the Egyptian influence was confirmed, although besides the negative view on the body, he also identified the depreciation of the world, the celestial voyage of the soul (or mystical initiation - cf. Mahé, 1992) and reincarnation as Hermetic teachings not to be found in Ancient Egypt. To this list could be added the Hermetic variant of the Greek mysteries and magical techniques aimed to compel the will of the gods (impossible in Ancient Egypt). Indeed, the difference between Egyptian initiation and Greek mysteries is pertinent (the attitude of the worshipper as well as the responsiveness of the deities differ).We may argue that the technical Hermetica are rooted in perennial Egyptian traditions like magic ("heka") and the "books of Thoth". It is probable that, at least insofar as medicine & magic were concerned, this indeed was the case ? The philosophical Hermetica also share certain features with the Egyptian wisdom-discourses or instruction genre.Hermetism is not a "Sammelbecken" (heterogeneous doctrines), nor a single synthesis, but an autonomous mode of discourse, a "way of Hermes" (Iamblichus), more theological than philosophical (like Plotinus, who -compared to Plato- was more religious than political) and foremost (in number) "technical" : astrology, magic & alchemy. This Graeco-Egyptian religion was influenced by three major players : the Greeks, the native Egyptians and the Jews. It could define its own path precisely because of its roots in the Ancient Egyptian Mystery Tradition, to which most of its members adhered. In its mature stage, Hermetism manifested the religion of the mind ("religio mentis") of Mediterranean Antiquity. This Late Hellenistic Hermetism would survive and eventually fire the European Renaissance and humanism. But the "ad fontes" principle of the latter only returned to Late Hellenism. Antiquity would remain unavailable for several centuries. Not unlike Spinoza's "amor intellectualis Dei", philosophical Hermetism gave body to an intellectual love for the One, albeit in modo antiquo, and never without magic & alchemy. In the 17th century, this technical side was left behind by the European academia, whereas the philosophical Hermetica became part of Hermeticism and its various branches.The "gnosis" of Hermetism (the secret it shared through initiation) was an ecstasy born out of cognitive activities, involving trance, contemplation, ritual, music and astrology. In Hermetism, astrology served as the bridge between the purely technical Hermetica -magic, medicine- and the theological & philosophical Hermetica. Astrology was concerned with the timing of events, both festive, initiatory or individual."It is certain that the Hermetics had no cult, with priests, sacrifices, processions and the like. But the texts suggest the existence of (small) Hermetic 'communities', conventicles, groups or lodges, in which individual experiences and insights were collectively celebrated with rituals, hymns and prayers."Quispel, 1992/1994, p.15.
Star Trek- The Menagerie , “Return to Talos IV”
youtu.be/v5XBfgPy43A?t=2s The full feature.
The Menagerie Review: February 8, 2014 by neoethereal
As the only two-part episode in The Original Series, “The Menagerie” also cleverly serves as a re-telling of the very first Star Trek story ever filmed, “The Cage.” This week on The Uncommon Geek, I examine all of these episodes in full detail, highlighting their connections to other aspects of the Trek mythos. As well, I take a look at the ground broken by Gene Roddenberry concerning the nature of reality, decades before movies like “The Matrix” challenged the perception of our everyday world.
Equipped with little more than a shoestring budget and massive constraints on time with which to work, Gene Roddenberry and his Star Trek production team had to get extremely creative in order to make the show work. Nowhere, in my opinion, is that more evident than here in “The Menagerie,” an entry that served the purpose of buying the production team time to properly finish subsequent episodes, and as well, afforded Gene Roddenberry a unique opportunity to re-tell the story he had wanted to get on the air all along, “The Cage.”
This episode begins with the Enterprise having been called out of its way, to Starbase 11. Confusion arises when the starbase’s commanding officer, Commodore Mendez, reveals to Captain Kirk that the base never sent any message to the Enterprise. Spock claims to have received that message, which puts Kirk into the difficult position of whether to trust the starbase computers, or the word of his first officer and friend.
It turns out that Captain Christopher Pike, the former commander of the Enterprise, who was recently crippled and disfigured in a terrible accident, is on Starbase 11, and suspicion arises that perhaps he relayed a message to Spock. When Kirk finally gets to see Pike, however, he realizes that it would have been impossible for Spock’s former commanding officer to have done this, for Pike is now wheelchair bound, and his communication with others is limited to electronic beeps that fill in for “yes” and “no.
While Kirk and Mendez wrestle over the truth, Spock executes a daring and clever plan to hijack the Enterprise, taking Captain Pike with him. It goes to show just how dangerous an opponent someone as smart and calculating as Spock can be when he puts his mind to it. Spock sets the Enterprise on a locked course for Talos IV, a planet which the ship visited on a past mission under Christopher Pike, and a planet that invites the death penalty upon any Starfleet officer who goes there
The secret file on Talos IV, and the article of General Order 7
I personally find the idea of a death penalty being associated with Talos IV to be somewhat dubious; although there is a very good reason why Starfleet wants the existence of the Talosians kept secret, I find it hard to believe that if the Federation is capable of having a death penalty, that it only applies to one law. It may just be a grand bluff, and indeed, there is some evidence to that effect later in the episode. Regardless, breaking General Order 7 is a serious offense, and Spock is if nothing else, putting his career and livelihood on the line.
Kirk, of course, isn’t going to sit by while his ship is abducted. He and Mendez make a daring attempt to chase the Enterprise in the Shuttlecraft Picasso, knowing full well that while they would never catch up, they would appear on the Enterprise sensors. Kirk gambles his life on the fact that his friend Spock would not leave him to die in the void of space, as the shuttle runs out of fuel. Kirk’s illogical gambit causes Spock’s plan to unravel, and he surrenders himself to custody, pleading guilty to every charge leveled against him. However, Spock has locked the Enterprise into a course for Talos IV that cannot be broken, which will potentially extend the death sentence that is on himself, to Kirk as well.
The court martial that proceeds against Spock is highly unusual; as mentioned, Spock pleads guilty without defense, but through some legal technicality, manages to arrange for the court to hear out his evidence as to why he went through with his illegal actions. Given that Kirk is presiding over the hearing, and that the crew has little else to do but wait until they reach Talos IV, I get the lenience, but I am not sure what real court would remain in session to examine evidence for someone who just admitted their guilt. Or admittedly, maybe I just don’t know enough about legal proceedings.
Spock’s evidence, as it turns out, is a transmission from Talos IV, beamed directly to the Enterprise, which details the vessel’s first trip there under the command of Captain Pike. Of course, this transmission is the original Star Trek pilot, “The Cage,” and from this point on, “The Menagerie” consists almost entirely of footage from that episode.
Aside from some really goofy tech dialogue, and incomplete characterizations, “The Cage” holds up surprisingly well. We get to see that Jeffrey Hunter’s Captain Pike is a darker, colder man than James Kirk; he is someone whose decisions and responsibilities as a commander are weighing on him heavily, and he is nearing the point of considering resignation. Pike’s first officer is only referred to as Number One (played by Majel Barrett), who is an amazing example of a strong female role for 1960’s television, but unfortunately her character had to be discarded by Roddenberry when the studio forced him to choose between keeping his strong, logical female, or his alien Spock. Roddenberry ended up giving Spock Number One’s cold, emotionless, logical persona, and thus the Spock we know and love was born.
It really is a shame that NBC put so much pressure on Roddenberry to alter his concept of women in the 23rd Century; aside from Number One, the other female crew members of the Cage-era Enterprise also seem to be on equal footing with the men, and there isn’t a mini-skirt in sight. Of course, this reviewer by no means, from an aesthetic point view, objects to how the women of the Enterprise look in said mini-skirts, but cheekiness and my own red-blooded male impulses aside, the female officers in Starfleet should have been offered the same, more professional uniform as the males. Unfortunately we would have to wait until The Motion Picture to see more fairness in the way men and women are presented in Star Trek.
When Enterprise finds evidence of human survivors on Talos IV, from a doomed expedition many years ago, Pike, Spock, and an away team beam down to investigate. What at first seems like a wonderful discovery of lost, homesick men, turns out to be just an elaborate, life like illusion created by the Talosians. Pike is abducted when he is lured in by the only true human survivor from the crash, Vina, whom he is extremely attracted to.
Pike is subjected to a variety of illusions crafted by the Talosians, in order to foster cooperation, as well as to strengthen his attraction toward Vina. Vina is presented to Pike in a variety of forms; as a damsel in distress on Rigel VII, as a wife in the countryside on Earth, and as a primal, animalistic Orion slave woman, all in an attempt to make him submit to his situation.
However, Pike is every bit as stubborn as Captain Kirk, and certainly has a darker, more furious edge to him. When he discovers that primitive, base human emotions such as hatred, and anger, block out the Talosian’s illusions and their telepathic abilities, he mines that weakness long enough to take one of them captive. Once the illusion is broken, the Enterprise crew find out that their attempts to break Pike out from his underground cage with phaser fire were actually working, but all along they weren’t able to see it.
The Talosians had, thousands of centuries ago, devastated their planet and their civilization with war. They retreated underground, where their telepathic abilities flourished, but their physical bodies and their technology atrophied. They had apparently been testing various species for many years, looking for a suitable slave race to use for rebuilding their world, but none had shown as much promise as humanity.
However, when the away team threatens to kill themselves with an overloaded phaser, and as well when the Talosians finish screening the Enterprise‘s records, they realize that humans would rather die than be enslaved, and would be too violent to keep in captivity. With of course, the sad exception of Vina, who in reality is too badly disfigured to live a normal life outside of Talos IV.
(I once heard a suggestion that Vina could be repaired using the transporter. I don’t think 23rd century transporters were sophisticated enough for that, plus, there wouldn’t be an original, unaltered version of her pattern to reference.)
The ending of “The Cage” leads us to the final moments of “The Menagerie,” where it is revealed that not only have the Talosians been transmitting a signal to the Enterprise, but even Commodore Mendez himself has been one of their illusions all along!
It is also revealed that Spock’s only intention was to take Captain Pike to Talos IV, so that the crippled starship commander could live out the rest of his life as a healthy, happy man with Vina. Even Kirk seems to relent that it is better to live with an illusion of health and happiness, than a reality of living as a useless vegetable. That Commodore Mendez was an illusion, and that Starfleet sends a signal to the Enterprise, apparently excusing their violation of Talos space, seems to let Spock off the hook. Perhaps too easily in fact; despite acting out of nothing but loyalty to his former Captain, and despite that the way he enacted his plan was done in such a manner as to put the blame only on himself, Spock seems to get out of his predicament with apparently no trouble at all. We can make a guess that perhaps this incident is why he doesn’t receive a promotion or command of his own until years later, but there is nothing spoken on-screen to that effect.
We are also left to ponder about how much of the incident was real at all. Since the Talosians can apparently project their powers through subspace, one wonders just how long they conspired with Spock, and also, how much we see of Mendez was real or an illusion. My guess is that the Mendez we see at the base was real, and what goes onto the shuttle with Kirk was the illusion, but unfortunately, again, there is little to back that up. What we do know for sure is that the Talosian’s powers are not to be trifled with, and it is truly for wise for Starfleet to give them a wide berth.
Despite some problems with logic and consistency, “The Menagerie” is an entertaining, fascinating episode that shows original series Trek at some of its most interestingly cerebral. Gene Roddenberry’s first pilot examines the nature of reality decades before The Matrix did, and asks the questions: What is real? How does one define their purpose, their reality? Is our reality just relative, defined only by experience? Is there a such thing as an absolute reality, or only what our senses perceive, or for that matter what they think they perceive? This is smart, ahead of its time writing for the 1960s.
Through the tragedies that befell both Vina and Pike, we must also question the quality of human life, and the value we place on it. Is it worth staying alive if you can’t function? If your brain is sound but your body is broken, can you still truly live? Speaking for myself, I certainly would despise the existence that Captain Pike is forced to endure in his wheelchair. I’d rather be dead than live that way. I’m not sure how I would react exactly to being forced to live in an illusion, but it is certainly preferable to a reality of uselessness and immobility. Besides, is our everyday life not just an elaborate series of deceptions spun before our very eyes; maybe not as powerful as a trick of telepathy played by an alien race, but an illusion nonetheless?
For even provoking these thoughts, and much more, “The Cage,” and by extension, “The Menagerie,” are what I consider among the best of Star Trek’s purely cerebral stories about human nature. It is imaginative, thoughtful, and quite engaging.
Mickey Mouse is an American cartoon character co-created in 1928 by Walt Disney and Ub Iwerks. The longtime icon and mascot of The Walt Disney Company, Mickey is an anthropomorphic mouse who typically wears red shorts, large yellow shoes, and white gloves. Inspired by such silent film personalities as Charlie Chaplin and Douglas Fairbanks, Mickey is traditionally characterized as a sympathetic underdog who gets by on pluck and ingenuity in the face of challenges bigger than himself. The character's depiction as a small mouse is personified through his diminutive stature and falsetto voice, the latter of which was originally provided by Disney. Mickey is one of the world's most recognizable and universally acclaimed fictional characters.
Created as a replacement for a prior Disney character, Oswald the Lucky Rabbit, Mickey first appeared in the 1928 short Plane Crazy, which was not originally picked up for distribution; his public debut was in the same year's Steamboat Willie. The character was originally to be named "Mortimer Mouse", until Lillian Disney instead suggested "Mickey" during a train ride. The character went on to appear in over 130 films, including The Band Concert (1935), Brave Little Tailor (1938), and Fantasia (1940). Mickey appeared primarily in short films, but also occasionally in feature-length films. Ten of Mickey's cartoons were nominated for the Academy Award for Best Animated Short Film, one of which, Lend a Paw, won the award in 1941. In 1978, Mickey became the first cartoon character to have a star on the Hollywood Walk of Fame.
Beginning in 1930, Mickey has also been featured extensively in comic strips and comic books. The Mickey Mouse comic strip, drawn primarily by Floyd Gottfredson, ran for 45 years. Mickey has also appeared in comic books such as Mickey Mouse, Disney Italy's Topolino and MM – Mickey Mouse Mystery Magazine, and Wizards of Mickey. Mickey also features in television series such as The Mickey Mouse Club (1955–1996) and others. He appears in other media such as video games as well as merchandising and is a meetable character at the Disney parks.
Mickey generally appears alongside his girlfriend Minnie Mouse, his pet dog Pluto, his friends Donald Duck, Daisy Duck and Goofy, and his nemesis Pete, among others. Though originally characterized as a cheeky lovable rogue, Mickey was rebranded over time as a nice guy, usually seen as a spirited, yet impulsive hero.
History
Mickey Mouse was created as a replacement for Oswald the Lucky Rabbit, an earlier cartoon character that was created by the Disney studio but owned at the time by Universal Pictures. Charles Mintz served as a middleman producer between Disney and Universal through his company, Winkler Pictures, for the series of cartoons starring Oswald. Ongoing conflicts between Disney and Mintz and the revelation that several animators from the Disney studio would eventually leave to work for Mintz's company ultimately resulted in Disney cutting ties with Oswald. Among the few people who stayed at the Disney studio were animator Ub Iwerks, apprentice artist Les Clark, and Wilfred Jackson. On his train ride home from New York, Walt brainstormed ideas for a new cartoon character.
Mickey Mouse was conceived in secret while Disney produced the final Oswald cartoons he contractually owed Mintz. Disney asked Ub Iwerks to start drawing up new character ideas. Iwerks tried sketches of various animals, such as dogs and cats, but none of these appealed to Disney. A female cow and male horse were also rejected. (They would later turn up as Clarabelle Cow and Horace Horsecollar.) A male frog was also rejected, which later showed up in Iwerks' own Flip the Frog series. Walt Disney got the inspiration for Mickey Mouse from a tame mouse at his desk at Laugh-O-Gram Studio in Kansas City, Missouri. In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. These inspired Ub Iwerks to create a new mouse character for Disney.
Name
"Mortimer Mouse" had been Disney's original name for the character before his wife, Lillian, convinced him to change it. Actor Mickey Rooney claimed that during his time performing as the title character of the Mickey McGuire film series (1927–1934), he met Walt Disney at the Warner Bros. studio, inspiring Disney to name the character after him. Disney historian Jim Korkis argues that Rooney's story is fictional, as Disney Studios was located on Hyperion Avenue at the time of Mickey Mouse's development, with Disney conducting no business at Warner Bros. Over the years, the name 'Mortimer Mouse' was eventually given to several different characters in the Mickey Mouse universe: Minnie Mouse's uncle, who appears in several comics stories, one of Mickey's antagonists who competes for Minnie's affections in various cartoons and comics, and one of Mickey's nephews, named Morty.
Debut (1928)
Mickey was first seen in a test screening of the cartoon short Plane Crazy, on May 15, 1928, but it failed to impress the audience and Walt could not find a distributor for the short.[11] Walt went on to produce a second Mickey short, The Gallopin' Gaucho, which was also not released for lack of a distributor.
Steamboat Willie was first released on November 18, 1928, in New York. It was co-directed by Walt Disney and Ub Iwerks. Iwerks again served as the head animator, assisted by Johnny Cannon, Les Clark, Wilfred Jackson and Dick Lundy. This short was intended as a parody of Buster Keaton's Steamboat Bill, Jr., first released on May 12 of the same year. Although it was the third Mickey cartoon produced, it was the first to find a distributor, and thus is considered by The Disney Company as Mickey's debut. Willie featured changes to Mickey's appearance (in particular, simplifying his eyes to large dots) that established his look for later cartoons and in numerous Walt Disney films.
The cartoon was not the first cartoon to feature a soundtrack connected to the action. Fleischer Studios, headed by brothers Dave and Max Fleischer, had already released a number of sound cartoons using the DeForest system in the mid-1920s. However, these cartoons did not keep the sound synchronized throughout the film. For Willie, Disney had the sound recorded with a click track that kept the musicians on the beat. This precise timing is apparent during the "Turkey in the Straw" sequence when Mickey's actions exactly match the accompanying instruments. Animation historians have long debated who had served as the composer for the film's original music. This role has been variously attributed to Wilfred Jackson, Carl Stalling and Bert Lewis, but identification remains uncertain. Walt Disney himself was voice actor for both Mickey and Minnie and would remain the source of Mickey's voice through 1946 for theatrical cartoons. Jimmy MacDonald took over the role in 1946, but Walt provided Mickey's voice again from 1955 to 1959 for The Mickey Mouse Club television series on ABC.
Audiences at the time of Steamboat Willie's release were reportedly impressed by the use of sound for comedic purposes. Sound films or "talkies" were still considered innovative. The first feature-length movie with dialogue sequences, The Jazz Singer starring Al Jolson, was released on October 6, 1927. Within a year of its success, most United States movie theaters had installed sound film equipment. Walt Disney apparently intended to take advantage of this new trend and, arguably, managed to succeed. Most other cartoon studios were still producing silent products and so were unable to effectively act as competition to Disney. As a result, Mickey would soon become the most prominent animated character of the time. Walt Disney soon worked on adding sound to both Plane Crazy and The Gallopin' Gaucho (which had originally been silent releases) and their new release added to Mickey's success and popularity. A fourth Mickey short, The Barn Dance, was also put into production; however, Mickey does not actually speak until The Karnival Kid in 1929 (see below). After Steamboat Willie was released, Mickey became a close competitor to Felix the Cat, and his popularity would grow as he was continuously featured in sound cartoons. By 1929, Felix would lose popularity among theater audiences, and Pat Sullivan decided to produce all future Felix cartoons in sound as a result. Audiences did not respond well to Felix's transition to sound and by 1930, Felix had faded from the screen.
Black and white films (1929–1935)
In Mickey's early films he was often characterized not as a hero, but as an ineffective young suitor to Minnie Mouse. The Barn Dance (March 14, 1929) is the first time in which Mickey is turned down by Minnie in favor of Pete. The Opry House (March 28, 1929) was the first time in which Mickey wore his white gloves. Mickey wears them in almost all of his subsequent appearances and many other characters followed suit. The three lines on the back of Mickey's gloves represent darts in the gloves' fabric extending from between the digits of the hand, typical of glove design of the era.
When the Cat's Away (April 18, 1929), essentially a remake of the Alice Comedy, "Alice Rattled by Rats", was an unusual appearance for Mickey. Although Mickey and Minnie still maintained their anthropomorphic characteristics, they were depicted as the size of regular mice and living with a community of many other mice as pests in a home. Mickey and Minnie would later appear the size of regular humans in their own setting. In appearances with real humans, Mickey has been shown to be about two to three feet high. The next Mickey short was also unusual. The Barnyard Battle (April 25, 1929) was the only film to depict Mickey as a soldier and also the first to place him in combat. The Karnival Kid (1929) was the first time Mickey spoke. Before this he had only whistled, laughed, and grunted. His first words were "Hot dogs! Hot dogs!" said while trying to sell hot dogs at a carnival. Mickey's Follies (1929) introduced the song "Minnie's Yoo-Hoo" which would become the theme song for Mickey Mouse films for the next several years. The same song sequence was also later reused with different background animation as its own special short shown only at the commencement of 1930s theater-based Mickey Mouse Clubs. Mickey's dog Pluto first appeared as Mickey's pet in The Moose Hunt (1931) after previously appearing as Minnie's dog "Rover" in The Picnic (1930).
The Cactus Kid (April 11, 1930) was the last film to be animated by Ub Iwerks at Disney. Shortly before the release of the film, Iwerks left to start his own studio, bankrolled by Disney's then-distributor Pat Powers. Powers and Disney had a falling out over money due Disney from the distribution deal. It was in response to losing the right to distribute Disney's cartoons that Powers made the deal with Iwerks, who had long harbored a desire to head his own studio. The departure is considered a turning point in Mickey's career, as well as that of Walt Disney. Walt lost the man who served as his closest colleague and confidant since 1919. Mickey lost the man responsible for his original design and for the direction or animation of several of the shorts released till this point. Advertising for the early Mickey Mouse cartoons credited them as "A Walt Disney Comic, drawn by Ub Iwerks". Later Disney Company reissues of the early cartoons tend to credit Walt Disney alone.
Disney and his remaining staff continued the production of the Mickey series, and he was able to eventually find a number of animators to replace Iwerks. As the Great Depression progressed and Felix the Cat faded from the movie screen, Mickey's popularity would rise, and by 1932 The Mickey Mouse Club would have one million members. At the 5th Academy Awards in 1932, Mickey received his first Academy Award nomination, received for Mickey's Orphans (1931). Walt Disney also received an honorary Academy Award for the creation of Mickey Mouse. Despite being eclipsed by the Silly Symphony short the Three Little Pigs in 1933, Mickey still maintained great popularity among theater audiences too, until 1935, when polls showed that Popeye was more popular than Mickey. By 1934, Mickey merchandise had earned $600,000 a year. In 1935, Disney began to phase out the Mickey Mouse Clubs, due to administration problems.
About this time, story artists at Disney were finding it increasingly difficult to write material for Mickey. As he had developed into a role model for children, they were limited in the types of gags they could present. This led to Mickey taking more of a secondary role in some of his next films, allowing for more emphasis on other characters. In Orphan's Benefit (1934), Mickey first appeared with Donald Duck who had been introduced earlier that year in the Silly Symphony series. The tempestuous duck would provide Disney with seemingly endless story ideas and would remain a recurring character in Mickey's cartoons.
Color films (1935–1953)
Mickey first appeared animated in color in Parade of the Award Nominees in 1932; however, the film strip was created for the 5th Academy Awards ceremony and was not released to the public. Mickey's official first color film came in 1935 with The Band Concert. The Technicolor film process was used in the film production. Here Mickey conducted the William Tell Overture, but the band is swept up by a tornado. It is said that conductor Arturo Toscanini so loved this short that, upon first seeing it, he asked the projectionist to run it again. In 1994, The Band Concert was voted the third-greatest cartoon of all time in a poll of animation professionals. By colorizing and partially redesigning Mickey, Walt would put Mickey back on top once again, and Mickey would reach popularity he never reached before as audiences now gave him more appeal. Also in 1935, Walt would receive a special award from the League of Nations for creating Mickey.
However, by 1938, the more manic Donald Duck would surpass the passive Mickey, resulting in a redesign of the mouse between 1938 and 1940 that put Mickey at the peak of his popularity. The second half of the 1930s saw the character Goofy reintroduced as a series regular. Together, Mickey, Donald Duck, and Goofy would go on several adventures together. Several of the films by the comic trio are some of Mickey's most critically acclaimed films, including Mickey's Fire Brigade (1935), Moose Hunters (1937), Clock Cleaners (1937), Lonesome Ghosts (1937), Boat Builders (1938), and Mickey's Trailer (1938). Also during this era, Mickey would star in Brave Little Tailor (1938), an adaptation of The Valiant Little Tailor, which was nominated for an Academy Award.
Mickey was redesigned by animator Fred Moore, as first seen in The Pointer (1939). Instead of having solid black eyes, Mickey was given white eyes with pupils, a Caucasian skin colored face, and a pear-shaped body. In the 1940s, he changed once more in The Little Whirlwind, where he used his trademark pants for the last time in decades, lost his tail, and got more realistic ears that changed with perspective and a different body anatomy. However, this change would only last for a short period of time before returning to the design in The Pointer, with the exception of his pants. In his final theatrical cartoons in the 1950s, he was given eyebrows, which were removed in the more recent cartoons.
In 1940, Mickey appeared in his first feature-length film, Fantasia. His screen role as The Sorcerer's Apprentice, set to the symphonic poem of the same name by Paul Dukas, is perhaps the most famous segment of the film and one of Mickey's most iconic roles. The apprentice (Mickey), not willing to do his chores, puts on the sorcerer's magic hat after the sorcerer goes to bed and casts a spell on a broom, which causes the broom to come to life and perform the most tiring chore—filling up a deep well using two buckets of water. When the well eventually overflows, Mickey finds himself unable to control the broom, leading to a near-flood. After the segment ends, Mickey is seen in silhouette shaking hands with Leopold Stokowski, who conducts all the music heard in Fantasia. Mickey has often been pictured in the red robe and blue sorcerer's hat in merchandising. It was also featured into the climax of Fantasmic!, an attraction at the Disney theme parks.
After 1940, Mickey's popularity would decline until his 1955 re-emergence as a daily children's television personality. Despite this, the character continued to appear regularly in animated shorts until 1943 (winning his only competitive Academy Award—with canine companion Pluto—for a short subject, Lend a Paw) and again from 1946 to 1952. In these later cartoons, Mickey was often just a supporting character in his own shorts, where Pluto would be the main character.
The last regular installment of the Mickey Mouse film series came in 1953 with The Simple Things in which Mickey and Pluto go fishing and are pestered by a flock of seagulls.
Television and later films
A smiling cartoon mouse with round ears, red shorts with white buttons, white gloves, and yellow shoes
Mickey Mouse, as he appears in the modern era.
In the 1950s, Mickey became more known for his appearances on television, particularly with The Mickey Mouse Club. Many of his theatrical cartoon shorts were rereleased on television series such as Ink & Paint Club, various forms of the Walt Disney anthology television series, and on home video. Mickey returned to theatrical animation in 1983 with Mickey's Christmas Carol, an adaptation of Charles Dickens' A Christmas Carol in which Mickey played Bob Cratchit. This was followed up in 1990 with The Prince and the Pauper.
Throughout the decades, Mickey Mouse competed with Warner Bros.' Bugs Bunny for animated popularity. But in 1988, the two rivals finally shared screen time in the Robert Zemeckis Disney/Amblin film Who Framed Roger Rabbit. Disney and Warner signed an agreement stating that each character had the same amount of screen time in the scene.
Similar to his animated inclusion into a live-action film in Roger Rabbit, Mickey made a featured cameo appearance in the 1990 television special The Muppets at Walt Disney World where he met Kermit the Frog. The two are established in the story as having been old friends, although they have not made any other appearance together outside of this.
His most recent theatrical cartoon short was 2013's Get a Horse! which was preceded by 1995's Runaway Brain, while from 1999 to 2004, he appeared in direct-to-video features like Mickey's Once Upon a Christmas, Mickey, Donald, Goofy: The Three Musketeers and the computer-animated Mickey's Twice Upon a Christmas.
Many television series have centered on Mickey, such as the ABC shows Mickey Mouse Works (1999–2000), House of Mouse (2001–2003), Disney Channel's Mickey Mouse Clubhouse (2006–2016), Mickey Mouse Mixed-Up Adventures (2017–2021) and Mickey Mouse Funhouse (2021–present). Prior to all these, Mickey was also featured as an unseen character in the Bonkers episode "You Oughta Be In Toons".
In 2013, Disney Channel started airing new 3-minute Mickey Mouse shorts, with animator Paul Rudish at the helm, incorporating elements of Mickey's late twenties-early thirties look with a contemporary twist. The creative team behind the 2017 DuckTales reboot had hoped to have Mickey Mouse in the series, but this idea was rejected by Disney executives. However, a watermelon bearing Mickey's physical likeness appears in one episode as a ventriloquist dummy companion to Donald Duck. On November 10, 2020, the series was revived as The Wonderful World of Mickey Mouse and premiered on Disney+.
In August 2018, ABC television announced a two-hour prime time special, Mickey's 90th Spectacular, in honor of Mickey's 90th birthday. The program featured never-before-seen short videos and several other celebrities who wanted to share their memories about Mickey Mouse and performed some of the Disney songs to impress Mickey. The show took place at the Shrine Auditorium in Los Angeles and was produced and directed by Don Mischer on November 4, 2018. On November 18, 2018, a 90th anniversary event for the character was celebrated around the world. In December 2019, both Mickey and Minnie served as special co-hosts of Wheel of Fortune for two weeks while Vanna White served as the main host during Pat Sajak's absence.
Mickey is the subject of the 2022 documentary film Mickey: The Story of a Mouse, directed by Jeff Malmberg. Premiering at the South by Southwest film festival prior to its premiere on the Disney+ streaming service, the documentary examines the history and cultural impact of Mickey Mouse. The feature is accompanied by an original, hand-drawn animated short film starring Mickey titled Mickey in a Minute.
Mickey appeared in Walt Disney Animation Studios’ centennial short film, Once Upon a Studio, in which he corrals the characters of Disney's animated features to take a group picture.
Comics
Mickey first appeared in comics after he had appeared in 15 commercially successful animated shorts and was easily recognized by the public. Walt Disney was approached by King Features Syndicate with the offer to license Mickey and his supporting characters for use in a comic strip. Disney accepted and Mickey Mouse made its first appearance on January 13, 1930. The comical plot was credited to Disney himself, art to Ub Iwerks and inking to Win Smith. The first week or so of the strip featured a loose adaptation of Plane Crazy. Minnie soon became the first addition to the cast. The strips first released between January 13, 1930, and March 31, 1930, have been occasionally reprinted in comic book form under the collective title "Lost on a Desert Island". Animation historian Jim Korkis notes, "After the eighteenth strip, Iwerks left and his inker, Win Smith, continued drawing the gag-a-day format."
In early 1930, after Iwerks' departure, Disney was at first content to continue scripting the Mickey Mouse comic strip, assigning the art to Win Smith. However, Disney's focus had always been in animation and Smith was soon assigned with the scripting as well. Smith was apparently discontent at the prospect of having to script, draw, and ink a series by himself as evidenced by his sudden resignation.
Disney then searched for a replacement among the remaining staff of the Studio. He selected Floyd Gottfredson, a recently hired employee. At the time Gottfredson was reportedly eager to work in animation and somewhat reluctant to accept his new assignment. Disney had to assure him the assignment was only temporary and that he would eventually return to animation. Gottfredson accepted and ended up holding this "temporary" assignment from May 5, 1930, to November 15, 1975.
Walt Disney's last script for the strip appeared May 17, 1930. Gottfredson's first task was to finish the storyline Disney had started on April 1, 1930. The storyline was completed on September 20, 1930, and later reprinted in comic book form as Mickey Mouse in Death Valley. This early adventure expanded the cast of the strip which to this point only included Mickey and Minnie. Among the characters who had their first comic strip appearances in this story were Clarabelle Cow, Horace Horsecollar, and Black Pete as well as the debuts of corrupted lawyer Sylvester Shyster and Minnie's uncle Mortimer Mouse. The Death Valley narrative was followed by Mr. Slicker and the Egg Robbers, first printed between September 22 and December 26, 1930, which introduced Marcus Mouse and his wife as Minnie's parents.
Starting with these two early comic strip stories, Mickey's versions in animation and comics are considered to have diverged from each other. While Disney and his cartoon shorts would continue to focus on comedy, the comic strip effectively combined comedy and adventure. This adventurous version of Mickey would continue to appear in comic strips and later comic books throughout the 20th and into the 21st century.
Floyd Gottfredson left his mark with stories such as Mickey Mouse Joins the Foreign Legion (1936) and The Gleam (1942). He also created the Phantom Blot, Eega Beeva, Morty and Ferdie, Captain Churchmouse, and Butch. Besides Gottfredson artists for the strip over the years included Roman Arambula, Rick Hoover, Manuel Gonzales, Carson Van Osten, Jim Engel, Bill Wright, Ted Thwailes and Daan Jippes; writers included Ted Osborne, Merrill De Maris, Bill Walsh, Dick Shaw, Roy Williams, Del Connell, and Floyd Norman.
The next artist to leave his mark on the character was Paul Murry in Dell Comics. His first Mickey tale appeared in 1950 but Mickey did not become a specialty until Murry's first serial for Walt Disney's Comics and Stories in 1953 ("The Last Resort"). In the same period, Romano Scarpa in Italy for the magazine Topolino began to revitalize Mickey in stories that brought back the Phantom Blot and Eega Beeva along with new creations such as the Atomo Bleep-Bleep. While the stories at Western Publishing during the Silver Age emphasized Mickey as a detective in the style of Sherlock Holmes, in the modern era several editors and creators have consciously undertaken to depict a more vigorous Mickey in the mold of the classic Gottfredson adventures. This renaissance has been spearheaded by Byron Erickson, David Gerstein, Noel Van Horn, Michael T. Gilbert and César Ferioli.
In Europe, Mickey Mouse became the main attraction of a number of comics magazines, the most famous being Topolino in Italy from 1932 onward, Le Journal de Mickey in France from 1934 onward, Don Miki in Spain and the Greek Miky Maous.
Mickey was the main character for the series MM Mickey Mouse Mystery Magazine, published in Italy from 1999 to 2001.
In 2006, he appeared in the Italian fantasy comic saga Wizards of Mickey.
In 1958, Mickey Mouse was introduced to the Arab world through another comic book called "Sameer". He became very popular in Egypt and got a comic book with his name. Mickey's comics in Egypt are licensed by Disney and were published since 1959 by "Dar Al-Hilal" and they were successful, however Dar Al-Hilal stopped the publication in 2003 because of problems with Disney. The comics were re-released by "Nahdat Masr" in 2004 and the first issues were sold out in less than 8 hours.
Portrayal
Mickey is traditionally characterized as a sympathetic underdog who gets by on pluck and ingenuity in the face of challenges much bigger than himself. As a mouse, an inherently vulnerable creature, Mickey is often depicted as having minimal resources and attributes at his disposal. Consequently, he must rely on sheer wit to overcome obstacles. The character is frequently pitted against larger-than-life villains to accentuate this idea; namely the hulking cat Pegleg Pete, and numerous one-shot antagonists such as the giants of Giantland (1933) and Brave Little Tailor (1938), the king of cards in Thru the Mirror (1936) and Mortimer Mouse in Mickey's Rival (1936). These adversaries were decidedly portrayed as overbearing figures of authority, thusly painting Mickey as a rebellious hero. When not facing an opponent, Mickey is oft placed in situations where his pursuits of grandeur or simple accomplishment lead to disastrous results, typically at the hands of his own impulsivity, as was the case in The Sorcerer’s Apprentice (1940) among others. Mickey is not portrayed as a hero in the traditional sense, instead acting as a subversion of the stock archetype. He often fumbles his way through adventures; his small size and misplaced optimism serving as his dominating flaws. His manner of problem-solving is generally unorthodox to comedic effect; in Ye Olden Days (1933), Mickey's jousting horse was an infantile mule. In Shanghaied (1934), Mickey battled with a broadbill in place of a sword. The underdog nature of Mickey's character has been interpreted by historians as a symbolic reflection of Walt Disney's early struggles as a farm boy breaking into the imposing Hollywood industry in the 1920s.[39] It has also been perceived as an allegory for the Great Depression in the United States, with Mickey's unrelenting optimism symbolizing the "American endurance to survive" in the face of economic woes.
Charlie Chaplin, known by audiences of the time for his role as the "Little Tramp", was identified by Disney as a source of inspiration for the Mickey character. Disney himself was a noted admirer of Chaplin's work, ascribing his development as a storytelling to the actor. In The American Magazine for March 1931, Disney explained, "I think we were rather indebted to Charlie Chaplin for the idea [of Mickey Mouse]. We wanted something appealing and we thought of a tiny bit of a mouse that would have something of the wistfulness of Chaplin ... a little fellow trying to do the best he could." American journalist Alva Johnston noted the similarities between the two figures, stating, "Chaplin was a kind of godfather to Mickey Mouse. It is now and always has been the aim of Disney to graft the psychology of Chaplin upon Mickey. The two universal characters have something in common in their approach to their problems. They have the same blend of hero and coward, nitwit and genius, mug and gentleman."
Besides Chaplin, other notable figures of the silent era have been credited to Mickey's characterization. Chief among them was Douglas Fairbanks, whose swashbuckling screen adventures would inspire Mickey's animated epics. Ub Iwerks wrote in 1970, "He was the super-hero of his day, always winning, gallant and swashbuckling. Mickey’s action was in that vein. He was never intended to be a sissy, he was always an adventurous character. I thought of him in that respect, and I had him do naturally the sort of thing Doug Fairbanks would do." Disney was also noted to have been influenced by Fairbanks, along with other screen personalities including Harold Lloyd and Fred Astaire.
An adaptive character, Mickey's personality lends itself to function within a multitude of situations, while retaining core elements of its design. He is not bound to a particular formula or motif, and as such, has been portrayed in a variety of settings and occupational roles. His film series, meanwhile, spans numerous genres besides the traditional musical comedy; The Mad Doctor (1933) and Runaway Brain (1995) parody the horror genre, whereas stories such as Mickey’s Good Deed (1932) and The Prince and the Pauper (1990) are largely dramatic works. This versatility is said to have attributed to Mickey's popularity with audiences. As expressed by writer Chelsea Tatham, "From his beginnings, Mickey was able to appeal to a wide audience. He catered to neither the 'highbrow' nor the 'hick,' but the ordinary intelligent picturegoer."
There are a number of catchphrases and colloquialisms associated with the character. Mickey’s first spoken words, "Hot dog!" from The Karnival Kid (1929), has endured as a recurring phrase for the character, made especially recognizable to modern audiences for its extensive use in the preschool television program Mickey Mouse Clubhouse. Mickey's signature closing line, "See ya real soon!", is derived from the "Mickey Mouse March" reprise from the original 1955 run of The Mickey Mouse Club ("M-I-C; see you real soon!").
Design
Throughout the earlier years, Mickey's design bore heavy resemblance to Oswald, save for the ears, nose, and tail. Ub Iwerks designed Mickey's body out of circles in order to make the character simple to animate. Disney employees John Hench and Marc Davis believed that this design was part of Mickey's success as it made him more dynamic and appealing to audiences.
Mickey's circular design is most noticeable in his ears. In animation in the 1940s, Mickey's ears were animated in a more realistic perspective. Later, they were drawn to always appear circular no matter which way Mickey was facing. This made Mickey easily recognizable to audiences and made his ears an unofficial personal trademark. The circular rule later created a dilemma for toy creators who had to recreate a three-dimensional Mickey.
In 1938, animator Fred Moore redesigned Mickey's body away from its circular design to a pear-shaped design. Colleague Ward Kimball praised Moore for being the first animator to break from Mickey's "rubber hose, round circle" design. Although Moore himself was nervous at first about changing Mickey, Walt Disney liked the new design and told Moore "that's the way I want Mickey to be drawn from now on."
Each of Mickey's hands has only three fingers and a thumb. Disney said that this was both an artistic and financial decision, explaining, "Artistically five digits are too many for a mouse. His hand would look like a bunch of bananas. Financially, not having an extra finger in each of 45,000 drawings that make up a six and one-half minute short has saved the Studio millions." In the film The Opry House (1929), Mickey was first given white gloves as a way of contrasting his naturally black hands against his black body. The use of white gloves would prove to be an influential design for cartoon characters, particularly with later Disney characters, but also with non-Disney characters such as Bugs Bunny, Woody Woodpecker, Mighty Mouse, Mario, and Sonic the Hedgehog.
Mickey's eyes, as drawn in Plane Crazy and The Gallopin' Gaucho, were large and white with black outlines. In Steamboat Willie, the bottom portion of the black outlines was removed, although the upper edges still contrasted with his head. Mickey's eyes were later re-imagined as only consisting of the small black dots which were originally his pupils, while what were the upper edges of his eyes became a hairline. This is evident only when Mickey blinks. Fred Moore later redesigned the eyes to be small white eyes with pupils and gave his face a Caucasian skin tone instead of plain white. This new Mickey first appeared in 1938 on the cover of a party program, and in animation the following year with the release of The Pointer. Mickey is sometimes given eyebrows as seen in The Simple Things (1953) and in the comic strip, although he does not have eyebrows in his subsequent appearances.
Originally characters had black hands, but Frank Thomas said this was changed for visibility reasons. According to Disney's Disney Animation: The Illusion of Life, written by former Disney animators Frank Thomas and Ollie Johnston, "The characters were in black and white with no shades of grey to soften the contrast or delineate a form. Mickey's body was black, his arms and his hands- all black. There was no way to stage an action except in silhouette. How else could there be any clarity? A hand in front of a chest would simply disappear."
Multiple sources state that Mickey's characteristics, particularly the black body combined with the large white eyes, white mouth, and the white gloves, evolved from blackface caricatures used in minstrel shows.
Besides Mickey's gloves and shoes, he typically wears only a pair of shorts with two large buttons in the front. Before Mickey was seen regularly in color animation, Mickey's shorts were either red or a dull blue-green. With the advent of Mickey's color films, the shorts were always red. When Mickey is not wearing his red shorts, he is often still wearing red clothing such as a red bandmaster coat (The Band Concert, The Mickey Mouse Club), red overalls (Clock Cleaners, Boat Builders), a red cloak (Fantasia, Fun and Fancy Free), a red coat (Squatter's Rights, Mickey's Christmas Carol), or a red shirt (Mickey Down Under, The Simple Things).
Voice actors
A large part of Mickey's screen persona is his famously shy, falsetto voice. From 1928 onward, Mickey was voiced by Walt Disney himself, a job in which Disney appeared to take great personal pride. Composer Carl W. Stalling was the first person to provide lines for Mickey in the 1929 shorts The Karnival Kid and Wild Waves, and J. Donald Wilson and Joe Twerp provided the voice in some 1938 broadcasts of The Mickey Mouse Theater of the Air, although Disney remained Mickey's official voice during this period. However, by 1946, Disney was becoming too busy with running the studio to do regular voice work which meant he could not do Mickey's voice on a regular basis anymore. It is also speculated that his cigarette habit had damaged his voice over the years. After recording the Mickey and the Beanstalk section of Fun and Fancy Free, Mickey's voice was handed over to veteran Disney musician and actor Jimmy MacDonald. Walt would reprise Mickey's voice occasionally until his passing in 1966, such as in the introductions to the original 1955–1959 run of The Mickey Mouse Club TV series, the "Fourth Anniversary Show" episode of the Walt Disney's Disneyland TV series that aired on September 11, 1957, and the Disneyland USA at Radio City Music Hall show from 1962.
MacDonald voiced Mickey in most of the remaining theatrical shorts and for various television and publicity projects up until his retirement in 1976. However, other actors would occasionally play the role during this era. Clarence Nash, the voice of Donald Duck, provided the voice in three of Mickey's theatrical shorts, The Dognapper, R'coon Dawg, and Pluto's Party. Stan Freberg voiced Mickey in the Freberg-produced record Mickey Mouse's Birthday Party.
Alan Young voiced Mickey in the Disneyland record album An Adaptation of Dickens' Christmas Carol, Performed by The Walt Disney Players in 1974.
The 1983 short film Mickey's Christmas Carol marked the theatrical debut of Wayne Allwine as Mickey Mouse, who was the official voice of Mickey from 1977 until his death in 2009, although MacDonald returned to voice Mickey for an appearance at the 50th Academy Awards in 1978. Allwine once recounted something MacDonald had told him about voicing Mickey: "The main piece of advice that Jim gave me about Mickey helped me keep things in perspective. He said, 'Just remember kid, you're only filling in for the boss.' And that's the way he treated doing Mickey for years and years. From Walt, and now from Jimmy." In 1991, Allwine married Russi Taylor, the voice of Minnie Mouse from 1986 until her death in 2019.
Les Perkins did the voice of Mickey in two TV specials, "Down and Out with Donald Duck" and "DTV Valentine", in the mid-1980s. Peter Renaday voiced Mickey in the 1980s Disney albums Yankee Doodle Mickey and Mickey Mouse Splashdance. He also provided his voice for The Talking Mickey Mouse toy in 1986. Quinton Flynn briefly filled in for Allwine as the voice of Mickey in a few episodes of the first season of Mickey Mouse Works whenever Allwine was unavailable to record.
Bret Iwan, a former Hallmark greeting card artist, is the current official voice of Mickey. Iwan was originally cast as an understudy for Allwine due to the latter's declining health, but Allwine died before Iwan could get a chance to meet him and Iwan became the new official voice of the character at the time. Iwan's early recordings in 2009 included work for the Disney Cruise Line, Mickey toys, the Disney theme parks and the Disney on Ice: Celebrations! ice show. He directly replaced Allwine as Mickey for the Kingdom Hearts video game series and the TV series Mickey Mouse Clubhouse. His first video game voice-over of Mickey Mouse can be heard in Kingdom Hearts: Birth by Sleep. Iwan also became the first voice actor to portray Mickey during Disney's rebranding of the character, providing the vocal effects of Mickey in Epic Mickey as well as his voice in Epic Mickey 2: The Power of Two and the remake of Castle of Illusion. An openly gay man, Iwan is the character's first LGBT+ performer.
In addition to Iwan, Chris Diamantopoulos was cast as Mickey for the Mickey Mouse 2013 animated series developed by Paul Rudish, as the producers were looking for a voice closer to Walt Disney's portrayal of the character in order to match the vintage look of that series. Diamantopoulos is the first voice of Mickey to be nominated for two Emmy Awards and two Annie Awards for his work in the series. He has reprised the role in the 2017 DuckTales reboot (in the form of a watermelon that Donald uses as a ventriloquist dummy), the Walt Disney World attraction Mickey and Minnie's Runaway Railway, and the Disney+ revival of the series, The Wonderful World of Mickey Mouse. He voiced Mickey once again for the 2023 short film Once Upon a Studio.
Mickey Mouse has received ten nominations for the Academy Award for Best Animated Short Film. These are Mickey's Orphans (1931), Building a Building (1933), Brave Little Tailor (1938), The Pointer (1939), Lend a Paw (1941), Squatter's Rights (1946), Mickey and the Seal (1948), Mickey's Christmas Carol (1983), Runaway Brain (1995), and Get a Horse! (2013). Among these, Lend a Paw was the only film to actually win the award. Additionally, in 1932 Walt Disney received an honorary Academy Award in recognition of Mickey's creation.
In 1994, four of Mickey's cartoons were included in the book The 50 Greatest Cartoons which listed the greatest cartoons of all time as voted by members of the animation field. The films were The Band Concert (#3), Steamboat Willie (#13), Brave Little Tailor (#26), and Clock Cleaners (#27).
On November 18, 1978, in honor of his 50th anniversary, Mickey became the first cartoon character to have a star on the Hollywood Walk of Fame. The star is located on 6925 Hollywood Blvd.
Melbourne (Australia) runs the annual Moomba festival street procession and appointed Mickey Mouse as their King of Moomba (1977). Although immensely popular with children, there was controversy with the appointment: some Melburnians wanted a "home-grown" choice, e.g. Blinky Bill; when it was revealed that Patricia O'Carroll (from Disneyland's Disney on Parade show) was performing the mouse, Australian newspapers reported "Mickey Mouse is really a girl!"
Mickey was the Grand Marshal of the Tournament of Roses Parade on New Year's Day 2005. He was the first cartoon character to receive the honor and only the second fictional character after Kermit the Frog in 1996.
Have: 1 - 2 - 5 - 6 -7 - 8 - 9 - 11 - 12- 13 - 17 - 18
Need:: 3 - 4 - 10 - 14 - 15 - 16
I’m totally keeping these!
Selling my 1987 Vol 3 - See Below
Publication History:
Created by artist Jack Kirby, the character first appears in The Fantastic Four #48 (March 1966), the first of a three-issue arc that fans call "The Galactus Trilogy".
Early Appearances:
The Silver Surfer debuted as an unplanned addition to the superhero-team comic Fantastic Four #48 (March 1966). The comic's writer-editor, Stan Lee, and its penciller and co-plotter, Jack Kirby, had, by the mid-1960s, developed a collaborative technique known as the "Marvel Method": the two would discuss story ideas, Kirby working from a brief synopsis to draw the individual scenes and plot details, with Lee finally adding the dialogue and captions.
When Kirby turned in his pencil art for the story, he included a new character he and Lee had not discussed. As Lee recalled in 1995, "There, in the middle of the story we had so carefully worked out, was a nut on some sort of flying surfboard". He later expanded on this, recalling, "I thought, 'Jack, this time you've gone too far'". Kirby explained that the story's agreed-upon antagonist, a god-like cosmic predator of planets named Galactus, should have some sort of herald, and that he created the surfboard "because I'm tired of drawing spaceships!"
Taken by the noble features of the new character, who turned on his master to help defend Earth, Lee overcame his initial skepticism and began adding characterization. The Silver Surfer soon became a key part of the unfolding story.
Following the Surfer's debut, Lee and Kirby brought him back as a recurring guest in Fantastic Four #55–61, 72, and 74–77 (ranging Oct. 1966 – Aug. 1968). The character made his solo debut in the backup story of Fantastic Four Annual #5 (Nov. 1967).
The following year, Lee launched the solo title The Silver Surfer. John Buscema was penciller for the first 17 issues of the series, with Kirby returning for the 18th and final issue.
The first seven issues, which included anthological "Tales of the Watcher" backup stories, were 72-page (with advertising), 25-cent "giants", as opposed to the typical 36-page, 12-cent comics of the time.
Thematically, the stories dealt with the Surfer's exile on Earth and the inhumanity of man as observed by this noble yet fallen hero. Though short-lived, the series became known as one of Lee's most thoughtful and introspective works.
Following his series' cancellation, the Surfer made sporadic appearances as a guest star or antagonist in such comic books as Thor, The Defenders, and Fantastic Four. Lee remained partial to the Surfer, even asking other writers not to use him as a general rule, and with Kirby collaborated on a seminal 1978 graphic novel starring the character, the only original story featured in the Marvel Fireside Books series.
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Selling my 1987 Vol 3
MINT Boaxed & Boarded
Issues 1 - 105 July 1987- June 1995
333.00 + Free US Shipping
Silver Surfer, Volume 3 is an American ongoing comic book series of the science fiction and superhero fantasy genres. It is the second ongoing comic title published by Marvel Comics to spotlight the character of Norrin Radd - the Silver Surfer, following the 1982 one-shot special. The series ran from July, 1987 to November, 1998, spanning a total of 146 standard issues, as well nine Annual editions and a 1/2 special.
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
Double feature.
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
Heroin popularly known as brown sugar is the most potent addictive taken by millions of youth across the globe. It is a semi synthetic opioid available in white crystalline form. Even though it is banned in several countries it has gained an easy access to the world of drug users as the preparation does not require lot of technical expertise.
Pollen
Courtesy of DUYGU OGUZ KILIC
Image Details
Instrument used: Quanta Family
Magnification: 522x
Horizontal Field Width: 572
Vacuum: 7.3e-5
Voltage: 3 kV
Spot: 3
Working Distance: 7.7
Detector: SE
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
Originally, the famed Dracula actor Bela Lugosi was cast as the Monster, and French director Robert Florey was assigned to direct. But after various screen tests, Lugosi refused the part, and Universal chose Britisher James Whale to direct. Significantly, this film then launched the career of unknown actor Boris Karloff, who is surprisingly uncredited in the opening credits of the film as the Monster.
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
December girl "From the other side" collection video presentation...
This creation is inspired by the character of Claudia, played by Kirsten Dunst in the American drama horror film Interview with the Vampire: The Vampire Chronicles from 1994. Claudia is our December and last girl from the Collection "From the other Side".
Claudia will FA this December month.
More information at erregirodolls.
German postcard by Ross Verlag, no. 4704/1, 1929-1930. Photo: MGM. Publicity still for The Hollywood Revue of 1929 (Charles Reisner, 1929) with Keaton as Princess Raja. This performance must have been inspired by the Egyptian dance in The Cook (Roscoe 'Fatty' Arbuckle, 1918).
At Il Cinema Ritrovato 2015 (27 June - 4 July 2015) in Bologna, a new, multi-year project starts with brand new restorations of the films of Buster Keaton (1895–1966). The Keaton Project will be launched with the silent short One Week (1920) and with the silent featureSherlock Jr. (1924), an early example of film within a film. The film showcases all of Buster Keaton’s virtues: his deadpan humour, his innovative technical accomplishments, his amazing stunts and perfect gags. The two restorations will be presented in Piazza Maggiore in Bologna accompanied live by Timothy Brock’s original scores and performed by the Bologna Opera House Orchestra.
Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from the impassive to the slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gag man, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.
Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge had divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage, and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.
Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking, and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton had returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.
Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.
Flint-knapped arrowhead.
Knapper: Roy Miller
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old Indian flint pits can be examined along hiking trails in Flint Ridge State Park ("State Memorial"). Many authentic Indian artifacts found in Ohio (arrowheads & spearpoints - "projectile points") are composed of Vanport Flint.
The arrowhead seen here is a modern replica, produced by a skilled knapper named Roy Miller, who has his own flint pits on Flint Ridge. Material from this site is famous for having greenish and/or bluish coloration, which become intensified with heating.
Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: Roy Miller flint pit, northwestern corner of the Brownsville Road-Flint Ridge Road intersection, next to Flint Ridge State Park, Flint Ridge, southeastern Licking County, east-central Ohio, USA
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
Frankenstein (Universal, 1931). Lobby Card (11" X 14”).
The famous bridal chamber scene in which the monster confronts Mae Murrey as Dr. Frankenstein's bride-to-be.
Released shortly after Todd Browning's unexpectedly successful "Dracula" in 1931, "Frankenstein" was the second film in the annals of Universal's classic monster movies. Shot on a budget of less than $300,000, "Frankenstein" helped to bring Universal back on financial track in 1931, at a time when the studio was writing nothing but red ink. In retrospect it is clear that these films not only saved the studio, but also became an integral part of popular culture for generations to come. Even today, almost 70 years after the original release, everyone is familiar with Boris Karloff as Frankenstein's monster.
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
Russian postcard by Dynamo, no. MB 22975-86, 1954.
Russian opera singer Feodor Chaliapin (1873–1938) was an international sensation and is considered as the greatest Russian singer of the twentieth century, as well as the greatest male operatic actor ever. The possessor of a large, deep and expressive basso profundo, he was celebrated at major opera houses all over the world and established the tradition of naturalistic acting in operas. The only sound film which shows his acting style is Don Quixote (Georg Wilhelm Pabst, 1933).
Feodor Ivanovich Chaliapin (Russian: Фёдор Ива́нович Шаля́пин, or Fyodor Ivanovich Shalyapin) was born in 1873, into a poor peasant family in Omet Tawi, near Kazan, Russia. His childhood was full of suffering, hunger, and humiliation. From the age of 10, he worked as an apprentice to a shoemaker, a sales clerk, a carpenter, and a lowly clerk in a district court before joining, at age 17, a local operetta company. In 1890, Chaliapin was hired to sing in a choir at the Semenov-Samarsky private theatre in Ufa. There he began singing solo parts. In 1891, he toured Russia with the Dergach Opera. In 1892, he settled in Tiflis (now Tbilisi, Georgia), because he found a good teacher, Dmitri Usatov, who gave Chaliapin free professional opera training for one year. He also sang at the St. Aleksandr Nevsky Cathedral in Tbilisi. In 1893, he began his career at the Tbilisi Opera, and a year later, he moved to Moscow upon recommendation of Dmitri Usatov. In 1895 ,Chaliapin debuted at the Imperial Mariinsky Theatre as Mephistopheles in Charles Gounod’s Faust, in which he was a considerable success. In 1896 he also joined Mamontovs Private Russian Opera in Moscow, where he mastered the Russian, French, and Italian roles that made him famous. Savva Mamontov was a Russian industrialist and philanthropist, who staged the operas, conducted the orchestra, trained the actors, taught them singing and paid all the expenses. At Mamontov's, he met in 1897 Sergei Rachmaninoff, who started as an assistant conductor there. The two men remained friends for life. With Rachmaninoff he learned the title role of Modest Mussorgsky's Boris Godunov, which became his signature character. Rachmaninoff taught him much about musicianship, including how to analyse a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. When Chaliapin became dissatisfied with his performances, Chaliapin began to attend straight dramatic plays to learn the art of acting. His approach revolutionised acting in opera. In 1896, Savva Mamontov introduced Chaliapin to a young Italian ballerina Iola Tornagi, who came to Moscow for a stage career. She quit dancing and devoted herself to family life with Chaliapin. He was very happy in this marriage. From 1899 until 1914, he also performed regularly at the Bolshoi Theatre in Moscow. The couple settled in Moscow and had six children. Their first boy died at the age of 4, causing Chaliapin a nervous breakdown.
In 1901, Feodor Chaliapin made his sensational debut at La Scala in the role of the devil in Mefistofele by Arrigo Boito under the baton of conductor Arturo Toscanini. Other famous roles were Boris Godunov in Mussorgsky's opera, King Philip in Giuseppe Verdi's Don Carlos. Bertram in Giacomo Meyerbeer's Robert le Diable, and Ivan the Terrible in The Maid of Pskov by Nikolai Rimsky-Korsakov. His great comic characterizations were Don Basilio in Gioachino Rossini’s Il barbiere di Siviglia and Leporello in Wolfgang Amadeus Mozart’s Don Giovanni. In 1906, Chaliapin started a civil union with Maria Valentinovna Petzhold (also called: Maria Augusta Eluchen) in St. Petersburg, Russia. She had three daughters with Chaliapin in addition to 2 other children from her previous family. He could not legalize his second family, because his first wife would not give him a divorce. Chaliapin even applied to the Emperor Tsar Nicholas II with a request of registering his three daughters under his last name. His request was not satisfied. In 1913, Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev. He began giving well-received solo recitals in Paris in which he sang traditional Russian folk songs as well as more serious fare, and also performed at the Paris Opera. His acting and singing was sensational to the western audiences. He made many sound recordings, of which the 1913 recordings of the Russian folk songs Vdol po Piterskoi and The Song of the Volga Boatmen are best known. In 1915, he made his film debut as Czar Ivan IV the Terrible in the silent Russian film Tsar Ivan Vasilevich Groznyy/Czar Ivan the Terrible (Aleksandr Ivanov-Gai, 1915) opposite the later director Richard Boleslawski. Fourteen years later, he appeared in another silent film, the German-Czech coproduction Aufruhr des Blutes/Riot of the blood (Victor Trivas, 1929) with Vera Voronina and Oscar Marion.
Feodor Chaliapin was torn between his two families for many years, living with one in Moscow, and with another in St. Petersburg. With Maria Petzhold and their three daughters, he left Russia in 1922 as part of an extended tour of western Europe. They would never return. Ther family settled in Paris. A man of lower-class origins, Chaliapin was not unsympathetic to the Bolshevik Revolution and his emigration from Russia was painful. Although he had left Russia for good, he remained a tax-paying citizen of Soviet Russia for several years. Finally he could divorce in 1927 and marry Maria Petzhold. Chaliapin worked for impresario Sol Hurok and from 1921 on, he sang for eight seasons at the Metropolitan Opera in New York. His debut at the Met in the 1907 season had been disappointing due to the unprecedented frankness of his stage acting. In 1921, the public in New York had grown more broad-minded and the eight seasons were a huge success. According to Steve Shelokhonov at IMDb, Chaliapin was the undisputed best basso in the first half of the 20th century. He had revolutionised opera by bringing serious acting in combination with great singing. His first open break with the Soviet regime occurred in 1927 when the government, as part of its campaign to pressure him into returning to Russia, stripped him of his title of 'The First People’s Artist of the Soviet Republic' and threatened to deprive him of Soviet citizenship. Prodded by Joseph Stalin, Maxim Gorky, Chaliapin’s longtime friend, tried to persuade him to return to Russia. Gorky broke with him after Chaliapin published his memoirs, Man and Mask: Forty Years in the Life of a Singer (Maska i dusha, 1932), in which he denounced the lack of freedom under the Bolsheviks.
The only sound film which shows Chaliapin's acting style is Don Quixote/Adventures of Don Quixote (Georg Wilhelm Pabst, 1933). He had also starred onstage as the knight in Jules Massenet's 1910 opera, Don Quichotte, but the 1933 film does not use Massenet's music, and is more faithful to Miguel de Cervantes' novel than the opera. In fact there were three versions of this early sound film. Georg Wilhelm Pabst shot simultaneously with the German language version also English and French versions. Feodor Chaliapin Sr. starred in all three versions of Don Quixote, but with a different supporting cast. Sancho Pansa was played by Dorville in the German and French versions but by George Robey in the English version. Benoit A. Racine at IMDb: "These films (the French, English and German versions) were an attempt to capture his legendary stage performance of this character even though the songs are by Jacques Ibert. Ravel had also been asked to compose the songs for the film but he missed the deadline and his songs survive on their own with texts that are different from those found here. The interplay between the French and English versions is fascinating. Some scenes are done exactly the same for better or worse, some use the same footage, re-cut to edit out performance problems, while others have slight variants in staging and dialogue. (The English version was doctored by Australian-born scriptwriter and director John Farrow, Mia's father, by the way.) Even though the films are short and they transform, reduce and simplify considerably the original novel, they still manage to carry the themes and the feeling that would make Man of La Mancha a hit several decades later and to be evocative of Cervantes' Spain." In the late 1930s, Feodor Chaliapin Sr. suffered from leukaemia and kidney ailment. In 1937, he died in Paris, France. He was laid to rest is the Novodevichy Monastery Cemetery in Moscow. Chaliapin was awarded a Star on the Hollywood Walk of Fame for Recording at 6770 Hollywood Boulevard in Hollywood, California. In 1998, the TV film Chaliapin: The Enchanter (Elisabeth Kapnist, 1998) followed. His son Boris Chaliapin became a famous painter. who painted the portraits used on 414 covers of the Time magazine between 1942 and 1970. Another son Feodor Chaliapin Jr. became a film actor, who appeared in character roles in such films as the Western Buffalo Bill, l'eroe del far west/Buffalo Bill (Mario Costa, 1965) with Gordon Scott, and Der Name der Rose/The Name of the Rose (Jean-Jacques Annaud, 1986), starring Sean Connery. His first wife, Iola Tornagi, lived in the Soviet Union until 1959, when Nikita Khrushchev brought the 'Thaw'. Tornagi was allowed to leave the Soviet Union and reunited with her son Feodor Chaliapin Jr, in Rome, Italy.
Sources: Steve Shelokhonov (IMDb), Benoit A. Racine (IMDb), Encyclopaedia Britannica, Wikipedia and IMDb.
Richard Caruthers Little (born November 26, 1938) is a Canadian-American impressionist and voice actor. Sometimes known as the "Man of a Thousand Voices", Little has recorded nine comedy albums and made numerous television appearances, including three HBO specials.
LINK to Rich Little interview - www.tvparty.com/1-rich-little.html
Richard Caruthers "Rich" Little (born November 26, 1938) is a Canadian-American impressionist and voice actor. He has long been known throughout the world as a top impersonator of famous people, resulting in his nickname, "The Man of a Thousand Voices".
Early life - Born in Ottawa, Ontario, Canada, Little was the middle of three sons. His father was a doctor. In his early teens, he formed a partnership with Geoff Scott, another budding impressionist, concentrating on reproducing the voices of Canadian politicians such as then-Prime Minister John Diefenbaker and Ottawa mayor Charlotte Whitton (Geoff went on to become a politician). They were performing professionally in night clubs by age 17.
Career - Rich was an usher at the Elgin Movie Theatre in Ottawa where he would perfect his voices when standing at the back of the theatre. He started his amateur acting career at Ottawa's Little Theatre winning his first acting award at the Eastern Ontario Drama Festival in Deep River, Ontario. He went on to become a successful disc jockey, frequently incorporating impersonations into his show. In 1963, he was asked to audition by Mel Tormé, who was producing a new variety show for Judy Garland. The audition won him the job and in 1964, Little made his American television debut on CBS's The Judy Garland Show, where he astounded Garland with his imitations of various male celebrities. His impression of James Mason in A Star Is Born thrilled Garland, and his popularity began to grow.
In 1966 and 1967, Little appeared in ABC-TV's Judy Carne sitcom Love on a Rooftop as the Willises' eccentric neighbor, Stan Parker. He appeared on That Girl in 1967 as a writer who impressed Marlo Thomas' character with his impersonations. Little was a frequent guest on variety and talk shows. He cracked up Johnny Carson by capturing the Tonight Show host's voice and many on-stage mannerisms perfectly (he later played Carson in the HBO TV-movie The Late Shift). One of his best known impressions is of U.S. President Richard Nixon. (In 1991 he reprised the role of Nixon as ideal sperm donor in Gina's fantasies on the soap opera Santa Barbara.) During the 1970s, Little made many television appearances portraying Nixon. He was a regular guest on The Dean Martin Celebrity Roasts in the 1970s and was also a semi-regular on the Emmy-winning ABC-TV variety series The Julie Andrews Hour in 1972-1973. This particular series proved to be a wonderful showcase for Little's talents as an impressionist. In fact, because of his uncanny yet brilliant imitation of Jack Benny, the comedian sent Little an 18-carat gold money clip containing this message: "With Bob Hope doing my walk and you doing my voice, I can be a star and do nothing." He was named "Comedy Star of the Year" by the American Guild of Variety Artists in 1974.
His best-known continuing TV series was The Kopycats, hour-long segments of The ABC Comedy Hour, first broadcast in 1972. Taped in England, these comedy-variety shows consisted entirely of celebrity impersonations, with the actors in full costume and makeup for every sketch. The cast included Rich Little, Frank Gorshin, Marilyn Michaels, George Kirby, British comedian Joe Baker, Fred Travalena, Charlie Callas, and Peter Goodwright.
The Rich Little Show (1976) and The New You Asked for It (1981) were attempts to present Little in his own person, away from his gallery of characterizations.
LINK to - Impersonator’s goal is to make audience think of someone else - www.reviewjournal.com/life/impersonators-goal-is-to-make-...
LINK to video - Rich Little Shows Up With Non-Stop Impressions | Carson Tonight Show - www.youtube.com/watch?v=nw8AYVwpPdQ
LINK to video - RICH LITTLE Gives a Presidential Press Conference You'll NEVER Forget! | Huckabee's Jukebox - www.youtube.com/watch?v=FvogN-_Zh64
William Sanford "Bill" Nye (born November 27, 1955), popularly known as "Bill Nye the Science Guy", is an American science educator, comedian, television host and mechanical engineer. He is best known as the host of the Disney children's science show Bill Nye the Science Guy (1993–1997) and for his many subsequent appearances in popular media as a science educator.
Nye is a fellow of the Committee for Skeptical Inquiry, a U.S. non-profit scientific and educational organization whose aim is to promote scientific inquiry, critical investigation, and the use of reason in examining controversial and extraordinary claims.
About the quote :
Prompted by Michael B. Berkman and Eric Plutzer’s recent column in Science deploring “a pervasive reluctance of teachers to forthrightly explain evolutionary biology,” Popular Mechanics asked Bill Nye for his reaction. “It’s horrible,” Nye replied.
He explained, “Science is the key to our future, and if you don’t believe in science, then you’re holding everybody back. And it’s fine if you as an adult want to run around pretending or claiming that you don’t believe in evolution, but if we educate a generation of people who don’t believe in science, that’s a recipe for disaster. … The main idea in all of biology is evolution. To not teach it to our young people is wrong.”
Nye was particularly concerned with the characterization of evolution as “just a theory,” arguing, “People make flu vaccinations that stop people from getting sick. Farmers raise crops with science; they hybridize them and make them better with every generation. That’s all evolution. Evolution is a theory, and it’s a theory that you can test. We’ve tested evolution in many ways. You can’t present good evidence that says evolution is not a fact. ”
Hi Reddit-ites!
This abridgement of Universal's 12-episode serial Buck Rogers stars Buster Crabbe as Dick Calkins' famed comic-strip space adventurer. Buck and Buddy (Jackie Moran) and are recruited to battle against modernistic gangster Killer Kane (Anthony Warde), by Wilma Deering (Constance Moore) and Dr. Huer (C. Montague Shaw). The duo travels to Saturn to get help in their mission, and after Buck and Buddy quell the internal struggles of the Saturnians, Buck triumphs over Killer Kane and his cosmic thugs.
Planet Outlaws Feature link: youtu.be/UD3xKy42KUY
Link to all 12 Serial Episodes:
www.youtube.com/watch?v=iTtc-u3zFGk&feature=share&...
Starring Buster Crabbe, Constance Moore, Jackie Moran, Jack Mulhall, Anthony Warde, C. Montague Shaw, Guy Usher, William Gould, Philson Ahn. Directed by Ford Beebe, Saul A. Goodkind.
Buck Rogers and Buddy Wade are in the middle of a trans-polar dirigible flight when they are caught in a blizzard and crash. Buddy then releases a special gas to keep them in suspended animation until a rescue party can arrive. However, an avalanche covers the craft and the two are in suspended animation for 500 years. When they are found, they awake to find out that the world has been taken over by the outlaw army of Killer Kane. Along with Lieutenant Wilma Deering, Buck and Buddy join in the fight to overthrow Kane and with the help of Prince Tallen of Saturn and his forces, they eventually do and Earth is free of Kane's grip.
This is actually a pretty enjoyable serial, but it seems doomed to be forever overshadowed by the much superior Flash Gordon trilogy. Universal brought BUCK ROGERS out in 1939, in between their own chapterplays FLASH GORDON'S TRIP TO MARS and FLASH GORDON CONQUERS THE UNIVERSE; it also starred Buster Crabbe (but with his natural dark hair instead of Flash's golden curls) and although it is filled with space ships and weird gadgets, BUCK ROGERS lacks most of the elements that gave the Flash serials their intense emotional draw.
For one thing, there is none of the strong sexual charge that the Flash series had. Instead of nubile Dale Arden and sultry Princess Aura both competing for the hero's attention while the villain openly lusted for the heroine, Buck's epic featured Constance Moore as Col. Wilma Deering. Now, Moore is perfectly fine in her role, but she is after all a soldier in the resistance army and not a fair damsel in distress. She has a nice moment when she wrests a ray gun away from a guard and blasts her way out of her cell, but she and Buck seem to be merely chums on the same side.
Also, although BUCK ROGERS has plenty of futuristic gadgets (rayguns and buzzing spaceships which shoot sparks from their backs, teleportation tubes and invisibility rays), there are no grotesque monsters or nonhuman alien races on view. Prisoners have remarkably goofy metal helmets strapped on which turn them into docile zombies, and there are these homely goons called Zuggs moping around, but that's hardly as fascinating as Lion Men and Clay People and horned apes (that Orangapoid critter).
What's ironic about all this is that the comic strip BUCK ROGERS by Philip Nolan and Richard Calkins started in 1929, was immensely popular for many years and it success inspired the creation of Flash. Yet the Flash strip benefitted from the genius of Alex Raymond, one of the all-time great cartoon artists, and it produced stunning visual images (from the samples of Buck's strip I've seen, it was imaginative enough but pretty crude and drab). This contrast carried over to the serials.
Buck Rogers and his sidekick Buddy Wade (Jackie Moran) are pilots who crash in the Arctic in1938 and survive for 500 years because the 'Nirvano' gas they were carrying put them in a state of suspended animation. They both seem to adapt to waking up in the year 2424 pretty well, where I would think most people would be so traumatized it would take a while to adjust. In this dystopic future, the Earth is ruled by a mega-gangster called Killer Kane (another setback; Anthony Warde would be okay as a crimelord but he just doesn't have the imposing presence to convince me this guy can dominate an entire planet).
Luckily, Buck and Buddy have been found by the small resistance movement hopelessly trying to overthrow Kane from their hidden city. Here is Dr Huer (C. Montague Shaw, who I just saw in the UNDERSEA KINGDOM doing the same gig with his wild inventions) and Wilma Deering leading the good fight. For some reason I missed, everyone immediately puts all their trust in Buck and he pretty much takes over. (Maybe he's just one of those charismatic alpha males or something.) Most of the serial involves desperate trips back and forth to Saturn to enlist the aid of the isolationist Saturnians, and this means running the blockade of Kane's ships. The usual fistfights and explosions and captures and escapes normal for this sort of situation ensue. It's a lot of fun if you take it on its own terms, with a strong linear plot and likeable heroes, but it really never kicks into high gear and seems a bit drab.
It's interesting that some (but not all) of the Saturnians are played by Asian actors. Prince Tallen, who gets caught up in most of the fun, was portrayed by a very young Philson Ahn, and I thought for years this was the same guy who in 1972 impressed us as the head of the Shaolin Temple in TV's KUNG FU (he taught all the styles, really amazing if you think about it). Turns out that was Phiip Ahn, Philson's brother.
Dir: Ford Beebe and Saul A. Goodkind - 12 Chapters
BUCK ROGERS (1939): Director Ford Beebe, who also worked on Flash Gordon (1938), came straight from The Phantom Creeps (1939) and then went back to finish Flash Gordon Conquers The Universe (1940). Buck Rogers stars Buster Crabbe or, as his family knew him, Lawrence. Now, Lawrence ‘Larry’ ‘Buster’ Crabbe had previously starred in two Flash Gordon serials, a couple of Tarzan movies and a long string of westerns, so it was only natural for Universal to decide he was perfect as the heroic Buck Rogers, aka that blonde guy who saves the universe but isn’t Flash Gordon. Actually, Buster Crabbe wasn’t the first actor to play Buck Rogers in-the-flesh, so to speak.
That honour goes to an unknown man who played Buck in a Virginia department store, instead of their regular Santa Claus. Santa was off conquering Martians at the time, I think it was an exchange program of sorts. It strikes me that Buck Rogers is not unlike a male fantasy come to life. Just think of it – Buck gets to take a nice five-hundred-year-long sleep-in. With my busy schedule, I’m ecstatic if I can get twenty minutes nap on the weekend. Then, when he wakes up, Buck is the smartest, most dynamic guy around. In reality he’d be treated like something that’s escaped from the zoo. And finally, everyone needs Buck to go on exciting missions, fight the bad guys, test exotic equipment and crash rocket ships – out of the half-dozen flights Buck makes, he only lands successfully once. It’s easy to see the bullet cars used in the movie are the same ones from Flash Gordon’s Trip To Mars (1938), and even the script is rather suspect.
Planet Outlaws
This film is actually a compilation of the Buck Rogers serials that ran originally in 1939. The cliffhanger endings and recap beginnings have been edited out to make it flow better -- with partial success. Some new footage was shot for the introduction and summary. At the opening, there are some newspaper headlines about jets chasing flying discs, and the obligatory checkered V2 launch, etc. to add a modern segue. After that, it's pure 1939.
Sci-fi movie technology had come a long way in the 14 years since Buck's debut. Audiences had grown accustomed to sleek and pointy rockets, flying saucers, strange aliens, etc. The Buck Rogers style world-of-the-future must have looked oddly quaint. (if not laughable) Just why Universal Pictures thought re-releasing Buck Rogers was a good idea is a bit of a mystery. Kids who were 8 or so back in 1939 would be young adults in '53. Perhaps Universal was banking on those young adults would buy tickets for a trip down memory lane.
Plot Synopsis
After a bit of modern ('53) footage about the wonders of modern progress and "flying disks," the old serial begins. Rogers and Buddy crashed in the arctic while on a transpolar flight. They were in suspended animation due to the cold and a vague gas. A patrol finds them in the year 2500 and revives them. In the world of 2500, a despot named Killer Kane is trying to take over the world. The forces of good are holed up in the "hidden city." Buck arranges a decoy maneuver to elude Kane's patrol ships. They fly to the planet Saturn in hopes of finding help. On Saturn, the Council sees Rogers and party as the rebels, and Kane as the rule of law. Rogers et al, escape Saturn, return to earth and seek to disrupt Kane's bamboozling of Prince Tallen, the Saturnian representative. Rogers sneaks into Kane's city, interrupts the treaty signing and convinces Tallen of Kane's evil by revealing Kane's "robot battalion" (slaves wearing mind-control helmets). Rogers and Tallen get to Saturn and the treaty is signed. Rogers escapes Kane's patrols via the Dissolvo Ray which rendered them invisible. Rogers and the war council plan for war. Rogers enlists the Saturnians to help. Meanwhile, Rogers sneaks into Kane's city and de-zombies Minister Krenco to lead an uprising of freed robot-slave-prisoners. Rogers storms Kane's palace and puts one of the robo-slave helmets on Kane. The End
The industrial vision of the future is delightful to watch. The heavily mechanical look of everything is so radically different from the sleek rockets and glowing acrylic audiences were growing accustomed to. The space ships look like they were built at locomotive factories or steamship yards. They spew roman-candle sparks and smoke and buzz as they fly. There are no computers, no radar or electronics. It's a fascinating snapshot of what pre-electronic-age people thought the future would be like.
When originally released in 1939, the Killer Kane character was a thinly disguised allusion to Hitler. In 1953, Kane was intended to represent a communist despot. It wasn't as tidy a fit. The narrator sums it up voicing a hope that scientists will develop the means for men to stand up to today's dictators and make the world safe for democracy. In the early 50s, there's little question of who they meant.
Simple Colors -- One endearing trait of Buck Rogers is the simplicity of the characterizations. The good guys do nothing but good. The bad guys are pure bad. The good guys are crack pilots and sharp shooters and tough as nails. The bad guys do nothing but bad, have trouble hitting a flying barn and are easily knocked out with one punch.
Industrial Baroque -- Somewhat like the baroque era's compulsion to decorate every square inch with swirls and filigree, Industrial Baroque sought to fill every space with heavy-duty hardware. The sets, and especially the rocket interiors are like flying boiler rooms. Valves, pipes, levers, dials, wheels, large flashing light bulbs. To look more "high tech" in the 30s meant cramming in more industrial hardware. Buck Rogers' ships show more affinity for Captain Nemo "steampunk" than the proto-space-age of the 50s.
Family Resemblance -- There is a noticeable similarity in the sets and costumes of Flash Gordon, Buck Rogers. Even serials of the early 50s, like Captain Video and the various Rocketman serials, look more like Flash and Buck than George Pal. The industrial baroque look and costuming are distinctive, making them almost a sub-genre of their own. In that regard, Buck has a timelessness.
Another take on the story and additional background info.
A round-the-world dirigible flight commanded by US Air Force officer Buck Rogers (Buster Crabbe) encounters dangerously stormy weather above the Himalayas; said weather, along with disastrous panic on the part of Rogers’ crewmen, causes the aircraft to crash. The cowardly crewmen ditch the ship and meet quick ends, but Rogers and young Buddy Wade (Jackie Moran), son of the aircraft’s designer, survive the crash. The pair use a cylinder of “Nirvano” gas to place themselves into suspended animation until a rescue party can reach them, but an avalanche buries the ship and all searches prove fruitless; the dirigible and its two dormant inhabitants remain beneath rocks and snow for five hundred years.
Finally, in the year 2440, a spaceship unearths the wreck, and its pilots restore Buck and Buddy to consciousness. The holdovers from the 20th century soon learn that their rescuers are soldiers from the “Hidden City,” a pocket of resistance to the super-criminal who is ruling the 24th-century Earth–one “Killer” Kane (Anthony Warde). Rogers immediately pledges his support to Air Marshal Kragg (William Gould) and Scientist-General Dr. Huer (C. Montague Shaw), the leaders of the Hidden City exiles, and is soon en route to Saturn, hoping to convince that planet’s rulers to aid the Hidden City in freeing the Earth from Kane’s tyranny. To cement the Saturian alliance, Buck must battle Kane’s legions at every step of the way, with able assistance from Buddy and from Dr. Huer’s trusted aide Lieutenant Wilma Deering (Constance Moore).
Ever since its original release, Buck Rogers has stood in the shadow of Universal’s Flash Gordon serials; the studio encouraged such association by casting Flash Gordon star Buster Crabbe as a different sci-fi hero, obviously hoping that the chapterplay would capitalize on the goodwill generated by Flash Gordon and Flash Gordon’s Trip to Mars. The serial did succeed in reminding audiences of the Flash outings–but it reminded them of how much they had liked those serials and forced inevitable comparisons that were not in Rogers’ favor. Universal’s plans for a second Buck Rogers serial were quickly scrapped when the first outing failed to please matinee audiences; the intended Buck sequel was then replaced on the studio’s production schedule by–what else?–a third Flash Gordon chapterplay. Even today, Buck is typically dismissed by fans as a pale echo of the great Gordon serials.
It’s easy to see why Buck Rogers came as a disappointment to audiences expecting an outing in the Flash Gordon tradition. Its production design, while futuristic, is less quirky and more uniform than that of the Gordons; there are no monsters and no weird semi-human races besides the rather uninteresting Zuggs; there are also no supporting characters as developed or as interesting as Dr. Zarkov, Ming, King Vultan, the Clay King, Princess Aura, Prince Barin, and other major figures in the Flash Gordon chapterplays. And yet, taken on its own terms, Buck Rogers is far from a failure; it does not approach the Flash Gordon trilogy in quality, but then few serials do.
Buck Rogers’ script, by former Mascot writers Norman Hall and Ray Trampe, is fast-moving and manages to avoid repetition for most of its length. The trip to Saturn, the attempts to convince Saturnian leader Prince Tallen (Philson Ahn) of the justice of the Hidden City’s cause, the subsequent rescue of Tallen from Kane’s city, the second journey to Saturn to cement the alliance, and the attempts of Kane’s henchman Laska (Henry Brandon) to sabotage it–all these incidents keep the narrative flowing very nicely for the serial’s first eight chapters. As in many of Trampe and Hall’s Mascot scripts, however, the writers seem to run out of plot before the serial’s end. While Chapters Nine and Ten remain interesting (with Buck being converted into a hypnotized robot, Buddy’s rescue of the hero, and an infiltration of the Hidden City by one of Kane’s men), the last two chapters have a definite wheel-spinning feel to them, throwing in a redundant third trip to Saturn and an unneeded flashback sequence.
The last-chapter climax is also something of a disappointment, with Kane being overthrown quickly and undramatically instead of being definitively crushed. Here, Trampe and Hall seem to have been leaving room for the sequel that never came and trying to avoid duplicating the dramatic but very final destruction of MIng which closed the first Flash Gordon serial (and which needed to be explained away in the second). The other weak spot of the scripting is Buck and Buddy’s rather calm reaction when they realize that their old world (and everyone in it) is dead–and their extraordinarily quick adjustment to their new one. One wouldn’t have wanted the writers to dwell on our heroes’ plight (which would be absolutely crushing in real life), but I do wish Trampe or Hall could have given Buck and Buddy a few emotional lines about their displacement before getting on to the main action; Hall in his scripts for other serials (Hawk of the Wilderness, Adventures of Red Ryder), showed himself capable of far more dramatic moments.
As already mentioned, the serial’s visuals are less varied than those of the Flash Gordon serials, but that’s not to say they aren’t impressive by serial standards. Pains seem to have been taken to avoid duplicating too much of Gordon’s “look;” the spaceship miniatures are completely different than the ships in the Gordon trilogy, while Kane’s stronghold–probably the best miniature in the serial–is not the quasi-Gothic palace of Ming but rather an ominous, futuristic-looking version of New York City, complete with towering skyscrapers. The Hidden City’s great rock gates are also nifty, and the massive Saturnian Forum (a life-size set, not a miniature) is very visually impressive. The barren Red Rock Canyon area works well as the Saturnian landscape, but I think it was a mistake to also use the Canyon as the area between the Hidden City and Kane’s capital; Saturn and Earth shouldn’t look so similar.
The only major prop or set reused from the Gordon serials are the “bullet cars” from Flash Gordon’s Trip to Mars; they’re just as fun to watch in action here as in the earlier serial. Other incidental props and sets–Kane’s robot room, his mind-control helmets, the various televiewing devices, the anti-gravity belts, Dr. Huer’s invisibility ray, and the Star-Trek-like molecular transportation chamber–add further colorful touches to the serial., and are respectably represented by Universal’s always above-average array of sets and props. The Zuggs, the “primitive race” ruled by the Saturnians, are somewhat disappointing, however; while suitably grotesque-looking, they’re nowhere near as menacing or memorable–in appearance or demeanor–as their obvious inspiration, the Clay People in Flash Gordon’s Trip to Mars.
The serial’s action scenes are brisk and energetic, suffering not at all from a general lack of fistfights–thanks to the swift-moving direction of Ford Beebe (a Mascot veteran like writers Trampe and Hall) and his co-director Saul Goodkind (usually an editor). The few hand-to-hand tussles–most of them on the rocky hills of Saturn–are executed routinely but skillfully by Dave Sharpe, Tom Steele, Eddie Parker, and other stuntmen; the best of the bunch is the fight between Buck and a Kane man in the control room of the Hidden City, although this is more exciting for the suspenseful situation (Buck trying to close the gates that the henchman has opened to Kane’s oncoming armada) than for any particular flair in the staging.
Most of the action sequences consist of protracted chases and pursuits (both on foot and in rocketships), with occasional quick combats thrown in. Many of these lengthy chases are very exciting–particularly the long incursion into Kane’s city that occupies most of Chapters Three and Four, a great combination of action and suspense. Buddy’s later stealthy visit into Kane’s fortress to rescue Buck from the robot room, and the following escape, is also good, as are Buck’s skillful and repeated elusions of the rebellious Zuggs in Chapter Eight and the bullet car getaway in Chapter Six.
The cliffhanger endings are generally well-staged, with proper build-ups, but too many of them involve spaceship crashes that our heroes rather implausibly live through. The impressive collapsing forum at the end of Chapter Eleven and the bullet car crash at the end of Chapter Six provide nice variety amid the spaceship wrecks, but (alas) are also resolved by mere survival. Still, this is preferable to the blatantly cheating resolution of what is otherwise one the best chapter endings–Killer Kane’s pursuit of Buddy in a darkened council chamber and his apparently lethal zapping of the young hero. At least the resolution features a good stunt bit by Dave Sharpe.
The leading performances in Buck Rogers are all excellent (although most other critics would make a single exception; see below). Buster Crabbe, as always, makes a perfect serial hero–both genially cheerful and grimly serious, unassumingly polite and aggressively tough. As in the Flash Gordon trilogy, his down-to-earth attitude also helps to make the wild sci-fi happenings seem perfectly normal.
Jackie Moran (oddly “reduced” to serial acting only a year after playing Huck Finn in David O. Selznick’s big-budget classic Adventures of Tom Sawyer) does a fine job as Buddy Wade, handling his character’s frequent “golly, gee-whiz” lines in a low-key fashion that keeps Buddy from coming off as too naïve; his chipper but calm demeanor complements Crabbe’s well, and he has no problems carrying an entire chapter and part of another on his own.
Constance Moore, despite being saddled with perhaps the most unflattering costume ever worn by a serial leading lady (basically coveralls and a bathing cap), manages to come off as charming. Her Wilma Deering is self-possessed and capable-seeming but never too coldly efficient; she remains warmly likable even when piloting spaceships or explaining technology to Crabbe.
Henry Brandon is very good as Killer Kane’s chief henchman Captain Laska–suave and sly when acting as Kane’s ambassador to Saturn, haughtily arrogant when threatening people, and nervously jittery in the presence of his overbearing leader. Hard-bitten tough guys Wheeler Oakman and Reed Howes, along with the slicker Carleton Young , form Brandon’s backup squad.
As Killer Kane himself, perennial henchman actor Anthony Warde has been almost universally panned by critics as “miscast.” I have to dissent strongly, however; Warde does a fine job in the part and plays Kane with a memorable combination of viciousness and uncontrollable anger. The character is not a diabolical schemer like Ming, but rather a super-gangster who’s blasted and bullied his way to the top–and Warde’s bad-tempered, aggressive, and thuggish screen personality fits the part perfectly. He veers between intimidating ranting and harshly sinister sarcasm–as when he describes himself as a “kindly ruler” just after wrathfully sending a formerly trusted councilor to the robot room–but is quite menacing in both aspects.
Philson Ahn, brother of frequent serial and feature actor Phillip Ahn, does a good job as Prince Tallen of Saturn; he possesses his sibling’s deep and distinctive voice, which serves him well as a planetary dignitary. His manner also has a slightly tougher edge to it than his refined brother’s, which helps to keep the viewer in uncertainty in the earlier chapters as to whether Tallen will turn out to be friend or foe. Guy Usher plays Aldar, the head of Saturn’s ”Council of the Wise,” and does his best to seem suitably imposing and dignified, despite the almost comical way in which the “Wise” continually change their opinions–backing Kane, opposing him, giving into his demands, defying him, etc. Cyril Delevanti is enjoyable as a grumpy subordinate member of the Council.*
C. Montague Shaw has limited screen time, but is very good as Dr. Huer, balancing statesmanlike dignity with shrewdness and a touch of enjoyable scientific eccentricity (the last is particularly noticeable during his demonstration of his invisibility gas in Chapter Five). Energetic Jack Mulhall is typically affable and enthusiastic as Captain Rankin of the Hidden City, while Kenne Duncan has a rare good guy role as Mulhall’s fellow-officer Lieutenant Lacy. Perennial screen “underworld rat” John Harmon also plays against type as a Hidden City soldier, as does Stanley Price as a Hidden City pilot rescued from existence as a human robot. The dignified but stolid William Gould is good enough as Air Marshal Kragg, but I would have preferred a more dynamic actor in the role–Kragg is, after all, the top military leader of Kane’s enemies. Mulhall could have handled it well, as could Wade Boteler–who does an excellent job as the grim and concerned Professor Morgan in the first chapter, intensely instructing Buddy and Buck in the use of the Nirvano gas.
Lane Chandler also appears in the first chapter, as a military officer who demonstrates the Nirvano gas to a reporter played by another old pro, Kenneth Harlan. An unusually subdued Theodore Lorch is one of Kane’s councilors, while Karl Hackett has a good part as another councilor who gets into an argument with Kane that leads to Hackett’s being converted into a human robot (his terrified pleas as he’s dragged out of the council chamber are quite chilling). Al Bridge has some memorably sinister lines (“when this helmet is in place, you’ll never think or speak again”) in his periodic scenes as the slave-master of Kane’s human robots.
Unusually for Universal, several bit roles are filled by stuntmen; Eddie Parker and Tom Steele pop in as various soldiers and officers, but aren’t as noticeable as Dave Sharpe, who’s given multiple speaking roles as a Kane soldier, a Hidden City soldier, a Saturnian officer, and a Saturnian soldier. His ubiquity can get a little distracting at times, particularly since some of his appearances follow right on the previous one’s heels; he also seems to have a bit of trouble with the formal-sounding Saturnian dialogue, coming off as much more stiff and affected than in his co-starring turn in Daredevils of the Red Circle.
The serial’s music score, like most other Universals of the period, is an eclectic but usually effective array of stock music, some of it cues from the Flash Gordon serials but the majority of it culled from Universal’s horror features, including (most notably) Franz Waxman’s score for Bride of Frankenstein, which furnishes some memorable opening-titles music.
All in all, though Buck Rogers has its share of flaws, it also has more than enough virtues (the acting, the fast pace, the interesting sci-fi trappings) to make it a good chapterplay. Despite its similar themes, it shouldn’t be pitted against the Flash Gordon trilogy–a match it’s bound to lose–but rather judged against the field of competition in general. When judged in this fashion, it’s just as entertaining–and often more entertaining–than many serials with less shabby reputations.
*One has to wonder, though, why some Saturnians are Orientals like Ahn and others Occidentals like Usher and Delevanti; my own theory is that men from various countries emigrated from Earth to Saturn sometime before the bulk of the serial took place; this would explain the racial assortment and also explain why the Hidden City chooses Saturn in particular as an ally (as usual, I’m probably putting too much thought into this).
It's 1865 and the telegraph is heading west. George Crane, wanting to keep law and order out of his territory, is out to stop the construction. The engineer on the job is Ken Mason and he is the grandson of Zorro. As Crane sends his men or Indians to stop the work, Mason repeatedly puts on the Zorro costume and rides to the rescue in this 12-chapter serial.
Clayton Moore
September 14th, 1914 — December 28th, 1999
Clayton Moore, though best remembered today as television’s Lone Ranger, had a lengthy and distinguished career in serials. Moore was a physically ideal serial lead, but his greatest strengths were his dramatic, quietly intense speaking voice and expressive face. These gifts helped Moore to convey a sincerity that could make the most unbelievable dialogue or situations seem real. The bulk of Moore’s cliffhanger work was done after World War 2, when serials’ shrinking budgets cut back on original action scenes and made the presence of skilled leading players more important than in the serial’s golden age. Moore, with his sincerity and acting skill, was just the type of actor the post-war serials needed.
Clayton Moore was born Jack Carlton Moore in Chicago. He began to train for a career as a circus acrobat at the age of eight, and joined a trapeze act called the Flying Behrs after finishing high school; as a member of the Behrs, Moore would perform for two circuses and at the 1934 World’s Fair. An injury to his left leg around 1935 forced him out of the aerialist business, and after working briefly as a male model in New York he moved to Hollywood in 1937, beginning his film career as a stuntman. He played numerous bit roles in addition to his stunt work for the next three years, among them a miniscule part in his first serial, Zorro’s Fighting Legion (Republic, 1939), as one of the members of the titular group. Edward Small, an independent producer allied with United Artists, cast Moore in his first credited parts in a pair of 1940 films, Kit Carson and The Son of Monte Cristo. The former featured Moore as a heroic young pioneer, the latter as an army officer aiding masked avenger Louis Hayward. Following these two films, Moore began to get credited speaking parts in other pictures. In 1941 he played the romantic lead in Tuxedo Junction, one of Republic Pictures’ “Weaver Brothers and Elviry” comedies, and the next year the studio signed him for his first starring serial, Perils of Nyoka (Republic, 1942).
Perils of Nyoka (Republic, 1942) was a vehicle for Republic’s new “Serial Queen,” Kay Aldridge, who played Nyoka Gordon, a girl seeking her missing scientist father in the deserts of North Africa. Moore was the heroic Dr. Larry Grayson, a member of an expedition searching for the “Tablets of Hippocrates,” an ancient list of medical cures sought by Nyoka’s father before he disappeared. Nyoka joined forces with Grayson and his expedition to locate Professor Gordon and the tablets–and to battle Arab ruler Vultura (Lorna Gray) and her band of desert cutthroats, who were after the Tablets and the treasure hidden with them. Perils of Nyoka was a highly exciting serial, with consistently imaginative and varied action sequences, and colorful characters and locales. Although Moore took second billing to Aldridge, his character received as much screen time as hers and his performance was a major part of the serial’s success. Moore, with his intense sincerity, made his nearly superhuman physician character believable; the audience never felt like questioning Dr. Grayson’s ability to perform emergency brain surgery on Nyoka’s amnesiac father in a desert cave, or his amazing powers of riding, wall-scaling, marksmanship, and sword-fighting, far beyond those of the average medical school graduate.
Moore went into the army in 1942, almost immediately after the release of Perils of Nyoka. He served throughout World War Two, and didn’t resume his film career until 1946, when he returned to Republic Pictures to appear in The Crimson Ghost. The impact of his starring turn in Perils of Nyoka was diminished by his long hiatus, and he found himself playing a supporting role in this new serial. He was cast as Ashe, the chief henchman of the mysterious Crimson Ghost, and aided that villain in his attempts to steal a counter-atomic weapon called a “Cyclotrode.” Ashe was ultimately brought to justice, along with his nefarious master, by stars Charles Quigley and Linda Stirling. The Crimson Ghost showed that Moore could play intensely mean villains as well as intensely courageous heroes. His sneering, bullying Ashe came off as thoroughly unpleasant, as he stalked through the serial doing his best to kill off hero and heroine.
Moore returned to heroic parts in his next cliffhanger, Jesse James Rides Again (Republic, 1947). The serial’s plot had Jesse, retired from outlawry, forced to go on the run because of new crimes committed in his name. Jesse and his pal Steve (John Compton) wound up in Tennessee, where, under the alias of “Mr. Howard,” Jesse came to the aid of a group of farmers victimized by an outlaw gang called the Black Raiders. The Raiders, secretly bossed by local businessman Jim Clark (Tristram Coffin), were after oil reserves beneath the local farmland, but Mr. Howard ultimately outgunned them. James’ own identity was exposed in the process, but he was allowed to escape arrest by a sympathetic marshal. Jesse James Rides Again was Republic’s best post-war Western serial, thanks in part to the unusual plot device of an ex-badman hero. Moore was able to give Jesse James a dangerous edge that most other serial leads couldn’t have pulled off; his cold, steely-eyed glare when gunning down villains seemed very much in keeping with dialogue references to Jesse’s outlaw past.
G-Men Never Forget (Republic, 1947), Moore’s next serial, cast him as Ted O’Hara, an FBI agent battling a racketeer boss named Vic Murkland (Roy Barcroft). O’Hara broke up various protection rackets organized by Murkland, but his efforts were hampered by Murkland’s impersonation of a kidnaped police commissioner (also played by Barcroft). G-Men Never Forget possessed a tough and realistic atmosphere not typical of gang-busting serials, and Moore delivered a grimly determined performance well-fitted to the serial’s mood. Moore’s acting, good supporting performances, skilled direction, and a well-written script made G-Men Never Forget a superior serial, one that could hold its own against earlier gang-busting chapterplays like the Dick Tracy outings.
Moore’s next serial was Adventures of Frank and Jesse James (Republic, 1948), in which he reprised his Jesse James role. Joined this time by Steve Darrell as Frank James, Moore tried to help a former gang member named John Powell (Stanley Andrews) develop a silver mine. Part of the mine’s proceeds were to be used to pay back victims of James Gang robberies, but the plan was derailed by a crooked mining engineer (John Crawford), who discovered the mine contained gold instead of silver and murdered Powell to keep this find secret. Crawford then used every trick in the book to keep Moore, Darrell, and Noel Neill (as Powell’s daughter) from developing the mine, but the James Boys unmasked his treachery by the end. Frank and Jesse James drew heavily on stock footage and plot elements from Republic’s earlier Adventures of Red Ryder, and was thus more predictable than its predecessor, but it was still an entertaining and well-made serial. Moore again made Jesse seem both sympathetic and (when fighting the bad guys) somewhat frightening.
By now, Moore was established as Republic’s premiere serial hero; however, his next cliffhanger would lead to his departure from the studio and change the course of his career. The last in a long line of Republic Zorro serials, Ghost of Zorro (1949) starred Moore as Ken Mason, the original Zorro’s grandson, who donned his ancestor’s mask to help a telegraph company establish a line in the wild West in the face of outlaw sabotage. Like Adventures of Frank and Jesse James, the serial was somewhat derivative of earlier outings (particularly Son of Zorro), but smoothly and professionally done. Moore delivered another strong performance, but for some odd reason Republic chose to have his voice dubbed by another actor in scenes where he was masked as Zorro. This strange production decision did not diminish Moore’s potential as a masked hero in the eyes of a group of television producers who were trying to find an actor to play the Lone Ranger on a soon-to-be-launched TV show; Moore’s turn in Ghost of Zorro landed him the part. Moore debuted as the Ranger in 1949, and played the part for two seasons on TV. During this period, he did make one apparent serial appearance in Flying Disc Man From Mars (Republic, 1950), but all his footage actually came from The Crimson Ghost.
In 1952, Moore was dropped from The Lone Ranger without any explanation from the producers, who apparently feared that Moore was becoming too identified as the Lone Ranger, and that he might become so sure of his position that he’d ask for a bigger salary. John Hart replaced Moore as the Ranger for the show’s third season, and Moore returned to freelance acting. He played numerous small roles in feature films, made multiple guest appearances (usually as a heavy) on TV shows like Range Rider and The Gene Autry Show, and also found time to make four more serials.
The first of these was Radar Men from the Moon (Republic, 1952), which featured Moore as a gangster named Graber, who was working with lunar invaders to bring the Earth under the dominion of Retik, Emperor of the Moon (Roy Barcroft). Scientist “Commando” Cody (George Wallace) opposed the planned conquest with the aid of his flying rocket suit and other handy gadgets. Moore met a fiery demise when his car plummeted off a cliff in the last chapter, and Retik came to a similarly sticky end shortly thereafter. Moore’s characterization in Radar Men from the Moon was reminiscent of his performance as “Ashe;” once again he performed deeds of villainy with swaggering relish.
Moore’s next serial, Columbia’s Son of Geronimo (1952), was his first non-Republic cliffhanger. He returned to playing a hero in this outing, an undercover cavalry officer named Jim Scott out to quell an Indian uprising led by Rodd Redwing as Porico, son of Geronimo. The uprising was being encouraged by outlaws John Crawford and Marshall Reed to serve their own ends, and Scott and Porico ultimately joined forces to defeat them. Son of Geronimo remains one of the few popular late Columbia serials, due to its strong and unusually violent action scenes and the forceful performances of Moore and his co-stars, particularly Reed and Redwing.
Moore’s last Republic serial was Jungle Drums of Africa (1952), in which he played Alan King, an American mining engineer developing a valuable uranium deposit in the African jungles. Moore was assisted by lady doctor Phyllis Coates and fellow engineer Johnny Sands and opposed by a group of Communist spies (Henry Rowland, John Cason) and their witch-doctor accomplice (Roy Glenn). While Drums drew extensively on stock shots of African animals to augment its jungle atmosphere, it relied to an unusually large extent on original footage for its action scenes and chapter endings, and the result was a modestly-budgeted but enjoyable serial that served as a good finish to Moore’s career at Republic.
Gunfighters of the Northwest (Columbia, 1953), Moore’s final serial, cast him as the second lead, a Mountie named Bram Nevin who backed up RCMP Sergeant Jock Mahoney. Moore, in his first and only “sidekick” role, played well off Mahoney; while the latter’s character was the focus of the serial’s action, Moore’s role was really more that of co-hero than of a traditional sidekick. The serial pitted the two leads against the “White Horse Rebels,” a gang of outlaws trying to overthrow the Canadian government. Though thinly-plotted, Gunfighters, with its nice location photography and good acting, was the last really interesting Columbia serial; it was also Moore’s last serial. In 1954, he returned to the Lone Ranger series, its producers having been forced to realize that Moore was firmly established as the Ranger and that audiences wouldn’t warm up to his substitute John Hart. The fourth and fifth seasons of the show featured Moore in his familiar place as the “daring and resourceful masked rider of the plains.”
After the Lone Ranger series ended in 1956, Moore reprised the role in two big-screen movies and then retired from acting. He remained in the public view, however, making personal appearances throughout the country in his Lone Ranger garb. Publicly and privately, he upheld the ideals that the Lone Ranger–and his serial heroes–had upheld on the screen: courage, charity, and a sense of justice. In 1979, he was barred by court order from making personal appearances as the Lone Ranger because the property’s owners worried that Moore’s close identification with the character would undercut a new Lone Ranger film. Moore nevertheless maintained his status as the “real” Lone Ranger in the eyes of fans, and, after the failure of the new Ranger feature, he was allowed to resume his mask in 1984. Moore died in Los Angeles in 1999, leaving behind several generations of fans that honored him not only for his TV persona, but for the kindess that characterized the off-screen man behind the mask.
Part of Clayton Moore’s success as the Lone Ranger was due to his respectful attitude towards the character. While some actors would have had a hard time taking a masked cowboy from a children’s radio show seriously, Moore’s performance was as heartfelt as if he had been playing a Shakespearian role; he gave the part all the benefit of his considerable acting talent. Moore played his cliffhanger roles, heroic and villainous, with the same respect and the same wholeheartedness. It’s no wonder that serial fans hold him in the same high regard that the Lone Ranger’s fans do.
maybe one day i'll be famous and you can auction off my panties.
i went toboganning. always a good time
movies.
eating.
movies.
eating.
it's christmas still.
This is a DW + Superheroes update, so here we have a comic style Ultron, (who is most defintely a WIP), some version of Deathstroke, and an update to the Mandarin. ( I changed his hair to a bun.)
Now, since I've slightly lost some interest in the comics recently, someone is going to have to explain the whole Mandarin/IM3 scandal thing. I have no real clue what he's like, and I don't see what happened in the movie as a problem, unless, that's like so far from his characterization that the Trevor Slaterly thing was like a sucker punch to the face or something, in that case I get it.
Please, avoid taking the above paragraph as me taking a stance on the issue, one way or the other, because no one needs trolls or a flame war.
Credit on these is a little everywhere, so yeah. Thanks Lego Internet people! Also, if you see something that you either think or know is yours, sound off in the comments, and I'll update it as soon as I get a chance.
Recipes:
Silver Age Ultron:
Helmet: Break Jaw - Agents (This thing)
Head: This other, unrelated thing in red.
Armor: Space Miner - CMF 12
Body + Legs: Generic light Gray body
Arm cannons: Handcuff Vambraces
Slade/Deathstroke:
Hair: Generic Black Hair
Head: Clone Commander Wolffe - Star Wars: The Clone Wars
Torso: Bandit - CMF 6
Legs: Mixed and Matched
Mandarin:
Hair: Samurai - CMF 13 and/or Sumo Wrestler - CMF 3
The Ambassadors
Hans Holbein
German painter, draftsman, and designer renowned for the precise rendering of his drawings and the compelling realism of his portraits, particularly those recording the court of King Henry VIII of England.
Holbein was a member of a family of important artists. His father, Hans Holbein the Elder, and his uncle Sigmund were renowned for their somewhat conservative examples of late Gothic painting in Germany. One of Holbein's brothers, Ambrosius, became a painter as well, but he apparently died about 1519 before reaching maturity as an artist. The Holbein brothers no doubt first studied with their father in Augsburg; they both also began independent work about 1515 in Basle, Switz. It should be noted that this chronology places Holbein firmly in the second generation of 16th-century German artists. Albrecht Dürer, Matthias Grünewald, and Lucas Cranach the Elder all were born between 1470 and 1480 and were producing their mature masterpieces by the time Holbein was just beginning his career. Holbein is, in fact, the only truly outstanding German artist of his generation.
Holbein's work in Basle during the decade of 1515-25 was extremely varied, if also sometimes derivative. Trips to northern Italy (c. 1517) and France (1524) certainly affected the development of his religious subjects and portraiture, respectively. Holbein entered the painters' corporation in 1519, married a tanner's widow, and became a burgher of Basle in 1520. By 1521 he was executing important mural decorations in the Great Council Chamber of Basle's town hall. Unfortunately, none of Holbein's many great frescoes executed here and in England and Germany have survived intact. Their beauty must be judged, instead, from his sketches and copies of the frescoes made by later artists.
Holbein was associated early on with the Basle publishers and their humanist circle of acquaintances. There he found portrait commissions such as that of the humanist scholar Bonifacius Amerbach (1519; Kunstmuseum, Basle). In this and other early portraits Holbein showed himself a master of the current German portrait idiom, using robust characterization and accessories, strong gaze, and dramatic silhouette. In Basle, Holbein was also active in designing woodcuts for title pages and book illustrations. He increased his reputation as a book illustrator by a series of woodcuts for the German translation of the Bible by Martin Luther. The artist's most famous work in this area, a series of 41 scenes illustrating the medieval allegorical concept of the Dance of Death, was designed by him and cut by another artist as early as about 1523 to 1526 but was not published until 1538. Its scenes display an immaculate sense of order, packing much information about the lifestyles and habits of Death's victims into a very small format. He completed also a series of pen-and-ink sketches for The Praise of Folie by the Dutch scholar Desiderius Erasmus. In portraiture, too, Holbein's minute sense of observation was soon evident. His first major portrait of Desiderius Erasmus (1523; Louvre, Paris) portrays the Dutch humanist scholar as physically withdrawn from the world, sitting at his desk engaged in his voluminous European correspondence; his hands are as sensitively rendered as his carefully controlled profile.
Protestantism, which had been introduced into Basle as early as 1522, grew considerably in strength and importance there during the ensuing four years. By 1526 severe iconoclastic riots and strict censorship of the press swept over the city. In the face of what, for the moment at least, amounted to a freezing of the arts, Holbein left Basle late in 1526, with a letter of introduction from Erasmus, to travel by way of the Netherlands to England. Though only about 28 years old, he would achieve remarkable success in England. His most impressive works of this time were executed for the statesman and author Sir Thomas More and included a magnificent single portrait of the humanist (1527; Frick Collection, New York City). In this image, the painter's close observation extends to the tiny stubble of More's beard, the iridescent glow of his velvet sleeves, and the abstract decorative effects of the gold chain that he wears. Holbein also completed a life-size group portrait of More's family; this work is now lost, though its appearance is preserved in copies and in preparatory drawing in the Kunstmuseum, Basle. This painting was the first example in northern European art of a large group portrait in which the figures are not shown kneeling - the effect of which is to suggest the individuality of the sitters rather than impiety.
Before Holbein journeyed to England in 1526, he had apparently designed works that were both pro- and anti-Lutheran in character. On returning to Basle in 1528, he was admitted, after some hesitation, to the new - and now official - faith. It would be difficult to interpret this as a very decisive change, for Holbein's most impressive religious works, like his portraits, are brilliant observations of physical reality but seem never to have been inspired by Christian spirituality. This is evident in both the claustrophobic, rotting body of the Dead Christ in the Tomb (1521; Kunstmuseum, Basle) and in the beautifully composed Family of Burgomaster Meyer Adoring the Virgin (1526; Schlossmuseum, Darmstadt). In this latter painting Holbein skillfully combined a late medieval German compositional format with precise Flemish realism and a monumental Italian treatment of form. Holbein apparently quite voluntarily gave up almost all religious painting after about 1530.
In Basle, from 1528 to 1532, Holbein continued his important work for the town council. He also painted what is perhaps his only psychologically penetrating portrait, that of his wife and two children (c. 1528; Kunstmuseum, Basle). This picture no doubt conveys some of the unhappiness of that abandoned family. In spite of generous offers from Basle, Holbein left his wife and children in that city for a second time, to spend the last 11 years of his life primarily in England.
By 1533 Holbein was already painting court personalities. His portrait of the statesman Thomas Cromwell brought the artist recognition at court, and by 1536 he was established as court painter to Henry VIII of England. It is estimated that during the last 10 years of his life Holbein executed approximately 150 portraits, life-size and miniature, of royalty and nobility alike. These portraits ranged from a magnificent series depicting German merchants who were working in London to a double portrait of the French ambassadors to Henry VIII's court (1533; National Gallery, London) to portraits of the king himself (1536; Thyssen-Bornemisza Collection, Madrid) and his different wives, Jane Seymour (1536; Kunsthistorisches Museum, Vienna) and Anne of Cleves (Louvre, Paris). In these and other examples, the artist revealed his fascination with plant, animal, and decorative accessories. Holbein's preliminary drawings of his sitters contain detailed notations concerning jewelry and other costume decorations as well. Sometimes such objects point to specific events or concerns in the sitter's life, or act as attributes referring to a sitter's occupation or character. The relation between accessories and face is a charged and stimulating one, avoiding simple correspondence.
In an analogous fashion, Holbein's mature portraits present an intriguing play between surface and depth. The sitter's outlines and position within the frame are carefully calculated, while inscriptions applied on the surface in gold leaf lock the sitter's head into place. Juxtaposed with this finely tuned two-dimensional design are illusionistic miracles of velvet, fur, feathers, needleworks, and leather. Holbein acted not only as a portraitist but also as a fashion designer for the court. The artist made designs for all the state robes of the king; he left, in addition, more than 250 delicate drawings for everything from buttons and buckles to pageant weapons, horse outfittings, and bookbindings for the royal household. This choice of work indicates Holbein's Mannerist concentration on surface texture and detail of design, a concern that in some ways precluded the incorporation of great psychological depth in his portraits. Holbein died in a London plague epidemic in 1543.
Holbein was one of the greatest portraitists and most exquisite draftsmen of all time. It is the artist's record of the court of King Henry VIII of England, as well as the taste that he virtually imposed upon that court, that was his most remarkable achievement.
The fact that Holbein's portraits do not reveal the character or spiritual inclinations of his sitters is perfectly paralleled by knowledge of the artist's life. His biography is basically a recounting of disparate facts; about his personality practically nothing is known. Not one note or letter from his own hand survives. Other men's opinions of him are often equally inscrutable. Erasmus, one of Holbein's most renowned sitters, praised and recommended him on one occasion but scorned the artist as opportunistic at another time. Indeed, Henry VIII, who sent Holbein to the European continent to help select a bride by providing a dependable portrait for his scrutiny, was perhaps the only person who had absolute confidence in Holbein.
The artist's detachment and his refusal to submit to an authority that might inhibit his own creative (but very worldly) powers enabled him to produce paintings whose beauty and brilliance have never been questioned. Had he been a more devout Christian or more subject to the turmoil of his times, his artistic achievement might have been quite different. In recent times, the lack of spiritual involvement in his work has been consistently noted, especially inasmuch as the 16th century was a time when few artists managed to remain above the religious conflict sweeping Europe. Thus, the effect of Holbein's art has often been felt to be more artistic and external than expressionistic or emotional. Only in that sense, however, is his achievement finally limited.
outside the Nacional Gallery
The Peninsula Hotel
(Formerly the Gotham Hotel, the Nova Park Hotel, Hotel Maxim's de Paris)
700 Fifth Avenue at 55th Street (2 West 55th Street)
New York, NY
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- The Early Years -
In 1902 a group led by Henry R. Hoyt, known as the Fifty-Fifth Street Company, determined the best use of a site immediately across the street from the St. Regis Hotel (Col. John Jacob Astor's 18-story Beaux-Arts landmark) was a family hotel - to house many of the folks whose mansions were being demolished on Fifth Avenue. The hotel - The Gotham - was designed by Hiss & Weekes. The Gotham's limestone and granite facade was purposely lined-up with the University Club's facade which opened in 1899. The building was designed in a C-shape so rooms facing south would have a protected view over the University Club.
The architect's Beaux-Arts style 55th Street entranceway was designed extravagantly. Its capped broken pediment features the sculptured figures of Roman goddesses Pomona and Diana reclining on either side of the two double story banded Doric pillars.
Pomona, the goddess of orchards, carries a cornucopia and Diana, the goddess of the hunt, carries her bow and arrows. A characterization of Beaux Arts is the naturalism of the images - Diana’s hand rests on the formal building decorations - just as a real person sitting at that location would do. Unfortunately, Diana is missing her index finger.
The hotel was completed in 1905 and was forced to declare bankruptcy in 1908 - mostly due to its lack of a liquor license. The Gotham was in violation of a restriction prohibiting liquor sales within 200 feet of a church - The Fifth Avenue Presbyterian Church. The developers failed to get a law passed in the New York State Legislature exempting hotels with more than 200 rooms from the restriction. Not until the 1940's did the Gotham have a cocktail lounge. The New York State Liquor Authority states the 200-foot law is still in effect, but that court challenges have allowed the foot measurement to be made from the actual point of sale and not as the crow flies.
According to the NY Times The Gotham opened with 400 sleeping rooms, both single and suites. The hotel offered its guests the “Georgian Room” for dinner and entertainment. The hotel's name was derived form the nickname of New York City; Gotham City. A banquet hall and ballroom were on the second floor, while the third floor was dedicated to private dining rooms. The NY Times states “The furnishings of the Gotham, while extremely rich, are far from garish. There is not the slightest striving after gaudy effects, the whole atmosphere being one of good taste.”
The hotel had a complicated ownership structure. It was built for about $2,000,000 by the Fifty-fifth Street Company. Upon completion the NY Times speculated the principal owners of Fifty-fifth Street Company were the heirs of the late Mark Hanna, Senator Thomas C. Platt, James J. Hill and Thomas F. Ryan. Henry R. Hoyt served as the president of the Fifty-fifth Street Corporation. The day to day operation of the hotel was conducted by the Hotel Gotham Company, for which Henry L. Goodwin served as President. In 1908 the Knickerbocker Trust Company brought a foreclosure proceeding against the Fifty-fifth Street Company for $413,746 due on a mortgage and also the Metropolitan Life Insurance Company held a mortgage on the hotel of over $1,000,000.
In August, 1908 the NY Times reported the The Gotham Hotel was sold under the foreclosure to an entity known as Hotel Holding Company, with George C Comstock, the President. Hotel Holding Company selected William R. Wood and Charles L. Wetherbee, associates in the management of the Hotel Buckingham, to take operational control of the Hotel Gotham on a 21-yhear lease effective August 1908. They in turn appointed Frederick D. Wishard, formerly manager of the Hotel Astor, as resident manager at the Gotham.
The new operators thought they could make the Gotham successful without a liquor license by focusing on service and the food. The new operators denied there would be any attempt to operate an underground tunnel from the basement of the adjacent University Club for the transfer of alcoholic beverages to Gotham Hotel guests.
In 1920 Julius and William Manger bought the hotel for $4 million. The Manger Brothers also owned several Manhattan hotels including the Netherland (demolished - now the site the Sherry-Netherland Hotel), the Endicott, the Manger (now The Michelangelo Hotel), Martha Washington (now the Hotel Thirty Thirty) and the Great Northern (now demolished - 118 West 57th St - once a home to Jack Dempsey's Restaurant). In 1932 the Gotham entered receivership and was taken over by Metropolitan Life Insurance Company. The insurance company leased it to a Chicago hotel group headed by Arnold S. Kirkeby that also operated the Drake and Blackstone Hotels in Chicago. The Kirkeby group purchased the property from the insurance company in 1944 for $2,350,000. Kirkeby also owned and lived in the Beverly Hills mansion used for CBS sitcom "The Beverly Hillbillies".
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An ad from the Gotham in the 1930's: "Delightful entertaining in the quaint Alpine Grill (Switzerland on the Avenue) the new Gold Room Cocktail Lounge with Raoul Lipoff and his orchestra and the splendor of the Renaissance Room Contributes to the universal popularity of the Gotham. The spacious rooms and suites have been tastefully furnished for comfort and luxury. Up-to-the-minute service and a delicious cuisine that is without a peer in New York. The sensible rentals assure not only a pleasant but also an economical visit. Single rooms from $4.00. Max A. Haering, Resident Manager."
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- The John Warde Suicide Jump - July 26, 1938 -
Twenty six year old John William Warde leaped from a window ledge of the seventeenth floor of the Gotham Hotel crashing through the hotel's 55th Street marquis and smashing on the sidewalk. Warde became upset in a 17th-floor room when he stepped out to the ledge beginning a 14 hour drama involving up to 300 New York City police officers and 10,000 sidewalk spectators. Warde had recently been discharged from an insane asylum. The incident was made into the 1951 film Fourteen Hours, with Richard Basehart as the man on the ledge.
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In 1955, Evelyn Sharp bought the 400-room Gotham hotel and the 350-room Beverly Wilshire in Beverly Hills, Calif., and the Saranac Inn in Saranac Lake, N. Y., for $16 million from Webb & Knapp Inc., which was William Zeckendorf's organization. Mrs. Sharp's hotel empire, which she inherited from her late husband, Jesse Sharp, also included at one time the Stanhope Hotel. The Saranac Inn closed permanently in 1962, and burned to the ground in 1978.
In 1961, Mrs. Sharp sold the Gotham and Stanhope hotels in NYC and the Beverly Wilshire Hotel to Webb & Knapp Inc. for about $25 million. At the time Mrs. Sharp said it was time to get out of the hotel business and into the office building business. She negotiated keeping a rooftop penthouse home with terraces and her office which she maintained for several years at the Gotham. She eventually divested most of her real estate holdings, including the Stanhope, and devoted herself to charities in New York and Los Angeles and to her art collection.
Webb & Knapp sold the Gotham later in 1961 to a group headed by Alvin M. Greenstein, but leased it back for 21 years plus 16 renewal options. In 1964, Webb & Knapp sold its interests (the land under the Gotham Hotel) to Wellington Associates, a partnership headed by Sol Goldman (the biggest landlord in NYC) and Alex Di Lorenzo. Heirs to the Goldman and Di Lorenzo estates divided the real estate up based on coin flips. The Goldman estate retained ownership of the land under the Gotham Hotel.
- The René E. Hatt Years (Le Big Boss) -
A Zurich apartment and office developer, René E. Hatt built the 400-room Zurich Nova-Park. Opened in 1972, the hotel was the largest in Zurich. Hatt's goal was to create a meeting place for both locals and for out of towners. Some of his hotel concepts included a Playcorner, a Newscorner, Backgammon Club, a video room, a Psychology Center - a precursor to today's "life-style hotels". His guestrooms were designed with bathtubs near the bed, red carpeting and mirrors everywhere. Zurich people flocked to the hotel's health club and restaurants. The discos were kept busy day and night. Hatt and his investors, which included Arab money and German bank loans, were eager to launch an international hotel chain based on the Nova-Park Zurich's success.
In 1978 Rene Hatt had William Zeckendorf Jr show him around NYC looking at hotel sites. Sol Goldman owned the Gotham, which was operating profitably at an annual $2.2 million GOP. Hatt performed some arithmetic and offered Goldman $3.5 million per year (the lease had escalation clauses) for a 99 lease. The lease was signed in 1979 and Hatt set out to make the Gotham the best hotel in NYC. The hotel would be re-named Nova-Park Gotham; Hatt wanted it to be the fanciest in the world with six restaurants, 10 bars and a nightclub.
Hatt's initial renovation budget was set at $56 million. He raised $18 million in cash from his Arab investors and obtained a $38 million loan from Deutsche Anlagen Leasing (DAL). He shut the hotel down in January, 1981 expecting the renovation to last a little over a year. Hatt hired the architect Stephen Jacobs. Jacobs was the architect involved with the renovation of the Halloran House hotel (now the New York Marriott East Side). Structurally the hotel room count was reduced from 330 rooms to 255 larger rooms and the shops fronting Fifth Avenue were replaced with a Fifth Avenue Sidewalk Cafe. Three floors were added to the top of the hotel housing a health club, restaurant/bar, skating rink and swimming pool. Hatt wanted guestroom bathtubs placed in the bedroom and not the bathroom.
Some hoteliers were saying Hatt's tastes were abominable and some were saying he was ahead of his time. Because of constant change orders ordered by Hatt the project costs skyrocketed. DAL had increased its funding from $38 million to $55 million. By 1983 Hatt was asking for another $20 million from DAL to finish the project. DAL refused and took back control of the unfinished project when Hatt failed to make monthly payments to DAL. The majestic hotel sat as a boarded up eyesore for a couple of years as lawsuits were filed.
Once a strong industry performer Hatt saddled the Nova-Park chain with $250 million in debt and he was ousted as the company's founder. Briefly Hatt re-surfaced in 1986 as a principal of the shuttered El Morocco night club on East 54th Street.
The land owner, Sol Goldman paid DAL $35 million for their interest. Goldman put together a partnership consisting of himself, Irving Goldman, his brother; Arthur G. Cohen and William Zeckendorf Jr., Steven Goodstein, who will be in charge of further renovation, and the Southmark Corporation, which controls the Pratt hotel chain of Dallas to complete the renovation. The partnership would add another $35 million on top of the $35 million paid to DAL to complete the renovation (get the bathtubs out of the living rooms) and branding of the hotel to Maxim’s de Paris. Hirsch/Bedner was the designer for the new interiors.
The NY Times reported that Southmark Corp contributed $63 million to the group to purchase and complete the refurbishment of the hotel. Pierre Cardin would receive 1 1/2 percent of the gross as a royalty fee for the name Maxim's. The royalty fee was later reduced to being payable only after the hotel's debt service was covered.
Pratt had recently opened Maxim's de Paris in Palm Springs with his partner Edward J. DeBartolo Corporation of Youngstown, Ohio.
In August 1988, Jane Goldman, the daughter of Sol Goldman, announced the sale of the Maxim's de Paris Hotel to The Peninsula Group of Hong Kong. The price was $127 million (HK$990 million) for the remaining 90 years lease on the building, and not for the land itself, which the Goldman Family retains. The price paid per room is the highest ever at that time for a hotel property in Manhattan.
The sellers of Maxim's are a group consisting of the heirs of Sol Goldman, William Zeckendorf Jr., Arthur G. Cohen and Steven Goodstein, and the Southmark Corporation of Dallas.
HongKong and Shanghai Hotels closed The Peninsula New York in 1998 for complete $45 million internal reconstruction. The hotel reopened on November 1, 1998. In 2008 the hotel's rooftop bar, The Pen-Top, received an extensive renovation and repositioning to Salon de Ning.
- The Peninsula New York Operating Statistics -
(The Hongkong and Shanghai Hotels, Limited Annual Report for 2010)
(1.00 HKD = 0.1285 USD)
2011 (six months ended June 30)
Occupancy Rate - 70%
Average Room Rate - US$ 681
RevPAR - US$ 478
2010
Occupancy Rate - 67%
Average Room Rate - US$ 715
RevPAR - US$ 478
2009
Occupancy Rate - 62%
Average Room Rate - US$ 683
RevPAR - US$ 426
2008
Occupancy Rate - 64%
Average Room Rate - US$ 814
RevPAR - US$ 520
2007
Occupancy Rate - 75%
Average Room Rate - US$ 812
RevPAR - US$ 613
In 1986 Robert Jean Berge was appointed the general manager. French-born, Mr. Berge studied at the Hotel School in Toulouse and the Cornell School of Hotel Administration. He later managed the La Mamounia in Marrakech. As of 2010 Robert Bergé is supervising the pre-opening and opening phases of the Mandarin Oriental Marrakech.
Berge opened Mediterranean-style luxury restaurant called Adrienne on the second floor overlooking Fifth Avenue. On a corner of the second floor, facing 55th Street will be a bar and a more casual restaurant called Bistro d' Adrienne. ''We will serve real bistro food - rack of lamb, comfit of goose with french fries, cassoulet,'' he promises.
Jacques Chibois, chef of the Royal Gray, a highly rated restaurant in Cannes on the French Riviera (two stars in the Michelin Guide), will be the consulting chef at the new Hotel Maxim's de Paris.
In 1988, Rocco DiSpirito went to work at Adrienne in Hotel Maxim's de Paris under Jean-Michel Diot and Jacques Chibois.
In 1989, Chef Grey Kunz moved to New York to become executive chef at The Peninsula Hotel's Adrienne and the Bistro restaurants.
As of 2011 the Peninsula's executive chef is Thomas Piede. He oversees the Fives restaurant, Gotham Lounge, and the rooftop bar - Salon de Ning. Piede joined Peninsula New York as Executive Sous Chef in 2003, and previously held positions at Aureole, and Le Cirque.
In May 2007 Robert H. Rechtermann was appointed General Manager, The Peninsula New York. Previously he was Resident Manager of The Peninsula Chicago. He holds a B.S. in hotel management from Fairleigh Dickinson University.
In April, 2011 The Peninsula New York appointed Jonathan Crook as General Manager, he previously served two years as the GM of The Peninsula Manila.
The Peninsula New York appointed Sharon Telesca Feurer as Director of Marketing in September 2011. She previously was Director of Marketing for Trump SoHo New York, and prior to that, she was Vice President of Marketing for AKA Hotels.
Text compiled by Dick Johnson. Photos by Dick Johnson.
December 2011
richardlloydjohnson@hotmail.com
[Zelus Fabricius 1803: 82 (IT: 1) spp]
[Ctenolepisma Escherich 1905: 100 (IT: 4) spp]
Some Zelus spp have been investigated for their potential as biocontrol agents in integrated pest management. Zelus is also known for a sticky trap predation strategy, somewhat analogous to Drosera. Sticky resin produced from a leg gland is smeared on hairs to aid in prey capture.
REFERENCES
T.J. Walker 2023: UFBIR, chapter 14, p. 16.
C. Weirauch & al. 2019: Heteroptera phylogeny.
Y.H. Wang & al. 2017: Heteroptera phylogenomics.
G. Zhang & al. 2016: Zelus taxonomic monograph.
J. Zhang & al. 2016: Evolution of the assassin’s arms.
K. Sahayaraj & R. Balasubramanian 2016: Artificial rearing of Reduviidæ for pest management.
J. Zhang & al. 2015: Harpactorinæ and Bactrodinæ phylogeny.
K. Sahayaraj 2014: Reduviidæ and biological control.
P. Dioli 2013: Zelus renardii (Kolenati 1857) new to Italy.
G. Zhang & C. Weirauch 2013: Harpactorini phylogeny.
G. Zhang & C. Weirauch 2013: Harpactorinæ sticky glands.
W.S. Hwang & C. Weirauch 2012: Reduviidæ evolution.
C. Weirauch & J.B. Munro 2009: Reduviidæ phylogeny.
C. Weirauch 2008: Reduviidæ cladistic analysis.
R. Cogni & al. 2002: Predation success by Zelus longipes.
J. Cisneros & J.A. Rosenheim 1997: Prey preference in Z. renardii.
Lucretia
•Rembrandt van Rijn
•Dutch, 1606-1669
•1664
•Oil on Canvas
•Dimensions:
oOverall: 120 × 101 cm (47¼ × 39¾ in.)
oFramed: 159.1 × 139.4 × 16.5 cm (62⅝ × 54⅞ × 6½ in.)
•Andrew W. Mellon Collection
•1937.1.76
•On View
Overview
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583-1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist. He received many commissions for portraits and history paintings and attracted several students who came to learn his method of painting.
The tragic story of Lucretia, recounted by Livy, took place in Rome in the sixth century BC during the reign of the tyrannical ruler Tarquinius Superbus. Rembrandt portrays Lucretia in utter anguish, right before her act of suicide. The tension surrounding that awful moment poignantly captures the moral dilemma of a woman forced to choose between life and honor.
Lucretia’s husband, Collatinus, had boasted to his fellow soldiers that her loyalty and virtue were greater than that of their wives. Taking him up on the challenge, the men immediately rode to Rome where they discovered Lucretia and her handmaidens spinning wool. Lucretia’s very virtue enflamed the desire of Sextus Tarquinius, son of the tyrant, who secretly returned to the house a few days later. Lucretia received him as an honored guest, but he later betrayed that hospitality by entering her chamber and threatening to kill her if she did not yield to him. The next day Lucretia summoned her father and husband, disclosed what had happened, and told them that, even though they deemed her an innocent victim, she was determined to end her life to reclaim her honor. Lucretia then drew a knife from her robe, drove it into her heart, and died. Overwhelmed by grief and anger, Lucretia’s father, her husband, and two accompanying friends swore to avenge her death. Lucretia’s rape and death triggered a revolt that led to the overthrow of monarchical tyranny and the creation of the Roman Republic.
Entry
In a moment of inner anguish Lucretia stands, with arms outstretched, just prior to her act of suicide. Although her body faces the viewer, she looks down toward the sharply pointed dagger clenched in her right hand. She holds her left hand open at the same height as the right, as though part of her resists completing the self-destructive act. The tension surrounding that awful moment emphasizes the human drama of a woman caught in the moral dilemma of choosing between life and honor, a choice that would take on symbolic connotations.
The tragedy of Lucretia’s impending suicide is intensified in the contrast Rembrandt develops between her elegant attire and the poignancy of her gesture and expressions. Richly adorned with golden diadem, pearl earrings, pearl necklace, and a chain with a golden pendant from which hangs a tear-shaped pearl, she is a regal figure. Her golden dress with a cape that falls over her out-stretched arms adds to her splendor. Rembrandt, however, arranged her robes to emphasize her vulnerability. The clasps that hook her dress at the bodice hang unfastened. With her dress parted, her chest covered only by the white chemise that fits so gracefully, she is about to thrust the dagger into her heart.
The tragic story of Lucretia, recounted by Livy, took place during the reign of the tyrannical ruler Tarquinius Superbus in Rome in the sixth century BC. While away during the siege of Ardea, Lucretia’s husband, Collatinus, boasted that her loyalty and virtue were greater than that of his compatriots’ wives. Taking up the challenge, the men at camp rode immediately to Rome where they discovered Lucretia alone with her handmaidens, spinning wool while other wives were idly enjoying their leisure. Lucretia’s very virtue, however, inflamed the desire of Tarquinius’ son, Sextus Tarquinius, who returned without Collatinus’ knowledge a few days later. Having been received as an honored guest, he later stole secretly to Lucretia’s chamber, drew his sword, and threatened to kill her if she did not yield to him. She resisted, but when Sextus Tarquinius threatened to kill his own slave as well and place their naked bodies together to give the appearance that they had been killed in the act of adultery, she yielded to his demands rather than die in such disgrace.
The next day Lucretia summoned her father and husband to her side and related what had happened, stressing that only her body had been violated, not her heart. Despite their protestations of her innocence, she was determined to make the moral choice that fate had forced upon her, saying: “Never shall Lucretia provide a precedent for unchaste women to escape what they deserve.” Livy relates that with these words Lucretia drew a knife from under her robe, drove it into her heart, and fell forward, dead.[1]
Overwhelmed by grief, Lucretia’s father, her husband, and two accompanying friends swore to avenge her death. Her suicide helped rouse the anger of the populace against the tyrannical rule of Tarquinius Superbus, who was forced into exile. Sextus Tarquinius, who was also driven from Rome, was assassinated shortly thereafter. In Livy’s account Lucretia embodied chastity, but her tragedy assumed wider political dimensions because she was also considered a metaphor for Rome itself. Lucretia’s rape came to symbolize the tyrannical subjugation of the city by Tarquinius Superbus and his family.[2] Her rape triggered the revolt that led to the overthrow of tyranny and the creation of political freedom in the form of a republican government.
Rembrandt painted at least three images of Lucretia in his later years. The earliest of these is known only through an inventory of the possessions of Abraham Wijs and Sara de Potter, made on March 1, 1658. The inventory lists: “A large painting of Lucretia, by R: Van Rijn.”[3] The two extant images date from the last decade of Rembrandt’s life: the Washington Lucretia, 1664, and the Minneapolis Institute of Arts’ Lucretia, 1666 [FIG. 1]. In the Gallery’s haunting image, Rembrandt has evoked both Lucretia’s profound sadness and her resignation to the fate forced upon her. In the Minneapolis version, Rembrandt has portrayed Lucretia just after she has stabbed herself, her chemise already stained by blood from the mortal wound. The two images complement each other not only because their compositions and painterly qualities are similar, but also because they explore Lucretia’s emotions as she readies herself prior to her self-sacrifice and then responds to the consequences of her action. Nevertheless, they do not seem to have been conceived as a pair. The models Rembrandt used are different and their robes and jewelry, though similar in type, are not identical.[4]
As Stechow has demonstrated, three traditions exist for the representation of the Lucretia story: “narrative combinations of various scenes pertaining to the legend; dramatic scenes concentrating entirely on Tarquinius’ misdeed; and single figures of Lucretia stabbing herself.”[5] Rembrandt’s image belongs to the last. He certainly knew several earlier representations of Lucretia through prints and engravings, although only one has been suggested as a prototype for the Washington painting: Marcantonio Raimondi’s engraving after a Raphael design [FIG. 2].[6] The essential transformation of the idealized statuesque figure into the emotionally evocative image of Rembrandt’s Lucretia, however, argues that the relationship is more superficial than real. Far closer in spirit to Rembrandt, however, are half-length depictions of Lucretia by Titian and his school that represent the heroine dressed in loose-fitting robes and poised at the moment before she thrusts the dagger into her heart.[7] Rembrandt, who was profoundly influenced by Venetian art during his later years, may have known of such depictions of Lucretia, for a number of such paintings ascribed to Titian or Paolo Veronese were in Archduke Leopold Wilhelm’s collection in Brussels during the 1650s.[8] The painting of this compositional type that Rembrandt certainly knew, and used as a basis for other paintings in the 1640s and 1650s, was Titian’s Flora [FIG. 3], which was auctioned in Amsterdam in 1639.[9] The similarities in the general disposition of Lucretia’s head in the Washington painting and that of Flora suggest that this work continued to exert its influence on Rembrandt into the mid-1660s. Even supposing such antecedents could have helped provide the visual vocabulary for the rich pictorial effects and iconic composition of Rembrandt’s painting, the psychological characterization of Lucretia’s emotional state is entirely personal.
No record of commissions exists for these works, nor other information concerning Rembrandt’s motivation for painting them. Schwartz has suggested that the paintings have political overtones.[10] Because Lucretia’s suicide precipitated the revolt that helped institute the Roman Republic, she had traditionally been viewed, among her other qualities, as a symbol of patriotism. That such an attribute was associated with her in Rembrandt’s time is clear from a poem written by Jan Vos in 1660, quoted by Schwartz, about a Lucretia painted by Govaert Flinck (Dutch, 1615-1660) in the collection of Joan Huydecoper, one of the most influential patrons of the day: “In the red ink [of her blood] she writes a definition of freedom.” Lucretia, then, may well have assumed allegorical importance in the parallels that were being drawn around 1660 between the foundations of the Roman and Dutch Republics, as did Claudius Civilis, the first-century rebel leader of the Batavian revolt and the subject of Rembrandt’s 1661 painting for the Amsterdam Town Hall.[11]
The forceful impact of Rembrandt’s paintings of Lucretia, however, seems also to have resulted from personal associations the artist made between experiences in his life and the emotional traumas that he projected onto Lucretia at the time of her suicide. Only thus can we explain the essential transformation of the pictorial traditions for portraying this legendary Roman heroine that occurs in the two majestic paintings in Washington and Minneapolis.
Lucretia, in maintaining her honor through death, come to be revered as a symbol of chastity, honor, and faithfulness. Knuttel speculated that the 1664 Lucretia may have served as a psychological catharsis for Rembrandt after the death of his companion, Hendrickje, the previous year. Indeed, parallels can be found between Lucretia’s faithfulness and self-sacrifice and the indignities Hendrickje suffered because of her commitment to Rembrandt.[12]
The mythology surrounding Lucretia, however, was complex. While she was honored for her faithfulness she was also criticized by later Christians for having taken her own life, which was seen as a greater evil than adultery and a life of shame. As Garrard has written: “In Roman terms, Lucretia killed herself not out of guilt, but out of shame, concerned for her reputation and for the precedent of pardon that she might set for voluntary adulterers. Christian writers, schooled in a religion that placed the highest premium on the innocence of one’s personal conscience, regarded such values as excessively concerned with appearances and the opinion of others.”[13] Rembrandt, as he so often did, fused here the pagan and Christian worlds to create an exceptionally profound image of the psychological moment just prior to Lucretia’s fatal decision to thrust the knife into her heart. With her arms raised in a gesture that echoes that of Christ on the cross, she looks down toward the weapon of her destruction with an expression of one who, in her decision to commit suicide, must weigh issues never described by Livy: Rembrandt’s Lucretia is not the assured tragic heroine who has determined her punishment and dies for honor, but one who hesitates at that crucial moment because of an awareness of the moral dilemma that she faces.
It may be, as Held has remarked, that Rembrandt drew upon a theatrical tradition to give added poignancy to the moment, for Lucretia, whose mouth is partially open, seems to address the dagger as though giving the closing monologue of this tragic drama.[14] Shakespeare did exactly that in his Rape of Lucretia when she asks:
Poor hand, why quiver’st thou in this decree?
Honour thyself to rid me of this shame;
For if I die, my honour lives in thee,
But if I live, thou livest in my defame.[15]
Rembrandt’s late paintings, whether portraits, biblical accounts, or mythological stories, often take on an almost sacramental character in the way that the artist confronts the viewer with his images. His broad execution, rich colors, impressive use of chiaroscuro, and iconic compositional structure give these works unparalleled forcefulness. In Lucretia, all these elements of his late style are evident. Particularly remarkable in this painting is his use of chiaroscuro to transform an essentially symmetrical and static pose into an active one. Lucretia is lit not from the front but from the left. Light thus strikes her head, right arm, and shoulder. The dagger blade glistens against her white cuff. Although her left arm is thrown into shadow, her outstretched left hand catches the light. Through these subtle means of emphasis, which until the mid-1980s had been hidden by thick, discolored layers of varnish, Rembrandt heightened the drama by reinforcing the psychological and physical tension of the scene.[16]
Rembrandt painted this image using a broad range of techniques. He modeled the face quite densely by applying a sequence of paint layers. Some layers, such as the soft lavenders that model the shaded portions of the lower cheeks and chin, are quite smooth. Others, such as the pinks and oranges that highlight the cheekbones and the yellowish-whitish areas on the nose and forehead, are brushed on more vigorously. The eyes, nose, and mouth are broadly rendered. Specifics of eyebrows, eyelids, pupils of the eyes, nostrils, and lips were of little concern to the artist; instead he heightened and accented them with deft touches of rust-colored paint. One particularly bold stroke of ocher paint defines the upper left edge of the top lip.
Rembrandt varied his painting techniques in Lucretia’s cape and dress according to the play of light falling across her figure. Where light hits her right arm, Rembrandt cast a golden tone with a rich mixture of yellow, white, red, and salmon-colored paints. Under the lightest areas of the shoulder, he first laid in a light gray layer to give an added luminosity to the paints. On the shaded left sleeve, the paint is much less dense. A deep brown and reddish-brown layer covering the Ground in this area forms the basis for the sleeve’s tonality. Over it, Rembrandt, often with a dry brush, applied yellow, greenish yellow, red, and white highlights. In certain instances, for example, in a series of black strokes that shade part of the sleeve, he clearly used a palette knife as well as a brush.
Rembrandt utilized the palette knife even more frequently in the white of the left sleeve. Here he applied a rather dry paint onto the underlying brown layer to suggest the material’s transparency. More extensive use of the palette knife is seen in the dress near Lucretia’s waist. Here he spread broader areas of light-ocher paint with the knife to suggest the luminous character of the fabric. In general, the treatment of this area of the dress resembles that of the left sleeve where the underlying dark brown paint becomes an important ingredient in the overall color tonality. The one area with thick highlights in the dress is the belt, but even here Rembrandt did not really overlap paints. The accents of yellow, orange, and white are loosely applied and do not define the belt to any great degree.[17]
Stylistically, this painting resembles the so-called Jewish Bride in the Rijksmuseum, Amsterdam. The head of Lucretia is extremely close in type and in concept to that of the bride: both are built up in a comparable fashion. Remarkably similar are the ways in which the features are modeled with dense and somewhat roughly brushed strokes of paint. The similarities extend to the technique for the modeling of the pearls and even for indicating the gold diadem in the back of the hair. While most of the robes in the Jewish Bride are more densely painted than those of Lucretia and are built up almost exclusively with a palette knife, in the shaded area under the collar of the man Rembrandt used a modeling technique very similar to that seen in Lucretia’s left arm. Here he also used a brownish Imprimatura layer for the base collar of the robe and accented it lightly with a series of thin strokes of red paint applied with a palette knife.[18]
Similarities in painting technique also exist between this figure of Lucretia and that in Minneapolis, even though the latter work was painted two years later, in 1666. As is appropriate to its starker concept, Rembrandt applied his paints in a more angular fashion in the Minneapolis version than he did in the Washington painting. Still, the modeling of the facial features is once again comparable. One notices the way the top lip is defined with a bold stroke of flesh-colored paint along its upper edge. Also similar is the use of an Imprimatura layer as a base color of the left sleeve, and finally, the structure of the hand holding the dagger.
Arthur K. Wheelock Jr.
April 24, 2014
[1] Livy, The Early History of Rome, trans. Aubrey de Sélincourt (Aylesbury, 1973), book 1, LIX, 99.
[2] Ian Donaldson, The Rapes of Lucretia: A Myth and Its Transformation (Oxford, 1982), 9, stresses the political significance of this point.
[3] Walter L. Strauss and Marjon van der Meulen, The Rembrandt Documents (New York, 1979), doc. 1658/8, 418. “In ’t Voorhuijs Een groot stuck schilderij van Lucretia van R: Van Rijn.”
[4] The features in the Washington Lucretia resemble Rembrandt’s companion Hendrickje Stoffels, as she is seen in Rembrandt’s paintings from the mid-1650s (Gemäldegalerie, Berlin, inv, no. 828B). Hendrickje, who appears much older in the portrait of 1660 in the Metropolitan Museum of Art, New York, had died in July 1663. The model Rembrandt used for the Minneapolis Lucretia is not found in other of Rembrandt’s paintings.
[5] Wolfgang Stechow, “Lucretia Statua,” in Essays in Honor of Georg Swarzenski (Chicago and Berlin, 1951), 114.
[6] First suggested by N. Beets (see N. Beets, “Een ‘print van Rafel’ en Rembrandt’s Lucretia,” Nieuwe Rotterdamsche Courant [January 1, 1914], I). Northern prints and paintings of Lucretia have a quite different character and do not seem to have influenced Rembrandt in his depictions of Lucretia; for the prints see Ilja M. Veldman, “Lessons for Ladies: A Selection of Sixteenth- and Seventeenth-Century Dutch Prints,” Simiolus 16 (1986): 113-127.
[7] The most profound sixteenth-century images of Lucretia were created in Venice. In two memorable paintings, Tarquin and Lucretia (Gemäldegalerie der Akademie der bildenden Künste, Vienna) and Tarquin and Lucretia (Fitzwilliam Museum, Cambridge), Titian focused on the dramatic confrontation between Tarquin and Lucretia, capturing the animal energy of Tarquin blindly driven by lust.
[8] For paintings attributed to Titian see Harold E. Wethey, The Paintings of Titian, 3 vols. (London, 1975), 3:215, cat. no. x-24, 219, cat. no. x-33. For Veronese’s Lucretia see Kunsthistorisches Museum, Katalog der Gemäldegalerie I, Italiener, Spanier, Franzosen, Engländer (Vienna, 1965), 169, cat. no. 750.
[9] Harold E. Wethey, The Paintings of Titian, 3 vols. (London, 1975), 3:154-155, cat. no. 17.
[10] Gary Schwartz, Rembrandt: zijn leven, zijn schilderijen (Maarssen, 1984), 330, no. 382, repro. (English trans., Rembrandt: His Life, His Paintings [New York, 1985], 330). It seems unlikely, however, that there is any pro-Orange or anti-Orange sentiment implied in these works, as Schwartz suggests.
[11] For the parallels drawn between the story of Claudius Civilis and the foundation of the Dutch Republic as seen in the decorations of the Town Hall in Amsterdam see H. van de Waal, “The Iconographical Background to Rembrandt’s Civilis,” in H. van de Waal, Steps towards Rembrandt: Collected Articles 1937-1972, ed. R. H. Fuchs, trans. Patricia Wardle and Alan Griffiths (Amsterdam, 1974), 28-43.
[12] In 1654 Hendrickje, who lived with Rembrandt but was not married to him, had been publicly disgraced when a tribune of the Dutch Reformed Church condemned her for “living in sin like a whore” with the artist. After Hendrickje’s death in 1663, Rembrandt may have linked the tribulations she had suffered and the emotional traumas he projected onto Lucretia. The resemblance of Lucretia to Hendrickje as she appeared in the mid-1650s (see note 4) seems to reinforce this hypothesis. For his part, Rembrandt identified himself with a historical figure in his Self-Portrait as the Apostle Paul of 1661 (Rijksmuseum, Amsterdam), in which the sword of Paul’s martyrdom protrudes from Rembrandt’s chest.
[13] Mary D. Garrard, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton, 1989), 219.
[14] Julius Held, “Das gesprochene Wort bei Rembrandt,” Neue Beiträge zur Rembrandt Forschung, ed. Otto van Simson and Jan Kelch (Berlin, 1973), 123. The theatrical character of the image is reinforced by the suggestion of curtains hanging behind Lucretia. These may have been more apparent before the paint darkened and the background suffered from Abrasion. Lucretia’s theatricality, however, has not always met with favor. Wilhelm von Bode, Studien zur Geschichte der holländischen Malerei (Braunschweig, 1883), 524, found the theatricality unconvincing given the portraitlike character of the image. The art dealer René Gimpel was more outspoken. When Lucretia was on the market in 1921 he wrote: “She is stabbing herself in her terror, with a ridiculous gesture. Neither realism nor idealism. A terrible lack of taste” (René Gimpel, Diary of an Art Dealer, trans. John Rosenberg [New York, 1966], 161).
[15] This quotation was first associated with Rembrandt’s 1664 Lucretia by Jan Veth, “Rembrandt’s Lucretia,” Beelden en Groepen 25 (1914): 25.
[16] The discolored varnish also had the effect of flattening the three-dimensional character of the image, which reduced the emotional impact of the scene by making the spatial relationships more difficult to decipher. One such critique against the painting was levied by Alfred Gold, “Die Sammlung Hielbuth,” Der Cicerone 13 (March 1921): 93.
[17] While I find the painting techniques described here characteristic for Rembrandt, Egbert Haverkamp-Begemann (personal communication, 1993) is quite critical of the way these areas are executed. He feels that the “paint has an abstract, unfunctional quality, and makes the impression of a method applied without regard for its reason.” He rejects the attribution to Rembrandt and notes that the painting has “strong similarities with works by Aert de Gelder.” This opinion is shared by Ernst van de Wetering, who argued in a lecture at the National Gallery of Art in January 2005 that Lucretia was painted by Aert de Gelder.
[18] The similarities in technique in this area have become even more evident since the 1993 restoration of the Jewish Bride.
Inscription
•Center Left: Rembrandt / 1664
Provenance
Jean-Joseph-Pierre-Augustin Lapeyrière [1779-1831, known as Augustin Lapeyrière, then de Lapeyrière], Paris; (his sale, Galerie Le Brun, Paris, 19 April 1825 and days following [originally scheduled for 14 March 1825 and days following], no. 143). Michael M. Zachary [d. 1837], London;[1] (sale, Phillips, London, 14-15 April 1826, 1st day, no. 64, bought in); (Zachary sale, Phillips, London, 31 May 1828, no. 25); purchased by Sir Thomas Lawrence [1769-1830] for Hugh Andrew Johnstone Munro [1797-1864], London, and Novar House, near Evanton, Ross-shire, Scotland.[2] Paul Pavlovich Demidoff [1839-1885], Prince of San Donato, near Florence; (his sale, at his residence, Florence, 15 March-10 April 1880, no. 1146). (Léon Gauchez, Paris); (sale, Christie, Manson & Woods, London, 13 July 1889, no. 56, bought in); (Léon Gauchez, Paris), until at least 1893.[3] (Bourgeois & Cie., Paris); (Leo Nardus [1868-1955], Suresnes, France, and New York);[4] Matthew Chaloner Durfee Borden [1842-1912], New York, by 1906;[5] (his estate sale, American Art Association, New York, 13-14 February 1913, 1st day, no. 28); (M. Knoedler & Co., New York and Paris);[6] sold 1913 to (Frederik Müller and Co., Amsterdam); sold 1913 to August Janssen [1863-1918], Amsterdam;[7] his estate; sold 1919 with the entire Janssen collection to (Jacques Goudstikker, Amsterdam).[8] Hermann Heilbuth [1861-1945], Copenhagen, by 1920.[9] (Ehrich Brothers, New York), in 1921.[10] (M. Knoedler & Co., New York and Paris); sold November 1921 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1] Although the main seller at the April 1826 sale was Lord Berwick, there were also other consignors. One annotation in the Wallace Collection (London) Library’s copy of the sale catalogue indicates that Zachary was the consigner of the NGA painting; another annotation next to the Lucretia entry reads “Sir T Lawrence.” The Getty Provenance Index© Database, Sale Catalogs, lot 0064 from sale catalog Br-2806, identifies the latter annotation as indicating a previous owner.
[2] This information is given by Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen and Paris, 1907-1928: 6(1915):120, no. 218 (also English edition, Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, trans. Edward G. Hawke, 8 vols., London, 1907-1927: 6(1916):143-144, no. 218). However, the Wallace Collection (London) Library’s copy of the sale catalogue is annotated with the name “Woodin” as the buyer (The Getty Provenance Index© Database, Sale Catalogs, lot 0025 from sale catalog BR-3135). Munro acquired a significant collection that was dispersed in sales both before and after his death, but the painting has not been in any of the sale catalogues. Hofstede de Groot lists a Munro sale in London on 26 March 1859 (given as 26 March 1851, in the 1920-1921 exhibition catalogue), which has not been identified; the painting does not appear in a sale of Munro’s English pictures held in London on 26 March 1860.
[3] Although Algernon Graves, Art Sales from early in the eighteenth century to early in the twentieth century (mostly old master and early English pictures), 3 vols. London, 1918-1921: 2:383, gives the buyer at the 1889 sale as Wontner, the painting was in fact bought in and returned to the consignor, Gauchez. This information was kindly provided by Lynda McLeod, Librarian, Christie’s Archives, London, in her e-mail of 28 March 2013 (in NGA curatorial files). Émile Michel (Rembrandt: Sa vie, son oeuvre et son temps, Paris, 1893: 489) saw the painting in Paris, but did not identify the owner, who is named by Malcolm Bell (Rembrandt Van Rijn and His Work, London, 1899: 157).
[4] Jonathan Lopez kindly provided this information (oral communication, 13 October 2006). See also Jonathan Lopez, “‘Gross False Pretences’: The Misdeeds of Art Dealer Leo Nardus,” Apollo, 2nd ser., vol. 166, no. 548 (December 2007): 78, 80, 82 nn. 25, 26.
[5] Wilhelm von Bode and Cornelis Hofstede de Groot, The Complete Work of Rembrandt: History, Description and Heliographic Reproduction of All the Master’s Pictures, with a Study of His Life and His Art, translated by Florence Simmonds, 8 vols., Paris, 1897-1906: 8(1906):152, no. 595.
[6] Newspapers speculated that Knoedler’s might have been buying for the New York collector Henry Clay Frick; copies of various articles are in NGA curatorial files.
[7] The 1913 sales are described by Ben Broos, Great Dutch Paintings from America, exh. cat. The Hague and Zwolle, 1990: 69-70. See also Gerhardus Knuttel, “De Lucretia En Andere Werken Van Rembrandt Bij De Firma Fred. Muller & Co. Amsterdam,” Elsevier’s Geïllustreerd Maandschrift 47, no. 2 (January-June 1914): 137-144.
[8] “Janssen Paintings Sold in Holland,” The Milwaukee Journal (3 August 1919): 10; Otto Hirschmann, “Die Sammlung August Janssen,” Der Cicerone 12 (January 1920): 17-18.
[9] The painting was included in a 1920-1921 exhibition of Heilbuth’s collection in Copenhagen.
[10] René Gimpel, Journal d’un collectionneur: marchand de tableaux, Paris, 1963: 184-185.
Exhibition History
•1832—British Institution for Promoting the Fine Arts in the United Kingdom, London, 1832, no. 44.[1]
•1909—The Hudson-Fulton Celebration, The Metropolitan Museum of Art, New York, 1909, no. 105.
•1920—A Collection of Paintings [H. Heilbuth], Statens Museum for Kunst, Copenhagen, 1920-1921, no. 63.
•1969—Rembrandt in the National Gallery of Art [Commemorating the Tercentenary of the Artist’s Death], National Gallery of Art, Washington, D.C., 1969, no. 23, repro.
•1991—Rembrandt’s Lucretias, National Gallery of Art, Washington, D.C.; Minneapolis Institute of Arts, 1991-1992, brochure.
•2001—Rembrandt’s Women, National Gallery of Scotland, Edinburgh; Royal Academy of Arts, London, 2001, no. 141, repro.
•2006—Rembrandt?: The Master and his Workshop, Statens Museum for Kunst, Copenhagen, 2006, no. 18, repro.
•2014—Rembrandt: The Late Works, National Gallery, London; Rijksmuseum, Amsterdam, 2014-2015, no. 115, repro.
Exhibition History Notes
[1] In 1833 Alfred Joseph Woolmer (1805-1892) painted a fanciful view of the exhibition of 1832 in which Lucretia can be seen hanging prominently to the right of an arched doorway (Yale Center for British Art, New Haven, inv. no. B 1981.25.694). Celina Fox, London World City, 1800-1840 (London, 1992), 447, repro. no. 383.
Technical Summary
The original coarse, plain-weave fabric, composed of heavy, unevenly spun threads, has been lined. The top, right, and left edges have been trimmed slightly, leaving worn and ragged edges. The bottom was at one time used as a tacking margin but has now been returned to the picture plane. Slight cusping present along the top and sides, but not the bottom, suggests a reduction in that dimension.
The double ground consists of a thick, gray lower layer and a moderately thin, dark brown upper layer.[1] In the dark areas, particularly the background, the dark brown upper ground layer was incorporated into the design, and in the upper left and lower right quadrants the upper ground was deliberately scraped away to expose the gray lower ground layer as part of the composition. In the richly impasted details on the dress, paint was applied thickly and freely with broad brushwork. Paint was both blended wet-into-wet and scumbled with a dry brush to exploit the coarse canvas texture. Extensive use of the palette knife can be recognized in the proper left cuff and in the lower portion of the dress. Incisions with the butt end of the brush are found in the proper left cuff and on the neck.
Several pentimenti have become visible over time. The dagger was once 3.5 cm longer, and the sitter’s proper right sleeve has been altered. Stray brushmarks cross the dress and white blouse at right, suggesting alterations to the neckline.
The paint is in good condition with few losses. Wide-aperture drying crackle has formed on either side of the head. Moderate abrasion has occurred in the darks, and the bottom tacking margin has been overpainted to incorporate it into the design. Conservation treatment was carried out in 1985 to remove an aged, discolored varnish layer and discolored inpainting.
Technical Summary Notes
[1] The ground composition was analyzed by the NGA Scientific Research department using cross-sections (see report dated May 8, 1985, in NGA Conservation files).
Hanuman is a Hindu god and an ardent devotee of Rama. He is a central character in the Indian epic Ramayana and its various versions. He also finds mentions in several other texts, including Mahabharata, the various Puranas and some Jain texts. A vanara, Hanuman participated in Rama's war against the demon king Ravana. Several texts also present him as an incarnation of Lord Shiva. He is the son of Kesari, and is also described as the son of Vayu, who according to several stories, played a role in his birth. Several sects including Arya Samaj believe that Hanuman was a human and not vanara.
ETYMOLOGY & OTHER NAMES
The Sanskrit texts mention several legends about how Sri Hanuman got his name. One legend is that Indra, the king of the deities, struck Sri Hanuman's jaw during his childhood (see below). The child received his name from the Sanskrit words Hanu ("jaw") and -man (or -mant, "prominent" or "disfigured"). The name thus means "one with prominent or disfigured jaw". Another theory says the name derives from the Sanskrit words Han ("killed" or "destroyed") and maana (pride); the name implies "one whose pride was destroyed". Some Jain texts mention that Sri Hanuman spent his childhood on an island called Hanuruha, which is the origin of his name.
According to one theory, the name "Hanuman" derives from the proto-Dravidian word for male monkey (ana-mandi), which was later Sanskritized to "Hanuman" (see historical development below). Linguistic variations of "Hanuman" include Hanumat, Anuman (Tamil), Anoman (Indonesian), Andoman (Malay) and Hunlaman (Lao).
Hanuman came to be regarded as an avatar (incarnation) of Shiva by the 10th century CE (this development possibly started as early as in the 8th century CE). Hanuman is mentioned as an avatar of Shiva or Rudra in the Sanskrit texts like Mahabhagvata Purana, Skanda Purana, Brhaddharma Purana and Mahanataka among others. This development might have been a result of the Shavite attempts to insert their ishta devata (cherished deity) in the Vaishnavite texts, which were gaining popularity. The 17th century Oriya work Rasavinoda by Divakrsnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined take to the form of Hanuman.
Hanuman became more important in the medieval period, and came to be portrayed as the ideal devotee (bhakta) of Rama. His characterization as a lifelong brahmachari (celibate) was another important development during this period. The belief that Hanuman's celibacy is the source of his strength became popular among the wrestlers in India. The celibacy or brahmacharya aspect of Hanuman is not mentioned in the original Ramayana.
BIRTH & CHILDHOOD
Hanuman was born to the vanaras. His mother Anjana was an apsara who was born on earth due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana. Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought. Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.
Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result. Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.
Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.
BIRTH PLACE
Multiple places in India are claimed as the birthplace of Hanuman.
According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka. This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anegundi taluk (near Hampi) in Bellary district of Karnataka.
Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman. The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Gufa (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.
The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.
According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.
CHILDHOOD
As a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[18] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name. Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.
Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.
On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.
Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.
ADVANTURES IN RAMAYANA
The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.
MEETING WITH RAMA
Hanuman meets Rama during the Rama's 14-year exile. With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.
Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.
When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.
In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain, touches it briefly, and presses on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasi, he reaches Lanka.
FINDING SITA
Hanuman reaches Lanka through flight and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. In order to give Sita faith, Hanuman gives her a ring that Rama wanted Hanuman to give her. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.
Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.
SHAPESHIFTING
In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.
Also he enlarges & immediately afterwards contracts his body to out-wit Surasa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.
He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.
MOUNTAIN LIFTING
When Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman. Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.
Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.
Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.
PATALA INCIDENT
In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana and Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) - the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.
The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings. Hanuman enters Patala.
Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.
To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.
HONOURS
Shortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.
When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.
HANUMAN RAMAYANA
After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.
When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.
Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.
AFTER RAMAYANA WAR
After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.
MAHABHARATA
Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole (Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.
During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot. The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Krishna smiled and placed his divine discus beneath the bridge,and this time hanuman could no longer break it.Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.
According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.
OTHER TEXTS
Apart from Ramayana and Mahabharata, Hanuman is mentioned in several other texts. Some of these stories add to his adventures mentioned in the earlier epics, while others tell alternative stories of his life.
Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman as a Vidyadhara (a supernatural being), who is the son of Pavangati and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, his great uncle's island kingdom, from which Hanuman gets his name. In this version, Hanuman is not celibate. He marries princess Anangakusuma, the daughter of Kharadushana and Ravana's sister Chandranakha. Ravana also presents Hanuman one of his nieces as a second wife. After becoming an ally of Sugriva, Hanuman acquires a hundred more wives. Hanuman is originally enraged at Rama for murdering his father-in-law Kharadushana. However, he becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf, but is unable to convince Ravana to surrender. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds. After the victory and subsequent celebrations, both Rama and Hanuman take Jaineshwari Diksha and become Jain Munis and achieve salvation. Later Jain texts such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE) tells the same story.
The Brahma Purana mentions that the vanaras built several Shiva lingams in Kishkindha. After his return to Ayodhya, Rama asks Hanuman to destroy these lingams, as they are no longer required. However, when Hanuman is unable to uproot these lingams, Rama orders them to worshipped permanently. The Skanda Purana mentions a variant of this story, which happens in Rameswaram. The Narada Purana describes Hanuman as a master of vocal music, and as an embodiment of the combined power of Shiva and Vishnu.
Apart from the Puranas, the Agama Saunaka Samhitha, and Agastya Sara Samhitha explains certain stories which are not mentioned in other Hindu texts along with the worship rituals of Hanuman. Recently a simple English Translation of some of stories are released as a book named Tales Of Hanuman: Tales from the eternal life of Hanuman
The 16th-century Indian poet Tulsidas wrote Hanuman Chalisa, a devotional song dedicated to Hanuman. He claimed to have visions where he met face to face with Hanuman. Based on these meetings, he wrote Ramcharitmanas, an Awadhi language version of Ramayana. The Sankat Mochan Hanuman Temple (Varanasi) is said to be located on the spot where Tulsidas had these visions. The works of Tulsidas played an important role in increasing the popularity of Hanuman worship in North India.
Durga Chalisa mentions that Hanuman leads and welcomes the procession of the ferocious lion-riding Bhavani.
The non-Indian versions of Ramayana, such as the Thai Ramakien, mention that Hanuman had relationships with multiple women, including Svayamprabha, Benjakaya (Vibhisana's daughter), Suvannamaccha and even Ravana's wife Mandodari. According to these versions of the Ramayana, Macchanu is son of Hanuman borne by Suvannamaccha, daughter of Ravana. The Jain text Paumacariya also mentions that Hanuman married Lankasundari, the daughter of Lanka's chief defender Bajramukha. Another legend says that a demigod named Matsyaraja (also known as Makardhwaja or Matsyagarbha) claimed to be his son. Matsyaraja's birth is explained as follows: a fish (matsya) was impregnated by the drops of Hanuman's sweat, while he was bathing in the ocean.
PROPHECY & LEGACY
A number of religious leaders have claimed to have seen Hanuman over the course of the centuries, notably Madhvacharya (13th century CE), Tulsidas (16th century), Samarth Ramdas (17th century), Raghavendra Swami (17th century) and Swami Ramdas (20th century).
Swaminarayan, founder of the Hindu Swaminarayan sects, holds that other than worship of God through the Narayana Kavacha, Hanuman is the only deity who may be worshiped in the event of trouble by evil spirits.
Others have also asserted his presence wherever the Ramayana is read.
“Bow down to Hanumān, who is the slayer of demons, and who is present with head bowed and eyes full of flowing tears wherever the fame of Rāma is sung.”
This can be found in other texts such as the Vinaya Patrika by Tulsidas and the Mahabharta, and in other texts with only slight variation in language. During the readings of the Ramayana (Ramayanpath), a special puja and space (asan) are reserved for Hanuman.
TEMPLES
Hanuman is worshipped by villagers as a boundary guardian, by Shaiva ascetics as a Yogi, and by wrestlers for his strength. There are numerous temples for Hanuman, and his images are usually installed at all temples where images of avatars of Vishnu are installed. Hanuman temples are believed to keep the area and surroundings free of rakshasas (demons) and other evil beings. Hanuman idols are found on mountain roads because it is believed that he protects people from accidents.
Jakhu temple is a famous temple at Shimla, the capital of Himachal Pradesh. The word "Jakhu" is derived from "Yaku"/"Yaksha". The hill is the legendary abode of Yaksha, Kinners Nagas and Asuras. The temple was founded on a plain where, according to legend, Hanuman's sudden landing flattened a hill. A 33-metre statue of Hanuman has been erected at the top of the 2,591-metre tall Jakhu Hill, the highest point in Shimla.
According to the Ramayana, during the battle between Lord Rama and Ravana at Lanka, Lakshmana, brother of Lord Rama, was mortally wounded by an arrow. To save his life, Hanuman journeyed to the Himalayas to retrieve the Sanjeevani herb. En route, he encountered a meditating sage on Jakhu mountain; as he paused to inquire about the herb, Hanuman's landing on the mountain compressed the earth, changing the shape of the mountain to its present state. In his haste to depart, Hanuman is said to have left his friends behind, and they are said to continue to roam the area even today. A temple honoring Lord Hanuman was constructed by the Jakhu sage.
The oldest known independent Hanuman statue is the one at Khajuraho, which has an inscription dated Sam. 940 (AD 883) mentioning that it was erected by Gahil's son Gollak.
Sankat Mochan Shri Hanuman Mandir, located in the Punjab town of Phillaur is one of the popular temples of Hanuman. Sankat Mochan Hanuman Temple, Varanasi, believed to be built by Tulsidas, is second most popular temple in the city.
Namakkal Anjaneyar temple is located in the town of Namakkal, Tamil Nadu. There is an 18-feet idol of Sri Hanuman in the temple facing east, worshipping Sri Lakshmi Narasimha Swami (one of the avatar of god Vishnu) in this temple. Anjenayar idol is Swayambu, believed to be growing in height; thus, temple has no roof enclosing.
Sholinghur Sri Yoga Narasimha swami temple and Sri Yoga Anjaneyar temple, located in Sholinghur, a town which is about 30 km from Arakkonam of Vellore District.Sri yoga Anjaneyar temple located over small hill containing 480 steps from ground. Lord Anjaneyar with Sathurpujam (sathur=four, pujam=arms) Sri Sangu and Sri Chakaram 2 hands and Jabba Malai and Jaba Shankaram in other two respectively facing Sri yoga Narasimha swami and Yoga Amurthavalli Thayar present over hill (periya malai= big hill) with 1305 steps from ground. Sholinghur shetram one among 108 divya desams also one of most famous temple of our Lord Anjaneya.
Ragigudda Anjaneya temple is a Hanuman temple located in JP Nagar Bangalore. The temple is located on a hillock.
The Hanuman temple at Nerul, Navi Mumbai, Maharashtra, India is situated inside SIES complex. The Hanuman idol is 10 m tall and is installed on a pedestal of height 4 m, bringing the total height to 14 m. In the picture shown, Hanuman has silver coverings (Silver Kavasam). The 33 feet Hanuman idol is carved out of single granite stone. This is the tallest single granite stone Hanuman idol in India as per the temple.
Similarly, a 10 m idol of Sri Anjaneyar was entrenched in 1989 at Nanganallur in Chennai, India. The distinguishing factor of the idol is that it was molded out of a single rock.
An 26-m Karya Siddhi Hanuman statue was installed at Carapichaima in Trinidad and Tobago, by Avadhoota Dattapeetham's Pontiff Ganapathy Sachchidananda. It is the tallest in the Western hemisphere and second tallest in the world. One has also built a Karya Siddhi Hanuman Temple in Frisco, Texas in the U.S.
The tallest Hanuman statue is the Veera Abhaya Anjaneya Hanuman Swami, standing 135 feet tall at Yerravaram, 46 km from Rajahmundry in Andhra Pradesh, installed in 2003.
The image of Hanuman is said to have come alive and moved when installed at the Shri Hanuman Mandir, Sarangpur. The temple is noted for getting rid of evil spirits.
Suchindram temple is a pious place lying about 14 km from Kanyakumari, Tamil Nadu. The temple is famous for it 18 feet tall Hanuman idol. This idol is decorated fully with butter (Vennai kappu in Tamil) and Sandalwood paste (Chandana kappu in Tamil).
In Rajasthan,Hanuman Temples at Mehendipur Balaji in Dausa district (80 km from Jaipur) and Salasar dhaam in Churu district (160 km from Jaipur) attract a large number of devotees from all over India. [{Chandraloak Devpuri Balaji}] is located in Dugana 17 km from Laharpur district-sitapur,UttarPradesh
Bhaktha Anjaneyar is Temple is located in Vedasandur, Dindigul, Tamil Nadu.
Kaviyoor is a small village about 5–6 km from the town of Thiruvalla, Kerala The Kaviyoor Mahadevar Temple here is about 100 years old and the Hanuman temple inside the Shiva temple is considered as very auspicious by devotees. Hanuman idol consecrated here is made of Panchaloha and is depicting him telling the story of Ramayana to Sita in the Asoka Vana.
Yalagur, a small village about 30–35 km from the town of Bagalkot in Karnataka, also has a temple dedicated to Hanuman.
Sri Baktha Hanuman Temple, Ramboda.Sri Lanka. Ramboda is a place where Hanuman was searching for Sita Devi.
WORSHIP
Some of the prayers, songs, mantras, shlokas, devoted to Hanuman include Hanuman Chalisa, Bajranga Baan, Maruti Strotam, Anjaneya Dandakam, Vadvanal Strotam, Hanuman Sathhika, Hanuman Bahuk, Hanuman Dwadesha, Bhimrupi Strotam, Sundara Kanda, Maruti Gayatri Mantra, Hanumansahasranam stotra (Stotra of thousand names of Hanuman), Ek-mukhi Hanuman Raksha Kavacham, Pancha-mukhi Hanuman Raksha Kavacham and Sapta-mukhi Hanuman Raksha Kavacham.
"Ram Raksha Strotam", the Sanskrit Strota, a Shield of Rama has lines devoted to Hanuman, saying, whoever, reads this, will be protected by Hanuman.
PANCHAMUKHA SRI HANUMAN
Sri Hanuman assumed Panchamukha or five-faced form to kill Ahiravana, a powerful rakshasa black-magician and practitioner of the dark arts during the Ramayana war. Ahiravana, brother of Ravana, had taken Lord Rama and Lakshmana to netherworld as captive, and the only way to kill him was to extinguish five lamps burning in different directions, all at the same instant. Sri Hanuman assumed His Panchamukha form and accomplished the task, thus killing the rakshasa, and freeing Rama and Lakshmana.
This form of Sri Hanuman is very popular, and is also known as Panchamukha Anjaneya and Panchamukhi Anjaneya. (Anjaneya, which means "son of Anjana", is another name of Sri Hanuman). These faces show there is nothing in the world which does not come under any the influence of any of the five faces, symbolic of his all around security to all devotees. This also signifies vigilance and control over the five directions - north, south, east, west and the upward direction/zenith.
There are five ways of prayer, Naman, Smaran, Keerthanam, Yachanam and Arpanam. The five faces depict these five forms. Lord Sri Hanuman always used to Naman, Smaran and Keerthanam of Lord Sri Rama. He totally surrendered (Arpanam) to his Master Sri Rama. He also begged (yachanam) Sri Rama to bless him the undivided love.
The weapons are a parashu, a Khanda, a chakra, a dhaalam, a gada, a trishula, a kumbha, a Katar, a plate filled with blood and again a big Gada.
Chitrakoot in Central India is claimed to be the resting place of Sri Hanuman. The Hanuman Dhara Temple is situated on the peak of mountain where there is natural rock formation image of Shri Hanuman inside the cave and a natural stream of water falling on the tail. It is believed that after the coronation of Lord Rama, Sri Hanuman requested for a permanent place to settle in the Kingdom of Lord Rama, where his Injury of burns on his tails will be cured. Lord Rama, then with his arrow, spurred a stream of water on the tip of mountain and asked Sri Hanuman to rest there with water of the stream falling on his tail to cool down burning sensation in his tail. The access to the cave temple is through stairs starting from bottom of the mountain to its top. It takes roughly 30 to 40 minutes to reach the temple. Over time the temple has gained a new name, namely Hanuman Dhara.
Sri Panchamukha Anjaneya Swami was the main deity of Sri Raghavendra Swami. The place where he meditated on this five-faced form of Sri Hanuman is now known as Panchamukhi, wherein a temple for him has been built. There is also a shrine for Panchamukha Anjaneya Swami at Kumbakonam in Tamil Nadu, India. A 12 m tall monolithic green granite murti of Sri Panchamukha Hanuman has been installed in Thiruvallur, also in Tamil Nadu. This place was known as Rudravanam in olden times when many saints and seers had blessed this place with their presence. The Panchamukha Hanuman Ashram itself was established by a saint called Venkatesa Battar. A four foot image of Panchmukha Hanuman has been consecrated West of Lusaka, Zambia in Oye Kapi farm.
RELATION WITH SHANI
In Hinduism, Hanuman is one of the few deities not afflicted by Shani. Hanuman is the one of the deities in Hindu religion, over whom Shani could not cast his spell. Shani could not overcome Hanuman and as such people worship Hanuman to get rid of malefic effects of Shani.
In the Ramayana, Hanuman is said to have rescued Shani, from the clutches of Ravana.
In gratitude, Shani promised Hanuman that those who prayed him (Hanuman) would be rescued from the painful effects of Saturn, which in Hindu astrology, is said to produce malefic effects on one's life when one is afflicted "negatively" with Saturn.
Another version of the encounter between Lord Hanuman and Shani Bhagavan is that the latter once climbed on to Lord Hanuman's shoulder, implying that he (Hanuman) was coming under the effects of the influence of Shani. At this, Hanuman assumed a large size, and Shani was caught painfully between Hanuman's shoulders and the ceiling of the room they were in. As the pain was unbearable, Shani requested Hanuman to release him, promising that he (Shani) would moderate the malefic effects of his influence on a person praying to Hanuman. Hanuman released Shani thereafter.
In the verse with a thousand Names of Hanuman the Hanumansahasranam stotra, Shani is one of the Names of Hanuman. In some regions of India, Hanuman is also seen sporting an iron whip akin to Shani.
WIKIPEDIA
Flint from the Pennsylvanian of Ohio, USA. (polished)
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin. Some Pennsylvanian-aged cherts in eastern America are inferred to be ultimately derived from quartzose eolian dust on seafloors.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old Indian flint pits can be examined along hiking trails in Flint Ridge State Park. Many authentic Indian artifacts found in Ohio (arrowheads & spearpoints - "projectile points") are composed of Vanport Flint.
Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: probably the Nethers Flint Quarries - flint pits in the woods on the southwestern side of Flint Ridge Road, eastern Flint Ridge, far-western Muskingum County, east-central Ohio, USA (vicinity of 40° 00.137’ North latitude, 82° 11.544’ West longitude)
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
"The Gift of the Magi" is about a young couple who are short of money but desperately want to buy each other Christmas gifts. Unbeknownst to Jim, Della sells her most valuable possession, her beautiful hair, in order to buy a platinum fob chain for Jim's watch; while unbeknownst to Della, Jim sells his own most valuable possession, his watch, to buy jeweled combs for Della's hair. The essential premise of this story has been copied, re-worked, parodied, and otherwise re-told countless times in the century since it was written.
O. Henry was the pseudonym of the American writer William Sydney Porter (September 11, 1862 – June 5, 1910). O. Henry's short stories are well known for their wit, wordplay, warm characterization and clever twist endings.
O. Henry's stories are famous for their surprise endings, to the point that such an ending is often referred to as an "O. Henry ending." He was called the American answer to Guy de Maupassant. Both authors wrote twist endings, but O. Henry stories were much more playful. His stories are also well known for witty narration. Most of O. Henry's stories are set in his own time, the early years of the 20th century. Many take place in New York City and deal for the most part with ordinary people: clerks, policemen, waitresses.
Fundamentally a product of his time, O. Henry's work provides one of the best examples of catching the entire flavor of an age written in the English language. Whether roaming the cattle-lands of Texas, exploring the art of the "gentle grafter," or investigating the tensions of class and wealth in turn-of-the-century New York, O. Henry had an inimitable hand for isolating some element of society and describing it with an incredible economy and grace of language.
ODC2 ~ April 30 ~ Book Title
AR365 ~ Black and white
Spanish postcard by Huegograbado Mumbru, Barcelona, for Fabrica de Chocolate de Evaristo Juncasa, Barcelona, Serie A, no. 5 (of 14).
American actress Dorothy Gish was the sister of silent film star Lilian Gish. D.W. Griffith discovered the two girls in 1912 and they starred in his epics Hearts of the World (1918) and Orphans of the Storm (1921).
Dorothy Elizabeth Gish was born in 1898 in Massillon, Ohio, USA. Her restless father, traveling salesman James Lee Gish was frequently absent and later abandoned his family. Her mother, Mary Robinson McConnell a.k.a. Mary Gish, entered into acting to make money to support the family. As soon as Dorothy and her sister Lillian Gish were old enough, they became part of the act. In 1902, at the age of four, Dorothy made her stage debut portraying the character Little Willie in 'East Lynne', an adaptation of the 1861 English novel by Ellen Wood. In 1912 they met fellow child actress Mary Pickford, and she got both of them extra work with Biograph Pictures in New York at salaries of 50 dollars a week. Director D.W. Griffith was impressed by both the girls and cast them in An Unseen Enemy (D.W. Griffith, 1912), their first picture. Dorothy would go on to star in over 100 two-reel films and features over the years. She would appear in the very successful Judith of Bethulia (D.W. Griffith, 1914) with Blanche Sweet and Henry B. Walthall. Griffith did not use Dorothy in any of his earliest epics, but while he spent months working on The Birth of a Nation and Intolerance, Dorothy was featured in many feature-length films made under the banner of Triangle and Mutual releases. They were directed by young Griffith protégés such as Donald Crisp, James Kirkwood, and Christy Cabanne. Elmer Clifton directed a series of seven Paramount-Artcraft comedies with Dorothy that were so successful and popular that the tremendous revenue they raked in helped to pay the cost of Griffith’s expensive epics. These films were wildly popular with the public and the critics. She specialised in pantomime and light comedy, while her sister appeared in tragic roles. Then the two sisters made a number of films together, including the extremely successful Hearts of the World (D.W. Griffith, 1918) and Orphans of the Storm (D.W. Griffith, 1921). In both films, Dorothy would play French girls, but in different periods of time. Wikipedia about Hearts of the World: "In the 1918 release Hearts of the World, a film about World War I and the devastation of France, Dorothy found her first cinematic foothold in comedy, striking a personal hit in a role that captured the essence of her sense of humor. As the 'little disturber', a street singer, her performance was the highlight of the film, and her characterization on screen catapulted her into a career as a star of comedy films." Dorothy became famous in a series of Griffith-supervised comedies for the Triangle-Fine Arts and Paramount companies from 1918 through 1920. Almost all of these films are now considered to be lost.
While Dorothy Gish would excel in pantomime and light comedy, her popularity would always be overshadowed by that of her sister Lillian, who was considered to be one of the silent screen's greatest stars. Lillian would try her hand at directing, with a film called Remodeling Her Husband (Lillian Gish, 1920), which starred Dorothy and James Rennie. Dorothy and James married later that year. Dorothy would only make a handful of films in the 1920s. In the costume film Romola (Henry King, 1924) about Italy in the Middle Ages, she would again co-star with Lillian. By 1926 Dorothy had moved to England, where she would star as the title figure in Nell Gwyn (Herbert Wilcox, 1926). The success led to three more British films. Her last silent film would be Madame Pompadour (Herbert Wilcox, 1927) with Antonio Moreno. When the film industry converted to talking pictures, Dorothy made one in 1930, the British crime drama Wolves (Albert de Courville, 1930) with Charles Laughton. Earlier, in 1928 and 1929, her performances in the Broadway play 'Young Love' and her work with director George Cukor renewed her interest in stagecraft and in the immediacy of performing life again. After that, she enjoyed a long career on the stage. Only incidentally, she accepted film offers. Director Otto Preminger cast Dorothy in his 1946 film, Centennial Summer. Her final film appearance was in The Cardinal (Otto Preminger, 1963). Gish had divorced James Rennie in 1935. Dorothy never married again. In 1968, Dorothy Gish passed away by bronchial pneumonia in Rapallo, Italy. She was 70. Her remains were interred at Saint Bartholomew's Episcopal Church in New York City. In 1976, the Dorothy and Lillian Gish Film Theater was dedicated on the Bowling Green State University campus in Bowling Green, Ohio.
Sources: Tony Fontana (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
One Sheet (27" X 41").
Originally, the famed Dracula actor Bela Lugosi was cast as the Monster, and French director Robert Florey was assigned to direct. But after various screen tests, Lugosi refused the part, and Universal chose Britisher James Whale to direct. Significantly, this film then launched the career of unknown actor Boris Karloff, who is surprisingly uncredited in the opening credits of the film as the Monster.
Universal's "Frankenstein" is considered the greatest horror film of all time. This 70-year-old gothic horror film was produced for a sum of $291,000 at the height of the depression, made a star of a forty-four-year-old Boris Karloff, and made Universal Studios some twelve million dollars richer. The film became an almost instant classic of a new genre -- the horror movie -- and is viewed today as one of the true classics of world cinema. This poster, only the fifth copy known to have survived, is a gorgeous stone-lithograph image and one of the most sought after movie posters of any era. The image of Karloff, as seen on this poster, with his flat head and bolts coming out of the neck, was the first such image that any audience laid eyes on. And it would become one of the most recognizable and iconographic images of a monster in the twentieth century.
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
Well these were long overdue (except can it be overdue if no one actually cared about it?), but I'm finally finishing the Nightwings with these last four. Pyre's been one of my favorite games for its characterization and of course I had to make all my friends in Brickhead form. If any of you guys enjoyed Pyre or just RPing, I am actually running a Pyre RP server and I'd love to have you in there. Just ask if you're interested.
Had a real hard time with Vagabond Girl's literal bush of hair (though she will forever be Fae to me). I want to say she's one of my favorite characters, but I can say that about just about all of them. She's just so adorable and charming. And of course her friend Ti'zo, an intelligent Imp who may be a descendant of one of the Scribes themselves.
Heroin is a very addictive drug and therefore can be extremely hard to come off of many are hooked from first taking it. If you have a friend or loved one who is trying to quit, be proud of them; they've made a very important decision, and have taken the first step to recovery.
www.youtube.com/watch?v=HZ2HUfD0QSw&feature=share&...
Universal, 15 Chapters, 1938. Starring Larry “Buster” Crabbe, Jean Rogers, Charles Middleton, Frank Shannon, Beatrice Roberts, Richard Alexander, Donald Kerr, C. Montague Shaw, Wheeler Oakman.
Flash Gordon’s Trip to Mars picks up almost exactly where Flash Gordon left off, with our courageous trio of interplanetary adventurers–Flash Gordon (Larry “Buster” Crabbe), Dale Arden (Jean Rogers), and Dr. Zarkov (Frank Shannon)–returning to Earth from the planet Mongo. They are greeted to a royal welcome, since their voyage has saved the Earth from being destroyed by the late Emperor Ming of Mongo. Zarkov, however, attempts to curb the Earthlings’ ebullience by cautioning them that the defeat and death of Ming does not mean that their planet is free from other threats of extraterrestrial invasion. As usual, Zarkov is correct; shortly after his warning speech, the Martian Queen Azura (Beatrice Roberts) begins an operation designed to siphon off the “nitron” (aka nitrogen) in the Earth’s atmosphere. Azura’s primary goal is to create nitron-powered weapons with which to wage a war against her mortal foes, the Clay People of Mars. She’s indifferent to the devastating effect that it will have on the Earth, while her chief adviser and military consultant regards the destruction of Earth as the main attraction of the plan. That adviser is none other than Ming (Charles Middleton), still very much alive and longing for revenge on Flash and Zarkov for toppling him from his throne and driving him into exile on Mars.
As the Earth begins to experience catastrophic floods and storms, due to the effects of Azura’s “Nitron Lamp,” Zarkov, Flash, and Dale launch another interplanetary trip to discover the cause of the catastrophes, which Zarkov has determined are due to a beam that emanates from outer space. They discover an unexpected stowaway aboard after takeoff–reporter “Happy” Hapgood (Donald Kerr), who had set out to track down Zarkov and get his opinion of the world-wide disasters. Not long after arriving on Mars, our quartet of Earth adventurers find themselves embroiled in the war between Azura and the Clay People. The latter are one-time rivals of the Queen, who have been transformed into living clay by Azura’s magical powers and banished to underground caverns from whence they carry on a guerilla war against Azura’s forces. The Clay People’s king enlists the aid of Flash and his party, as both of them want to stop Azura’s nitron-collecting plans, and, with additional aid from Prince Barin (Richard Alexander)–who arrives on Mars to try to convince the Martians to expel Ming–Flash and his party pit themselves against Azura’s magic, Ming’s machinations, Ming’s savage allies the Forest People, and many other hazards, in their quest to save the Earth.
Flash Gordon’s Trip to Mars is fully as good as the first Flash Gordon serial, although its strengths are in slightly different areas. While Trip to Mars doesn’t measure up to Flash Gordon when it comes to colorful characters and fantastic monsters, its focused plotline surpasses the episodic story of the earlier serial. In Flash Gordon, the protagonists merely responded to the perpetual perils that were hurled at them by Ming, King Vultan, and King Kala, while Ming’s own plans for destroying the Earth were largely abandoned after the first chapter in favor of his attempts to marry Dale and destroy Flash. In Trip to Mars, Flash, Dale, and Zarkov initiate events instead of just coping with them, and Ming’s new grand design drives the plot far more strongly than his earlier one, giving the good guys a clear-cut objective (the destruction of the Nitron Lamp) beyond simple escape from Mongo.
While Trip to Mars has no characters to rival Flash Gordon’s King Vultan and no bizarre beasts like the Orangopoid or the Fire Dragon, it still has excellent other-worldly atmosphere. The sets are not as varied and intricate as in the first serial, but still surpass the backdrops of almost any other chapterplay. Especially striking are Ming’s “powerhouse,” with its laboratory equipment and its disintegration room, Azura’s massive palace with its unique architectural design (particularly the futuristic pocket doors), the Clay People’s eerie caves, and the wonderfully-designed realm of the Forest People, with its twisted trees, climbing vines, hidden tunnels amid tree roots, and treehouse-like observation platforms.
In addition to the big sets, there are dozens of other major and minor props and special effects that make Trips to Mars memorably atmospheric; there’s the the Martians’ flying capes, the Martian televiewer screens (which are cleverly incorporated into the recap sequences at the beginning of each chapter), the Clay People’s vapor-healing chamber, and the bridge of light that connects Azura’s rocket tower to the rest of her palace and is powered by a simple switch like any Earthling lamp (the scene where Flash and Zarkov are first forced to cross the unsafe-looking thing is quite funny), to name but a few. I also appreciate the fact that Azura’s spaceship squadrons–her “stratosleds”–are designed differently than any of the ships in the first Flash Gordon serial; one would expect the aerial fleets of differing planets to differ in appearance. Another neat touch of internal consistency is the use of three completely different forms of salute by the three principal Martian races–Queen Azura’s subjects, the Clay People, and the Forest People.
The serial’s screenplay maintains good continuity with the previous Flash outing, despite being the work of a completely different team of writers–Ray Trampe, Norman S. Hall, Wyndham Gittens, and Herbert Dalmas. The new writing team avoids any of the clunky lines that occasionally crept into Flash Gordon’s dialogue exchanges; they also, despite having to resort to a few flashbacks to the first serial for padding purposes, manage to make their plot fit its fifteen-chapter length quite nicely. The major plot thread of the heroes’ attempts to destroy Ming and Azura’s Nitron Lamp is skillfully interwoven with several subplots–the Clay People’s efforts to regain their natural shape, the attempts by both Flash and Ming to get hold of the Black Sapphire of Kalu (a talisman that can neutralize Azura’s magic), and Ming’s plot to undermine Azura and seize the Martian throne.
Trip to Mars’ script wisely spreads its plot developments over the course of the serial, instead of introducing all its ideas in the first chapter and letting them tread water until the final one: the Clay People aren’t introduced till the second chapter or the Forest People until the sixth, while Prince Barin first arrives in Chapter Seven. The Nitron Lamp is destroyed in Chapter Nine and rebuilt over the course of the following chapters until it must be destroyed again at the climax, and one of the principal villains is killed off in Chapter Thirteen.
The cliffhangers aren’t quite as varied as in the first Flash serial, due to the lack of the various monsters that frequently attacked Flash for chapter-ending purposes in the earlier outing. However, writers still manage to avoid excessive repetition; for instance, while there are three chapter endings involving stratosled crashes, each one is set up differently–the first has Flash crashing a stratosled into another stratosled to stop it from bombing Dale and Happy, the second has a stratosled crashing on top of Flash and Zarkov, and the third has Flash and the pilots of a ’sled grapping for the controls as it soars towards yet another crash. There’s also an excellent cliffhanger in which Flash, Dale, Happy, and Zarkov are surrounded by an ever-narrowing ring of fire in the Forest People’s kingdom, and a memorably unusual one that has a hypnotized Dale stabbing an unsuspecting Flash in the back.
Though Trip to Mars has no swordfights or wrestling matches corresponding to those in Flash Gordon, it still features a nice variety of action scenes–including stratosled dogfights, fights among the vines and treetops of the Forest Kingdom, and chases through Azura’s big palace; the palace sequence in Chapter Five, which has the nimble Flash vaulting through windows to avoid the guards, is a particular standout. Directors Ford Beebe (a Universal serial veteran) and Robert Hill (a talented director who rarely escaped from low-budget independent serials and B-films) do a fine job of orchestrating these action scenes, assisted by stuntmen Eddie Parker (doubling Buster Crabbe), George DeNormand, Tom Steele, Bud Wolfe, and Jerry Frank. All of the aforementioned stuntmen, except Parker, also pop up in minor acting roles.
The performances in Trip to Mars are all first-rate; the returning actors from the first serial are all just as good as they were in Flash Gordon, while the new major players fit in smoothly. Buster Crabbe’s Flash is just as tough, chipper, athletic, and likable as in the first serial–and a good deal more wise and resourceful than before, improvising strategy and coming up with plans in tough situations instead of just trying to batter his way out. Frank Shannon’s Zarkov, as consequence of Flash’s new-found intelligence, has a reduced part, not guiding the good guys’ actions as he did in the first serial; he still functions as the scientific brains of the group, though, and is still as intense, serious, and sincere as before.
Jean Rogers, with her long blonde hair bobbed and dyed brown to better match the comic-strip version of Dale Arden (she’s also dressed in less arresting fashion), isn’t as stunning as in Flash Gordon, but is still a warm, welcome, and lovely presence. Her part here is smaller than in the first serial, though, since Ming is not romantically interested in her this time out (Ming, though no gentleman, evidently prefers blondes). Richard Alexander’s Prince Barin is a lot more self-assured when it comes to delivering dialogue this time around (helped, no doubt, by the absence of any overly high-flown lines), while his convincingly royal bearing and his commanding size are as effective as before.
Charles Middleton’s Ming is even more entertainingly sinister here than he was in Flash Gordon, getting a good deal more screen time and given a more devilish appearance by a notably forked beard. Though still given opportunities to break into tyrannical and bloodthirsty rages (particularly in his insane rant in the final chapter), Middleton spends much of the serial displaying duplicity and sly subtlety instead, since his Ming must pretend to friendship with Azura even while plotting against her. Middleton carries off this slightly more multi-faceted version of Ming masterfully, winning a few laughs with his crafty cynicism while remaining thoroughly sinister and hateful.
Beatrice Roberts does a fine job as Queen Azura, eschewing the sneering, aggressive demeanor of other serial villainesses for a regal, dignified manner (with a wryly humorous undercurrent) that contrasts interestingly with her often cruel behavior. Her Azura comes off as selfish and ruthless, but not an abusive tyrant like Ming. Donald Kerr as reporter Happy Hapgood, the other principal new character, is as controversial among fans as most other serial comedy-relief characters are. Speaking for myself, though, I found him quite likable and entertaining; he provides an amusingly commonplace point-of-view towards the fantastic world of Mars and is never obtrusive, gratingly stupid, or obnoxious. Additionally, his character is allowed to be quite heroic and helpful when the chips are down, a far cry from one-dimensional cowardly “comic” pests like Sonny Ray in Perils of Pauline or Lee Ford in SOS Coast Guard.
Wheeler Oakman is very good as Tarnak, Ming’s wily lab assistant and co-conspirator against Azura. C. Montague Shaw, concealed under heavy makeup for most of the serial, conveys an impressive air of ruined dignity as the King of the Clay People and manages to seem both sinister and sympathetic at different times. Usual hero Kane Richmond brings appropriate depth of characterization to his key role as a Martian pilot, who proves instrumental in helping Flash overthrow Ming in the later chapters. Anthony Warde has a small part as Toran, king of the Forest People, but extracts as much snarling nastiness as possible from the role. Future director Thomas Carr is his second-in-command, Kenne Duncan is the officer in charge of Azura’s airdrome, Lane Chandler and Jack Mulhall both appear as pilots of her Death Squadron, and Warner Richmond has a small role as one of Ming’s palace cohorts.
Hooper Atchley and James Blaine pop up as self-important Earth scientists, propounding ingenious and inaccurate theories as to the causes of the damage brought about by the Nitron Lamp, while Edwin Stanley is the general presiding over a council comprised of these two and additional savants. Louis Merrill (a radio actor who played character roles in several feature films) has a brief but memorable turn as the blunt and slightly uncouth Dr. Metz, who alone among the scientists has the humility to admit that Zarkov is the only one capable of unravelling the riddle of the disasters. Merrill’s characterization is so vivid that one wishes the actor had taken a larger part in this chapterplay or in other serials.
Flash Gordon’s Trip to Mars is a nearly ideal sequel, in that it manages to preserve the basic strengths of its predecessor while deviating from it in some areas and improving on it in others. It’s also a nearly ideal serial, independent of its relation to the earlier Flash Gordon; it balances good acting, atmosphere, action, and plotting in such fine style that it would still be a notable achievement if it were the sole entry in the Flash Gordon series.
Flash, Dale, and Dr. Zarkov return from their former space adventures only to find that their enemy, Ming the Merciless of planet Mongo, has a new weapon: a deadly ray that crosses space to wreak havoc on earth. Earth's only hope is for our heroes to take off again and stop the ray at its source on Mars, where they (and a stowaway) familiar to sci-fi serial fans as Happy Hapgood the space traveling reporter). Must battle Ming's ally, Queen Azura, who turns her enemies into lumpish clay people.With the aid of the Clay People and Prince Barin, Flash and his friends are triumphant in destroying the ray and putting an end to the scheme of Ming the Merciless. Can they survive 15 chapters of deadly perils? Find out next week...
The Deadly Ray From Mars was an edited version of the 1938 Universal serial "Flash Gordon's Trip to Mars" that was released to TV in a syndication package in 1966.
Mars Attacks the World was the feature version of the 1938 serial titled Flash Gordon's Trip to Mars. aka "Space Soldiers' Trip to Mars" - USA (TV title)
Mars Attacks the World is the feature compilation version of the serial Flash Gordon's Trip to Mars, while Rocket Ship is the the feature compilation of the serial Flash Gordon.
Jean Rogers as Dale Arden
Charles Middelton as Emperor Ming
Frank Shannon as Dr. Zarkov
Beatrice Roberts as Queen Azura
Richard Alexander as Prince Barin
Montague Shaw as The Clay King
Donald Kerr as Happy Hapgood the space traveling reporter.
The title of this serial was originally going to be "Flash Gordon and the Witch Queen of Mongo." It was changed so that Universal could save money by shooting the outdoor scenes on the back lot and not have to build costly sets, and by reusing the set for Emperor Ming's palace.
In the stock footage from Flash Gordon, shown in this film, as Flash is telling The Clay People about his previous encounter with Emperor Ming, Ming is bald and Dale Arden has blond hair. In this sequel, Ming has "pasted on" hair and Dale is a brunette. It has been reported that Jean Rogers (Dale Arden) had many other film roles pending at that time (1938) which had called for her to portray a brunette.
King Features Syndicate released the 3 Flash Gordon serials as well as "Buck Rogers," Red Barry", "Ace Drummond" and other comic strip cliffhangers to US TV in 1951. Because the television show Flash Gordon, starring Steve Holland as Flash, was in syndication in late 1953, the three Universal Pictures Flash Gordon theatrical serials were retitled for TV broadcast. Flash Gordon became "Space Soldiers", Flash Gordon's Trip to Mars became "Space Soldiers' Trip to Mars", and Flash Gordon Conquers the Universe became "Space Soldiers Conquer the Universe". To this day both the 3 original "Flash Gordon" serial titles and the 3 "Space Soldiers" titles are used.
Chapter Titles:
1. New Worlds To Conquer
2. The Living Dead
3. Queen of Magic
4. Ancient Enemies
5. The Boomerang
6. Treemen of Mars
7. Prisoner of Monga
8. Black Sapphire of Kalu
9. Symbol of Death
10. Incense of Forgetfulness
11. Human Bait
12. Ming the Merciless
13. Miracle of Magic
14. Beasts at Bay
15. An Eyes For An Eye
Inspirado en Las leyendas del ciervo blanco.
Sesión fotográfica realizada por Ashary
Estilismo, maquillaje, peinado de fantasía:
Saray Cheveux, Gema Perez, Lidia Aparicio Sales.
Modelo: Silvia Silvio
Fotografía / Video / Iluminación
Photography / Video / Lighting
Para consultas me puedes encontrar en:
For questions you can find me at:
Email: fotografocreativo81@gmail. com
Gracias / Thanks
Flint-knapped arrowhead.
Knapper: Mike Dull
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
The arrowhead seen here is a modern replica. I suspect that the material is Vanport Flint from Nethers Flint Quarries, at the eastern end of Flint Ridge.
Testosterone
The chemical structure of testosterone.
A ball-and-stick model of testosterone.
Names
IUPAC name
17β-Hydroxyandrost-4-en-3-one
Systematic IUPAC name
(8R,9S,10R,13S,14S,17S)-17-Hydroxy-10,13-dimethyl-1,2,6,7,8,9,11,12,14,15,16,17-dodecahydrocyclopenta[a]phenanthren-3-one
Other names
Androst-4-en-17β-ol-3-one
Identifiers
CAS Number
58-22-0 ☑
3D model (JSmol)
Interactive image
ChEBI
CHEBI:17347 ☑
ChEMBL
ChEMBL386630 ☑
ChemSpider
5791 ☑
DrugBank
DB00624 ☑
ECHA InfoCard100.000.336
KEGG
D00075 ☑
PubChem CID
6013
UNII
3XMK78S47O ☑
InChI[show]
SMILES[show]
Properties
Chemical formula
C19H28O2
Molar mass288.431 g·mol−1
Melting point155 °C
Pharmacology
ATC code
G03BA03 (WHO)
License data
EU EMA: by INN
Routes of
administration
Transdermal (gel, cream, solution, patch), by mouth (as testosterone undecanoate), in the cheek, intranasal (gel), intramuscular injection (as esters), subcutaneous pellets
Pharmacokinetics:
Bioavailability
Oral: very low (due to extensive first pass metabolism)
Protein binding
97.0–99.5% (to SHBG and albumin)[1]
Metabolism
Liver (mainly reduction and conjugation)
Biological half-life
2–4 hours[citation needed]
Excretion
Urine (90%), feces (6%)
Except where otherwise noted, data are given for materials in their standard state (at 25 °C [77 °F], 100 kPa).
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Infobox references
Testosterone is the primary male sex hormone and an anabolic steroid. In male humans, testosterone plays a key role in the development of male reproductive tissues such as testes and prostate, as well as promoting secondary sexual characteristics such as increased muscle and bone mass, and the growth of body hair.[2] In addition, testosterone is involved in health and well-being,[3] and the prevention of osteoporosis.[4] Insufficient levels of testosterone in men may lead to abnormalities including frailty and bone loss.
Testosterone is a steroid from the androstane class containing a keto and hydroxyl groups at the three and seventeen positions respectively. It is biosynthesized in several steps from cholesterol and is converted in the liver to inactive metabolites.[5] It exerts its action through binding to and activation of the androgen receptor.[5] In humans and most other vertebrates, testosterone is secreted primarily by the testicles of males and, to a lesser extent, the ovaries of females. On average, in adult males, levels of testosterone are about 7 to 8 times as great as in adult females.[6] As the metabolism of testosterone in males is more pronounced, the daily production is about 20 times greater in men.[7][8] Females are also more sensitive to the hormone.[9]
In addition to its role as a natural hormone, testosterone is used as a medication, for instance in the treatment of low testosterone levels in men and breast cancer in women.[10] Since testosterone levels decrease as men age, testosterone is sometimes used in older men to counteract this deficiency. It is also used illicitly to enhance physique and performance, for instance in athletes.
Contents
1Biological effects
1.1Before birth
1.2Early infancy
1.3Before puberty
1.4Pubertal
1.5Adult
1.6Aggression and criminality
1.7Brain
2Medical use
3Biological activity
3.1Steroid hormone activity
3.2Neurosteroid activity
4Biochemistry
4.1Biosynthesis
4.2Distribution
4.3Metabolism
4.4Levels
5Measurement
6History
7Other animals
8See also
9References
10Further reading
Biological effects[edit]
In general, androgens such as testosterone promote protein synthesis and thus growth of tissues with androgen receptors.[11] Testosterone can be described as having virilising and anabolic effects (though these categorical descriptions are somewhat arbitrary, as there is a great deal of mutual overlap between them).[12]
Anabolic effects include growth of muscle mass and strength, increased bone density and strength, and stimulation of linear growth and bone maturation.
Androgenic effects include maturation of the sex organs, particularly the penis and the formation of the scrotum in the fetus, and after birth (usually at puberty) a deepening of the voice, growth of facial hair (such as the beard) and axillary (underarm) hair. Many of these fall into the category of male secondary sex characteristics.
Testosterone effects can also be classified by the age of usual occurrence. For postnatal effects in both males and females, these are mostly dependent on the levels and duration of circulating free testosterone.
Before birth[edit]
Effects before birth are divided into two categories, classified in relation to the stages of development.
The first period occurs between 4 and 6 weeks of the gestation. Examples include genital virilisation such as midline fusion, phallic urethra, scrotal thinning and rugation, and phallic enlargement; although the role of testosterone is far smaller than that of dihydrotestosterone. There is also development of the prostate gland and seminal vesicles.
During the second trimester, androgen level is associated with sex formation.[13] This period affects the femininization or masculinization of the fetus and can be a better predictor of feminine or masculine behaviours such as sex typed behaviour than an adult's own levels. A mother's testosterone level during pregnancy is correlated with her daughter's sex-typical behavior as an adult, and the correlation is even stronger than with the daughter's own adult testosterone level.[14]
Early infancy[edit]
Early infancy androgen effects are the least understood. In the first weeks of life for male infants, testosterone levels rise. The levels remain in a pubertal range for a few months, but usually reach the barely detectable levels of childhood by 4–7 months of age.[15][16] The function of this rise in humans is unknown. It has been theorized that brain masculinization is occurring since no significant changes have been identified in other parts of the body.[17] The male brain is masculinized by the aromatization of testosterone into estrogen, which crosses the blood–brain barrier and enters the male brain, whereas female fetuses have α-fetoprotein, which binds the estrogen so that female brains are not affected.[18]
Before puberty[edit]
Before puberty effects of rising androgen levels occur in both boys and girls. These include adult-type body odor, increased oiliness of skin and hair, acne, pubarche (appearance of pubic hair), axillary hair (armpit hair), growth spurt, accelerated bone maturation, and facial hair.[19]
Pubertal[edit]
Pubertal effects begin to occur when androgen has been higher than normal adult female levels for months or years. In males, these are usual late pubertal effects, and occur in women after prolonged periods of heightened levels of free testosterone in the blood. The effects include:[19][20]
Growth of spermatogenic tissue in testicles, male fertility, penis or clitoris enlargement, increased libido and frequency of erection or clitoral engorgement occurs. Growth of jaw, brow, chin, and nose and remodeling of facial bone contours, in conjunction with human growth hormone occurs.[21] Completion of bone maturation and termination of growth. This occurs indirectly via estradiol metabolites and hence more gradually in men than women. Increased muscle strength and mass, shoulders become broader and rib cage expands, deepening of voice, growth of the Adam's apple. Enlargement of sebaceous glands. This might cause acne, subcutaneous fat in face decreases. Pubic hair extends to thighs and up toward umbilicus, development of facial hair (sideburns, beard, moustache), loss of scalp hair (androgenetic alopecia), increase in chest hair, periareolar hair, perianal hair, leg hair, armpit hair.
Adult[edit]
Testosterone is necessary for normal sperm development. It activates genes in Sertoli cells, which promote differentiation of spermatogonia. It regulates acute HPA (hypothalamic–pituitary–adrenal axis) response under dominance challenge.[22] Androgen including testosterone enhances muscle growth. Testosterone also regulates the population of thromboxane A2 receptors on megakaryocytes and platelets and hence platelet aggregation in humans.[23][24]
Adult testosterone effects are more clearly demonstrable in males than in females, but are likely important to both sexes. Some of these effects may decline as testosterone levels might decrease in the later decades of adult life.[25]
Health risks[edit]
Testosterone does not appear to increase the risk of developing prostate cancer. In people who have undergone testosterone deprivation therapy, testosterone increases beyond the castrate level have been shown to increase the rate of spread of an existing prostate cancer.[26][27][28]
Conflicting results have been obtained concerning the importance of testosterone in maintaining cardiovascular health.[29][30] Nevertheless, maintaining normal testosterone levels in elderly men has been shown to improve many parameters that are thought to reduce cardiovascular disease risk, such as increased lean body mass, decreased visceral fat mass, decreased total cholesterol, and glycemic control.[31]
High androgen levels are associated with menstrual cycle irregularities in both clinical populations and healthy women.[32]
Sexual arousal[edit]
See also: Hormones and sexual arousal
When testosterone and endorphins in ejaculated semen meet the cervical wall after sexual intercourse, females receive a spike in testosterone, endorphin, and oxytocin levels, and males after orgasm during copulation experience an increase in endorphins and a marked increase in oxytocin levels. This adds to the hospitable physiological environment in the female internal reproductive tract for conceiving, and later for nurturing the conceptus in the pre-embryonic stages, and stimulates feelings of love, desire, and paternal care in the male (this is the only time male oxytocin levels rival a female's).[citation needed]
Testosterone levels follow a nyctohemeral rhythm that peaks early each day, regardless of sexual activity.[33]
There are positive correlations between positive orgasm experience in women and testosterone levels where relaxation was a key perception of the experience. There is no correlation between testosterone and men's perceptions of their orgasm experience, and also no correlation between higher testosterone levels and greater sexual assertiveness in either sex.[34]
Sexual arousal and masturbation in women produce small increases in testosterone concentrations.[35] The plasma levels of various steroids significantly increase after masturbation in men and the testosterone levels correlate to those levels.[36]
Mammalian studies[edit]
Studies conducted in rats have indicated that their degree of sexual arousal is sensitive to reductions in testosterone. When testosterone-deprived rats were given medium levels of testosterone, their sexual behaviors (copulation, partner preference, etc.) resumed, but not when given low amounts of the same hormone. Therefore, these mammals may provide a model for studying clinical populations among humans suffering from sexual arousal deficits such as hypoactive sexual desire disorder.[37]
In every mammalian species examined demonstrated a marked increase in a male's testosterone level upon encountering a novel female. The reflexive testosterone increases in male mice is related to the male's initial level of sexual arousal.[38]
In non-human primates, it may be that testosterone in puberty stimulates sexual arousal, which allows the primate to increasingly seek out sexual experiences with females and thus creates a sexual preference for females.[39] Some research has also indicated that if testosterone is eliminated in an adult male human or other adult male primate's system, its sexual motivation decreases, but there is no corresponding decrease in ability to engage in sexual activity (mounting, ejaculating, etc.).[39]
In accordance with sperm competition theory, testosterone levels are shown to increase as a response to previously neutral stimuli when conditioned to become sexual in male rats.[40] This reaction engages penile reflexes (such as erection and ejaculation) that aid in sperm competition when more than one male is present in mating encounters, allowing for more production of successful sperm and a higher chance of reproduction.
Males[edit]
In men, higher levels of testosterone are associated with periods of sexual activity.[41][42]
Men who watch a sexually explicit movie have an average increase of 35% in testosterone, peaking at 60–90 minutes after the end of the film, but no increase is seen in men who watch sexually neutral films.[43] Men who watch sexually explicit films also report increased motivation, competitiveness, and decreased exhaustion.[44] A link has also been found between relaxation following sexual arousal and testosterone levels.[45]
Men's levels of testosterone, a hormone known to affect men's mating behaviour, changes depending on whether they are exposed to an ovulating or nonovulating woman's body odour. Men who are exposed to scents of ovulating women maintained a stable testosterone level that was higher than the testosterone level of men exposed to nonovulation cues. Testosterone levels and sexual arousal in men are heavily aware of hormone cycles in females.[46] This may be linked to the ovulatory shift hypothesis,[47] where males are adapted to respond to the ovulation cycles of females by sensing when they are most fertile and whereby females look for preferred male mates when they are the most fertile; both actions may be driven by hormones.
Females[edit]
Androgens may modulate the physiology of vaginal tissue and contribute to female genital sexual arousal.[48] Women's level of testosterone is higher when measured pre-intercourse vs pre-cuddling, as well as post-intercourse vs post-cuddling.[49] There is a time lag effect when testosterone is administered, on genital arousal in women. In addition, a continuous increase in vaginal sexual arousal may result in higher genital sensations and sexual appetitive behaviors.[50]
When females have a higher baseline level of testosterone, they have higher increases in sexual arousal levels but smaller increases in testosterone, indicating a ceiling effect on testosterone levels in females. Sexual thoughts also change the level of testosterone but not level of cortisol in the female body, and hormonal contraceptives may affect the variation in testosterone response to sexual thoughts.[51]
Testosterone may prove to be an effective treatment in female sexual arousal disorders,[52] and is available as a dermal patch. There is no FDA approved androgen preparation for the treatment of androgen insufficiency; however, it has been used off-label to treat low libido and sexual dysfunction in older women. Testosterone may be a treatment for postmenopausal women as long as they are effectively estrogenized.[52]
Romantic relationships[edit]
Falling in love decreases men's testosterone levels while increasing women's testosterone levels. There has been speculation that these changes in testosterone result in the temporary reduction of differences in behavior between the sexes.[53] However, it is suggested that after the "honeymoon phase" ends—about four years into a relationship—this change in testosterone levels is no longer apparent.[53] Men who produce less testosterone are more likely to be in a relationship[54] or married,[55] and men who produce more testosterone are more likely to divorce;[55] however, causality cannot be determined in this correlation. Marriage or commitment could cause a decrease in testosterone levels.[56] Single men who have not had relationship experience have lower testosterone levels than single men with experience. It is suggested that these single men with prior experience are in a more competitive state than their non-experienced counterparts.[57] Married men who engage in bond-maintenance activities such as spending the day with their spouse/and or child have no different testosterone levels compared to times when they do not engage in such activities. Collectively, these results suggest that the presence of competitive activities rather than bond-maintenance activities are more relevant to changes in testosterone levels.[58]
Men who produce more testosterone are more likely to engage in extramarital sex.[55] Testosterone levels do not rely on physical presence of a partner; testosterone levels of men engaging in same-city and long-distance relationships are similar.[54] Physical presence may be required for women who are in relationships for the testosterone–partner interaction, where same-city partnered women have lower testosterone levels than long-distance partnered women.[59]
Fatherhood[edit]
Fatherhood decreases testosterone levels in men, suggesting that the emotions and behavior tied to decreased testosterone promote paternal care. In humans and other species that utilize allomaternal care, paternal investment in offspring is beneficial to said offspring's survival because it allows the parental dyad to raise multiple children simultaneously. This increases the reproductive fitness of the parents, because their offspring are more likely to survive and reproduce. Paternal care increases offspring survival due to increased access to higher quality food and reduced physical and immunological threats.[60] This is particularly beneficial for humans since offspring are dependent on parents for extended periods of time and mothers have relatively short inter-birth intervals.[61] While extent of paternal care varies between cultures, higher investment in direct child care has been seen to be correlated with lower average testosterone levels as well as temporary fluctuations.[62] For instance, fluctuation in testosterone levels when a child is in distress has been found to be indicative of fathering styles. If a father's testosterone levels decrease in response to hearing their baby cry, it is an indication of empathizing with the baby. This is associated with increased nurturing behavior and better outcomes for the infant.[63]
Motivation[edit]
Testosterone levels play a major role in risk-taking during financial decisions.[64][65]
Aggression and criminality [edit]
See also: Aggression § Testosterone, and Biosocial criminology
Most studies support a link between adult criminality and testosterone, although the relationship is modest if examined separately for each sex. Nearly all studies of juvenile delinquency and testosterone are not significant. Most studies have also found testosterone to be associated with behaviors or personality traits linked with criminality such as antisocial behavior and alcoholism. Many studies have also been done on the relationship between more general aggressive behavior/feelings and testosterone. About half the studies have found a relationship and about half no relationship.[66]
Testosterone is only one of many factors that influence aggression and the effects of previous experience and environmental stimuli have been found to correlate more strongly. A few studies indicate that the testosterone derivative estradiol (one form of estrogen) might play an important role in male aggression.[66][67][68][69] Studies have also found that testosterone facilitates aggression by modulating vasopressin receptors in the hypothalamus.[70]
The sexual hormone can encourage fair behavior. For the study, subjects took part in a behavioral experiment where the distribution of a real amount of money was decided. The rules allowed both fair and unfair offers. The negotiating partner could subsequently accept or decline the offer. The fairer the offer, the less probable a refusal by the negotiating partner. If no agreement was reached, neither party earned anything. Test subjects with an artificially enhanced testosterone level generally made better, fairer offers than those who received placebos, thus reducing the risk of a rejection of their offer to a minimum. Two later studies have empirically confirmed these results.[71][72][73] However men with high testosterone were significantly 27% less generous in an ultimatum game.[74] The Annual NY Academy of Sciences has also found anabolic steroid use which increase testosterone to be higher in teenagers, and this was associated with increased violence.[75] Studies have also found administered testosterone to increase verbal aggression and anger in some participants.[76]
Testosterone is significantly correlated with aggression and competitive behaviour and is directly facilitated by the latter. There are two theories on the role of testosterone in aggression and competition.[77] The first one is the challenge hypothesis which states that testosterone would increase during puberty thus facilitating reproductive and competitive behaviour which would include aggression.[77] Thus it is the challenge of competition among males of the species that facilitates aggression and violence.[77] Studies conducted have found direct correlation between testosterone and dominance especially among the most violent criminals in prison who had the highest testosterone levels.[77] The same research also found fathers (those outside competitive environments) had the lowest testosterone levels compared to other males.[77]
The second theory is similar and is known as "evolutionary neuroandrogenic (ENA) theory of male aggression".[78][79] Testosterone and other androgens have evolved to masculinize a brain in order to be competitive even to the point of risking harm to the person and others. By doing so, individuals with masculinized brains as a result of pre-natal and adult life testosterone and androgens enhance their resource acquiring abilities in order to survive, attract and copulate with mates as much as possible.[78] The masculinization of the brain is not just mediated by testosterone levels at the adult stage, but also testosterone exposure in the womb as a fetus. Higher pre-natal testosterone indicated by a low digit ratio as well as adult testosterone levels increased risk of fouls or aggression among male players in a soccer game.[80] Studies have also found higher pre-natal testosterone or lower digit ratio to be correlated with higher aggression in males.[81][82][83][84][85]
The rise in testosterone levels during competition predicted aggression in males but not in females.[86] Subjects who interacted with hand guns and an experimental game showed rise in testosterone and aggression.[87] Natural selection might have evolved males to be more sensitive to competitive and status challenge situations and that the interacting roles of testosterone are the essential ingredient for aggressive behaviour in these situations.[88] Testosterone produces aggression by activating subcortical areas in the brain, which may also be inhibited or suppressed by social norms or familial situations while still manifesting in diverse intensities and ways through thoughts, anger, verbal aggression, competition, dominance and physical violence.[89] Testosterone mediates attraction to cruel and violent cues in men by promoting extended viewing of violent stimuli.[90] Testosterone specific structural brain characteristic can predict aggressive behaviour in individuals.[91]
Estradiol is known to correlate with aggression in male mice.[92] Moreover, the conversion of testosterone to estradiol regulates male aggression in sparrows during breeding season.[93] Rats who were given anabolic steroids that increase testosterone were also more physically aggressive to provocation as a result of "threat sensitivity".[94]
Brain[edit]
The brain is also affected by this sexual differentiation;[13] the enzyme aromatase converts testosterone into estradiol that is responsible for masculinization of the brain in male mice. In humans, masculinization of the fetal brain appears, by observation of gender preference in patients with congenital diseases of androgen formation or androgen receptor function, to be associated with functional androgen receptors.[95]
There are some differences between a male and female brain (possibly the result of different testosterone levels), one of them being size: the male human brain is, on average, larger.[96] Men were found to have a total myelinated fiber length of 176 000 km at the age of 20, whereas in women the total length was 149 000 km (approx. 15% less).[97]
No immediate short term effects on mood or behavior were found from the administration of supraphysiologic doses of testosterone for 10 weeks on 43 healthy men.[98] A correlation between testosterone and risk tolerance in career choice exists among women.[64][99]
Attention, memory, and spatial ability are key cognitive functions affected by testosterone in humans. Preliminary evidence suggests that low testosterone levels may be a risk factor for cognitive decline and possibly for dementia of the Alzheimer's type,[100][101][102][103] a key argument in life extension medicine for the use of testosterone in anti-aging therapies. Much of the literature, however, suggests a curvilinear or even quadratic relationship between spatial performance and circulating testosterone,[104] where both hypo- and hypersecretion (deficient- and excessive-secretion) of circulating androgens have negative effects on cognition.
Medical use[edit]
Main article: Testosterone (medication)
Testosterone is used as a medication for the treatment of males with too little or no natural testosterone production, certain forms of breast cancer,[10] and gender dysphoria in transgender men. This is known as hormone replacement therapy (HRT) or testosterone replacement therapy (TRT), which maintains serum testosterone levels in the normal range. Decline of testosterone production with age has led to interest in androgen replacement therapy.[105] It is unclear if the use of testosterone for low levels due to aging is beneficial or harmful.[106]
Testosterone is included in the World Health Organization's list of essential medicines, which are the most important medications needed in a basic health system.[107] It is available as a generic medication.[10] The price depends on the form of testosterone used.[108] It can be administered as a cream or transdermal patch that is applied to the skin, by injection into a muscle, as a tablet that is placed in the cheek, or by ingestion.[10]
Common side effects from testosterone medication include acne, swelling, and breast enlargement in males.[10] Serious side effects may include liver toxicity, heart disease, and behavioral changes.[10] Women and children who are exposed may develop virilization.[10] It is recommended that individuals with prostate cancer not use the medication.[10] It can cause harm if used during pregnancy or breastfeeding.[10]
Biological activity[edit]
Steroid hormone activity[edit]
The effects of testosterone in humans and other vertebrates occur by way of multiple mechanisms: by activation of the androgen receptor (directly or as DHT), and by conversion to estradiol and activation of certain estrogen receptors.[109][110] Androgens such as testosterone have also been found to bind to and activate membrane androgen receptors.[111][112][113]
Free testosterone (T) is transported into the cytoplasm of target tissue cells, where it can bind to the androgen receptor, or can be reduced to 5α-dihydrotestosterone (DHT) by the cytoplasmic enzyme 5α-reductase. DHT binds to the same androgen receptor even more strongly than testosterone, so that its androgenic potency is about 5 times that of T.[114] The T-receptor or DHT-receptor complex undergoes a structural change that allows it to move into the cell nucleus and bind directly to specific nucleotide sequences of the chromosomal DNA. The areas of binding are called hormone response elements (HREs), and influence transcriptional activity of certain genes, producing the androgen effects.
Androgen receptors occur in many different vertebrate body system tissues, and both males and females respond similarly to similar levels. Greatly differing amounts of testosterone prenatally, at puberty, and throughout life account for a share of biological differences between males and females.
The bones and the brain are two important tissues in humans where the primary effect of testosterone is by way of aromatization to estradiol. In the bones, estradiol accelerates ossification of cartilage into bone, leading to closure of the epiphyses and conclusion of growth. In the central nervous system, testosterone is aromatized to estradiol. Estradiol rather than testosterone serves as the most important feedback signal to the hypothalamus (especially affecting LH secretion).[115] In many mammals, prenatal or perinatal "masculinization" of the sexually dimorphic areas of the brain by estradiol derived from testosterone programs later male sexual behavior.[116]
Neurosteroid activity[edit]
Testosterone, via its active metabolite 3α-androstanediol, is a potent positive allosteric modulator of the GABAA receptor.[117]
Testosterone has been found to act as an antagonist of the TrkA and p75NTR, receptors for the neurotrophin nerve growth factor (NGF), with high affinity (around 5 nM).[118][119][120] In contrast to testosterone, DHEA and DHEA sulfate have been found to act as high-affinity agonists of these receptors.[118][119][120]
Testosterone is an antagonist of the sigma σ1 receptor (Ki = 1,014 or 201 nM).[121] However, the concentrations of testosterone required for binding the receptor are far above even total circulating concentrations of testosterone in adult males (which range between 10 and 35 nM).[122]
Biochemistry[edit]
Human steroidogenesis, showing testosterone near bottom.[123]
Biosynthesis[edit]
Like other steroid hormones, testosterone is derived from cholesterol (see figure).[124] The first step in the biosynthesis involves the oxidative cleavage of the side-chain of cholesterol by cholesterol side-chain cleavage enzyme (P450scc, CYP11A1), a mitochondrial cytochrome P450 oxidase with the loss of six carbon atoms to give pregnenolone. In the next step, two additional carbon atoms are removed by the CYP17A1 (17α-hydroxylase/17,20-lyase) enzyme in the endoplasmic reticulum to yield a variety of C19 steroids.[125] In addition, the 3β-hydroxyl group is oxidized by 3β-hydroxysteroid dehydrogenase to produce androstenedione. In the final and rate limiting step, the C17 keto group androstenedione is reduced by 17β-hydroxysteroid dehydrogenase to yield testosterone.
The largest amounts of testosterone (>95%) are produced by the testes in men,[2] while the adrenal glands account for most of the remainder. Testosterone is also synthesized in far smaller total quantities in women by the adrenal glands, thecal cells of the ovaries, and, during pregnancy, by the placenta.[126] In the testes, testosterone is produced by the Leydig cells.[127] The male generative glands also contain Sertoli cells, which require testosterone for spermatogenesis. Like most hormones, testosterone is supplied to target tissues in the blood where much of it is transported bound to a specific plasma protein, sex hormone-binding globulin (SHBG).
Regulation[edit]
Hypothalamic–pituitary–testicular axis
In males, testosterone is synthesized primarily in Leydig cells. The number of Leydig cells in turn is regulated by luteinizing hormone (LH) and follicle-stimulating hormone (FSH). In addition, the amount of testosterone produced by existing Leydig cells is under the control of LH, which regulates the expression of 17β-hydroxysteroid dehydrogenase.[128]
The amount of testosterone synthesized is regulated by the hypothalamic–pituitary–testicular axis (see figure to the right).[129] When testosterone levels are low, gonadotropin-releasing hormone (GnRH) is released by the hypothalamus, which in turn stimulates the pituitary gland to release FSH and LH. These latter two hormones stimulate the testis to synthesize testosterone. Finally, increasing levels of testosterone through a negative feedback loop act on the hypothalamus and pituitary to inhibit the release of GnRH and FSH/LH, respectively.
Factors affecting testosterone levels may include:
Age: Testosterone levels gradually reduce as men age.[130][131] This effect is sometimes referred to as andropause or late-onset hypogonadism.[132]
Exercise: Resistance training increases testosterone levels,[133] however, in older men, that increase can be avoided by protein ingestion.[134] Endurance training in men may lead to lower testosterone levels.[135]
Nutrients: Vitamin A deficiency may lead to sub-optimal plasma testosterone levels.[136] The secosteroid vitamin D in levels of 400–1000 IU/d (10–25 µg/d) raises testosterone levels.[137] Zinc deficiency lowers testosterone levels[138] but over-supplementation has no effect on serum testosterone.[139]
Weight loss: Reduction in weight may result in an increase in testosterone levels. Fat cells synthesize the enzyme aromatase, which converts testosterone, the male sex hormone, into estradiol, the female sex hormone.[140] However no clear association between body mass index and testosterone levels has been found.[141]
Miscellaneous: Sleep: (REM sleep) increases nocturnal testosterone levels.[142] Behavior: Dominance challenges can, in some cases, stimulate increased testosterone release in men.[143] Drugs: Natural or man-made antiandrogens including spearmint tea reduce testosterone levels.[144][145][146] Licorice can decrease the production of testosterone and this effect is greater in females.[147]
Distribution[edit]
The plasma protein binding of testosterone is 98.0 to 98.5%, with 1.5 to 2.0% free or unbound.[148] It is bound 65% to sex hormone-binding globulin (SHBG) and 33% bound weakly to albumin.[149]
Plasma protein binding of testosterone and dihydrotestosterone show
Metabolism[edit]
vte Testosterone metabolism in humans
Testosterone structures
The image above contains clickable linksTestosterone metabolism in humans. Conjugation (sulfation and glucuronidation) occurs both with testosterone and with all of the other steroids that have one or more available hydroxyl (-OH) groups in this diagram.
Both testosterone and 5α-DHT are metabolized mainly in the liver.[1][151] Approximately 50% of testosterone is metabolized via conjugation into testosterone glucuronide and to a lesser extent testosterone sulfate by glucuronosyltransferases and sulfotransferases, respectively.[1] An additional 40% of testosterone is metabolized in equal proportions into the 17-ketosteroids androsterone and etiocholanolone via the combined actions of 5α- and 5β-reductases, 3α-hydroxysteroid dehydrogenase, and 17β-HSD, in that order.[1][151][152] Androsterone and etiocholanolone are then glucuronidated and to a lesser extent sulfated similarly to testosterone.[1][151] The conjugates of testosterone and its hepatic metabolites are released from the liver into circulation and excreted in the urine and bile.[1][151][152] Only a small fraction (2%) of testosterone is excreted unchanged in the urine.[151]
In the hepatic 17-ketosteroid pathway of testosterone metabolism, testosterone is converted in the liver by 5α-reductase and 5β-reductase into 5α-DHT and the inactive 5β-DHT, respectively.[1][151] Then, 5α-DHT and 5β-DHT are converted by 3α-HSD into 3α-androstanediol and 3α-etiocholanediol, respectively.[1][151] Subsequently, 3α-androstanediol and 3α-etiocholanediol are converted by 17β-HSD into androsterone and etiocholanolone, which is followed by their conjugation and excretion.[1][151] 3β-Androstanediol and 3β-etiocholanediol can also be formed in this pathway when 5α-DHT and 5β-DHT are acted upon by 3β-HSD instead of 3α-HSD, respectively, and they can then be transformed into epiandrosterone and epietiocholanolone, respectively.[153][154] A small portion of approximately 3% of testosterone is reversibly converted in the liver into androstenedione by 17β-HSD.[152]
In addition to conjugation and the 17-ketosteroid pathway, testosterone can also be hydroxylated and oxidized in the liver by cytochrome P450 enzymes, including CYP3A4, CYP3A5, CYP2C9, CYP2C19, and CYP2D6.[155] 6β-Hydroxylation and to a lesser extent 16β-hydroxylation are the major transformations.[155] The 6β-hydroxylation of testosterone is catalyzed mainly by CYP3A4 and to a lesser extent CYP3A5 and is responsible for 75 to 80% of cytochrome P450-mediated testosterone metabolism.[155] In addition to 6β- and 16β-hydroxytestosterone, 1β-, 2α/β-, 11β-, and 15β-hydroxytestosterone are also formed as minor metabolites.[155][156] Certain cytochrome P450 enzymes such as CYP2C9 and CYP2C19 can also oxidize testosterone at the C17 position to form androstenedione.[155]
Two of the immediate metabolites of testosterone, 5α-DHT and estradiol, are biologically important and can be formed both in the liver and in extrahepatic tissues.[151] Approximately 5 to 7% of testosterone is converted by 5α-reductase into 5α-DHT, with circulating levels of 5α-DHT about 10% of those of testosterone, and approximately 0.3% of testosterone is converted into estradiol by aromatase.[2][151][157][158] 5α-Reductase is highly expressed in the male reproductive organs (including the prostate gland, seminal vesicles, and epididymides),[159] skin, hair follicles, and brain[160] and aromatase is highly expressed in adipose tissue, bone, and the brain.[161][162] As much as 90% of testosterone is converted into 5α-DHT in so-called androgenic tissues with high 5α-reductase expression,[152] and due to the several-fold greater potency of 5α-DHT as an AR agonist relative to testosterone,[163] it has been estimated that the effects of testosterone are potentiated 2- to 3-fold in such tissues.[164]
Levels[edit]
Total levels of testosterone in the body are 264 to 916 ng/dL in men age 19 to 39 years,[165] while mean testosterone levels in adult men have been reported as 630 ng/dL.[166] Levels of testosterone in men decline with age.[165] In women, mean levels of total testosterone have been reported to be 32.6 ng/dL.[167][168] In women with hyperandrogenism, mean levels of total testosterone have been reported to be 62.1 ng/dL.[167][168]
Testosterone levels in males and females show
Total testosterone levels in males throughout life show
Reference ranges for blood tests, showing adult male testosterone levels in light blue at center-left.
Measurement[edit]
Testosterone’s bioavailable concentration is commonly determined using the Vermeulen calculation or more precisely using the modified Vermeulen method,[174][175] which considers the dimeric form of sex-hormone-binding-globulin.[176]
Both methods use chemical equilibrium to derive the concentration of bioavailable testosterone: in circulation testosterone has two major binding partners, albumin (weakly bound) and sex-hormone-binding-globulin (strongly bound). These methods are described in detail in the accompanying figure.
Dimeric sex-hormone-binding-globulin with its testosterone ligands
Two methods for determining concentration of bioavailable testosterone.
History[edit]
A testicular action was linked to circulating blood fractions – now understood to be a family of androgenic hormones – in the early work on castration and testicular transplantation in fowl by Arnold Adolph Berthold (1803–1861).[177] Research on the action of testosterone received a brief boost in 1889, when the Harvard professor Charles-Édouard Brown-Séquard (1817–1894), then in Paris, self-injected subcutaneously a "rejuvenating elixir" consisting of an extract of dog and guinea pig testicle. He reported in The Lancet that his vigor and feeling of well-being were markedly restored but the effects were transient,[178] and Brown-Séquard's hopes for the compound were dashed. Suffering the ridicule of his colleagues, he abandoned his work on the mechanisms and effects of androgens in human beings.
In 1927, the University of Chicago's Professor of Physiologic Chemistry, Fred C. Koch, established easy access to a large source of bovine testicles — the Chicago stockyards — and recruited students willing to endure the tedious work of extracting their isolates. In that year, Koch and his student, Lemuel McGee, derived 20 mg of a substance from a supply of 40 pounds of bovine testicles that, when administered to castrated roosters, pigs and rats, remasculinized them.[179] The group of Ernst Laqueur at the University of Amsterdam purified testosterone from bovine testicles in a similar manner in 1934, but isolation of the hormone from animal tissues in amounts permitting serious study in humans was not feasible until three European pharmaceutical giants—Schering (Berlin, Germany), Organon (Oss, Netherlands) and Ciba (Basel, Switzerland)—began full-scale steroid research and development programs in the 1930s.
Nobel Prize winner, Leopold Ruzicka of Ciba, a pharmaceutical industry giant that synthesized testosterone.
The Organon group in the Netherlands were the first to isolate the hormone, identified in a May 1935 paper "On Crystalline Male Hormone from Testicles (Testosterone)".[180] They named the hormone testosterone, from the stems of testicle and sterol, and the suffix of ketone. The structure was worked out by Schering's Adolf Butenandt, at the Chemisches Institut of Technical University in Gdańsk.[181][182]
The chemical synthesis of testosterone from cholesterol was achieved in August that year by Butenandt and Hanisch.[183] Only a week later, the Ciba group in Zurich, Leopold Ruzicka (1887–1976) and A. Wettstein, published their synthesis of testosterone.[184] These independent partial syntheses of testosterone from a cholesterol base earned both Butenandt and Ruzicka the joint 1939 Nobel Prize in Chemistry.[182][185] Testosterone was identified as 17β-hydroxyandrost-4-en-3-one (C19H28O2), a solid polycyclic alcohol with a hydroxyl group at the 17th carbon atom. This also made it obvious that additional modifications on the synthesized testosterone could be made, i.e., esterification and alkylation.
The partial synthesis in the 1930s of abundant, potent testosterone esters permitted the characterization of the hormone's effects, so that Kochakian and Murlin (1936) were able to show that testosterone raised nitrogen retention (a mechanism central to anabolism) in the dog, after which Allan Kenyon's group[186] was able to demonstrate both anabolic and androgenic effects of testosterone propionate in eunuchoidal men, boys, and women. The period of the early 1930s to the 1950s has been called "The Golden Age of Steroid Chemistry",[187] and work during this period progressed quickly. Research in this golden age proved that this newly synthesized compound—testosterone—or rather family of compounds (for many derivatives were developed from 1940 to 1960), was a potent multiplier of muscle, strength, and well-being.[188]
Other animals[edit]
Testosterone is observed in most vertebrates. Testosterone and the classical nuclear androgen receptor first appeared in gnathostomes (jawed vertebrates).[189] Agnathans (jawless vertebrates) such as lampreys do not produce testosterone but instead use androstenedione as a male sex hormone.[190] Fish make a slightly different form called 11-ketotestosterone.[191] Its counterpart in insects is ecdysone.[192] The presence of these ubiquitous steroids in a wide range of animals suggest that sex hormones have an ancient evolutionary history.[193]
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See more photos in set.
Starring Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield, William Hopper, Benson Fong, Ross Martin, Vito Scotti. Directed by Byron Haskin. Producer George Pal gave us the sci-fi landmark Destination Moon in 1950. He then gave us the timeless classic War of the Worlds in '53. This, his third epic, was a grand effort, but fell shy of his earlier triumphs. On paper, it should have been another mega-classic. The team members from the earlier hits were reassembled. Pal as producer, Haskin directing, Lydon on screenplay, O'Hanlon writing. Conquest was also based on a popular book. Yet, despite all this pedigree, something fell short. Conquest would not go on to be remembered as one of the 50s mega-classics. Some of this obscurity may be due to Conquest being in the "serious" science fiction sub-genre, like Destination Moon and Riders to the Stars which tried to depict a plausible space-traveling future. Audiences were becoming much more entranced with saucers and weird aliens.
In some ways,Conquest is a remake of the basic story line from Destination Moon -- a crew are the first to land on a celestial body. They struggle to survive and yet courageously return. This time, instead of the moon, it's Mars. As a remake goes, however, it's worthy. The Technicolor is rich and the sets well done. This is an A-level production which at its release was the 2001: A Space Odyssey of its day. All the melodrama, however, starts to get in the way of the techno-gee-whiz.
Synopsis
Based aboard a rotating wheel space station, workmen prepare a big flying wing of a rocket ship. A group of potential crewmen train for what they think will be a moon landing mission. As the work nears completion, they find out that the real mission will be a landing on Mars instead. While aboard "The Wheel", we're introduced to the phenomenon of "space sickness" -- a mental breakdown due to workload and confinement for long periods. One of the crew candidates is scrubbed because of one such breakdown. Nonetheless, the multinational crew are chosen and embark for the long journey to Mars. After departure, it's found that General Merritt's old friend, Sergeant Mahoney, stowed away. On the way to Mars, a communications antenna is damaged and must be fixed via spacewalking crewmen. Just as the repairs are completed, the customary meteor arrives, threatening to hit the ship. General Merritt manages to fly the ship out of the way, but one of the crewmen on EVA is hit with micrometeoroids (like bullets) and killed. The General is also starting to show odd behavior, doubting whether their mission is proper or is an affront to God. Their evasive action puts them behind schedule, but they arrive at Mars. While attempting to land on Mars, the General has another bout of delusion and tries to abort the landing. His son, Captain Merritt, manages to take control and brings in the flying-wing lander to a rough but successful landing. The others go out to explore, but the General, now fully delusional, is venting rocket fuel in an attempt to blow up the ship. His son discovers this and the two struggle. The General's pistol discharges, killing him. Mahoney comes on the scene just then and accuses Captain Merritt of murdering the General. The rest explore a bit more, but pronounce Mars a dead planet. Despite this, Imoto discovers that his earth flower seed sprouted in martian soil. Earthquakes cause the escape rocket to shift off of perpendicular. They get it righted and blast off. On the way home, Mahoney and Captain Merritt make up and declare that the dead General was a hero, the man who conquered space. The End.
The color, the sets, models and background paintings are very visually rich. The whole image is a great snapshot of the future as people in the mid-50s imagined it would be. More tidbits in the Notes section below.
There is actually a subtle anti-war tone to the movie. No overt talk of nuclear dangers or menacing enemies. It is notable, however, that among the conspicuously international crew candidates, there is no Russian. Americans would "conquer" space with a few other nationals along for the ride, but NO Russians. There is also a poorly explained urgency to the mission. What's the hurry? Back in the Cold War, it was pretty common that WE had to get something before THEY did.
In 1949, Willy Ley wrote the book "The Conquest of Space," which speculated about how mankind might travel to other planets. This book was illustrated by space artist Chesley Bonestell. This book would become the inspiration for the movie.
From 1952 to 1954, Collier's magazine ran a series of stories about mankind conquering space. These were repeats by Ley and Bonestell of their 1949 book, but this time Collier's added material from "rocket scientist" Werner von Braun. Bonestell's new illustrations were clearly the prototype for the look of Conquest. People felt that mankind was on the verge of taking to the stars. The Collier's series expressed that giddy optimism.
The screenplay for Conquest added weak human interest sub-plots which almost negate the gee-whiz optimism that the visuals convey. The screenwriters were all experienced in their craft, so it's puzzling why such amateurish characterizations are so prominent. The comic relief moments are almost cartoonish. The whole leader-gone-mad sub-plot seems out of place.
A possible "message" to Conquest is that man is a fragile creature who may not be ready for the rigors of space travel. Certainly, people wondered about this, and other movies touched on the theme too, such as Riders to the Stars ('54). Our not being mentally ready yet was cited by the aliens in It Came From Outer Space ('53). General Merritt's dementia was foreshadowed in the breakdown of Roy early in the movie.
One thing that strikes the viewer is how much life aboard the space station is presumed to duplicate life aboard a navy ship. It's not overtly stated that the military should (or will) be the agency which "conquers" space, but from the ranks and uniforms and the navy-life scenes, that message comes through. Space ships will be like earthly ships.
On the surface, it seems like Conquest is blasting Christians as dangerous religious fanatics. This notion, that anyone who believes in God simply MUST be wacko, would be much more popular in later decades, but it was uncommon in the 50s. For that reason, the General's dementia deserves a closer look.
Actually, General Merritt was not the stereotypic religious fanatic. His son comments that he had never seen him carrying around and reading the Bible before. Instead of headaches or paralysis, the General's "space sickness" took a paranoid turn. He had rational misgivings about the Mars mission from the start, pre-dementia. His repressed misgivings are expressed in Bible verses dealing with sinners being punished by God. He once quotes from Psalm 38, then later from Psalm 62.
Throughout all this, God is not mocked. Indeed, only the "religious" man had the courage to go outside and give the dead Fodor a proper burial. The other non-relgious crewmen were at a loss for what to do.
The notion of impudent mankind trying to meddle in God's domain, is treated as a credible issue. In this, the pattern of the Tower of Babel is drawn. Prideful mankind thinks they can build their way into God's realm. God foils that plan. General Merritt's dementia seems motivated by a fear that this divine retribution could be coming again.
The writers of Conquest imagine a multinationalism in space. Most notable are two former enemy nations: Imoto is from Japan and Fodor is a German-accented Austrian, (as a stand-in for Germany). Imoto gets to make a little speech about why Japan went to war (lack of resources). Fodor gets to be seen as the cherished son of a classic "mama". By 1955, it was starting to become okay to look beyond World War 2.
At one point, the crew of The Wheel are watching a movie with many scantily clad dancing girls (much like sailors aboard a ship). The movie is a lavish musical number with many gold bikini clad pseudo-harem girls dancing while Rosemary Clooney sings about love "...in the desert sand." This clip is total non-sequetor to the high-tech space environment. What's interesting, is that it's NOT stock footage recycled. Clooney had not done any such movie. This dance number must have been staged and shot just for this scene in Conquest. Random act of musical. Gotta love 'em.
Bottom line? Conquest is an almost-epic. It's definitely an A-grade sci-fi movie, so it's well worth watching. The human story part gets in the way sometimes, but the visuals more than make up for it.
German postcard by Ross Verlag, no. 4660/1, 1929-1930. Photo: Hanni Schwarz.
Dark and gorgeous looking actor Francis Lederer (1899–2000) had a successful film and stage career, first in Europe, then in the United States.
Francis Lederer was born Frantisek Lederer in Prague, Austria-Hungary (now in Czech Republic) in 1899. He was the son of Josef Lederer, a leather merchant and Rose Lederer. Young Frantisek began his working life as a department store delivery boy in Prague and fell in love with acting when he was young, and was trained at the Academy of Music and Academy of Dramatic Art in Prague. Still a teenager, he served with the Czechoslovakian artillery during the first World War. He attained the rank of corporal. After military service, he became an apprentice with the New German Theater in Prague. He made his stage debut with a walk-on in the play Burning Heart. He toured Moravia and central Europe, making a name for himself as a matinee idol in theaters in Czechoslovakia, Hungary, Austria and Germany. Because of his stunningly handsome looks, it took some time for the critics to take Lederer seriously. Notable among his performances was a turn as Romeo in stage legend Max Reinhardt's staging of Romeo and Juliet. In the late 1920s, Lederer was lured into films by the German actress Henny Porten and her producer husband. He appeared with her in the melodrama Zuflucht/Refuge (Carl Froelich, 1928). For Georg Wilhelm Pabst he performed in Die Büchse der Pandora/Pandora's Box (G.W. Pabst, 1929) as a young man who, along with his father (Fritz Kortner), becomes obsessed with the hauntingly beautiful dancer Lulu (Louise Brooks). He also appeared in Atlantik/Atlantic (Ewald André Dupont, 1929). Dashingly garbed in military costume, he was also notable in the lush and poignant romantic drama Die wunderbare Lüge der Nina Petrowna The Wonderful Lie of Nina Petrovna (Hanns Schwarz, 1929) with Brigitte Helm. Lederer, who was billed as Franz at this time, easily made the transition from silent to sound film, and seemed to be on his way to becoming one of Europe's top male film stars.
In London’s West End, Francis Lederer performed on stage in Volpone (1931) and in Autumn Crocus (1932). He performed the latter play also on Broadway where it played for 210 performances in 1932 and 1933. He used Francis Lederer as his stage name now. He also performed Autumn Crocus in Los Angeles, where his performances attracted film offers from Hollywood. With the deteriorating political situation in Europe, Lederer decided to stay in the United States. It was MGM producer Irving Thalberg's plan to make him ‘the biggest star in Hollywood’ but the death of Thalberg ended that, and Lederer didn't quite catch on as an American star. Lederer's American movies were fairly light fare such as Man of Two Worlds (J. Walter Ruben, 1934) with Elissa Landi, Romance in Manhattan (Stephen Roberts, 1934) with Ginger Rogers, The Gay Deception (William Wyler, 1935) with Frances Dee, and One Rainy Afternoon (Rowland V. Lee, 1936). Lederer became a U.S. citizen in 1939. That year he starred as a lady-killer playboy in the Billy Wilder scripted Midnight (Mitchell Leisen, 1939) with Claudette Colbert and John Barrymore. Hal Erickson writes at AllMovie: “His cinematic stock in trade at the time was the outgoing, slightly naïve foreigner at the mercy of aggressive, acrimonious Americans or Brits. One of his best screen characterizations was the disgruntled German-American ‘bundist’ in Confessions of a Nazi Spy (Anatole Litvak, 1939), which won him the personal praise of his co-star Edward G. Robinson, who wasn't accustomed to handing out empty compliments.” He also earned plaudits for his portrayal of the fascist to whom Joan Bennett finds herself wed in The Man I Married (Irving Pichel, 1940).
Throughout his career, Francis Lederer often performed on stage, both in New York and elsewhere. He appeared in productions of Golden Boy (1937), Seventh Heaven (1939), No Time for Comedy (1939), in which he replaced Laurence Olivier, The Play's the Thing (1942), A Doll's House (1944), Arms and the Man (1950), The Sleeping Prince (1956) and The Diary of Anne Frank (1958), as Anne’s father. Although he took a break from making films in 1941, in order to concentrate on his stage work, he returned to the silver screen in 1944, appearing in The Bridge of San Luis Rey (Rowland V. Lee, 1944), and the bizarre and fascinating version of the downbeat satirical drama Diary of a Chambermaid (Jean Renoir, 1946). After making Surrender (Allan Dwan, 1950), he took another break from Hollywood but returned once more in 1956 with Lisbon (Ray Milland, 1956). He also played a world weary Count Dracula for The Return of Dracula (Paul Landres, 1958). Cavett Binion at Rovi reviews: “Played refreshingly straight, this modest Universal production benefits from Lederer's compelling performance as the seductive Count and several unique plot twists (including a blind girl who becomes sighted on turning into a vampire).” His final film appearance was in Terror Is a Man (Gerardo de Leon, 1959). He would continue to make television appearances for the next ten years in such shows as The Untouchables (1960), Mission: Impossible (1967) and That Girl (1967). His final television appearance occurred in a 1971 episode of Rod Serling's Night Gallery. Lederer had become very wealthy by investing in real estate. He was active in local and Los Angeles civic affairs, philanthropy and politics. In 2000, he was honored with the Cross of Honor for Science and Arts, First Class by the Austrian government. Lederer married three times. His first marriage was to Ada Nejedly during the 1920s. In 1937 he married Mexican American actress and dancer Margo. They divorced in 1940. His third marriage was to Marion Irvine in 1941. Irvine served as Los Angeles' Commissioner of Cultural Affairs. Their marriage lasted 59 years. Francis Lederer worked as a teacher up until the week before he died in Palm Springs, USA in 2000. He was 100.
Sources: Hal Erickson (AllMovie), Christopherbkk (IMDb), TCM, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Flint from the Pennsylvanian of Ohio, USA. (public display, Geology Department, Wittenberg University, Springfield, Ohio, USA)
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin.
Studies done by geologists at Ohio State University at Newark indicate that the Vanport Flint has a relatively complex history, the details of which are still being worked out.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old Indian flint pits can be examined along hiking trails in Flint Ridge State Park ("State Memorial"). Many authentic Indian artifacts found in Ohio (arrowheads & spearpoints - "projectile points") are composed of Vanport Flint.
This polished sample has many thin, closely-spaced lines and bands & is known as "pinstripe flint" or "Nethers flint". The striping resembles Liesegang banding in sandstones, which results from groundwater moving through porous rocks and precipitating minerals - usually iron oxide (e.g., see: www.flickr.com/photos/jsjgeology/albums/72157647217431341 ). Flint/chert, however, has low porosity and very low permeability, so pinstripe banding must have a different origin (?).
The reddish and yellowish colors are from iron oxide staining.
Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: Nethers Flint Quarries - flint pit in the woods on the southwestern side of Flint Ridge Road, eastern Flint Ridge, far-western Muskingum County, east-central Ohio, USA (vicinity of 40° 00.137’ North latitude, 82° 11.544’ West longitude)