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Flint from the Pennsylvanian of Ohio, USA. (~9.3 cm across at its widest)
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.
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 (GPS: 40° 00.137’ North latitude, 82° 11.544’ West longitude)
fac.umass.edu/UMCA/Online/default.asp?BOparam::WScontent:...
This project, on view at the University Museum of Contemporary Art, located on the lower level of the Fine Arts Center, will present works created in the urban environment of New York where artists have been living since 1988. Major works from this project were previously exhibited at three international biennials, in a number of museum exhibitions, and are included in several important museum collections.
"Certainly there have been couples in recent years who made art together, and groups of two or more artists who have insisted that their work be taken together as a whole, but the fusion of the two notions into one can probably be said to be unique to their work. And yet, it would not be accurate to say that their work is any way separate, either in terms of conception, execution or presentation. On the contrary, they are partners in the germination of each other's ideas, right up to the final encounter between the work and the viewer."
- Dan Cameron, Senior Curator, The New Museum, New York
"The Kopystianskys seem to have an unusually flexible and equilibrated relationship as artists who are also a couple. They work (in the same studio) mostly separately, sometimes together; they exhibit mostly together, sometimes separately. Each has a clearly marked artistic persona, yet their work moves easily between parallelism and complementarity.
The Kopystianskys" collaborative slide projection piece The Day Before Tomorrow, 1999, gives one very clear and touching metaphor for the way their togetherness/separateness as artists articulates the quandary at their heart of their distinct bodies of work: Its two screens show two different versions of the same everyday events on the streets of New York, one shot by Svetlana and one by Igor. With each screen reflecting a slightly different angle (and not necessarily at the same moment), it is as though each artist were but a single eye, but where then is the brain in which these two inputs can be synthesized into a single three-dimensional, perspectival image? That of God? Or maybe just the ideally imaginative and sympathetic viewer?
In any case, The Day Before Tomorrow, shows how a collaborative project can be built out of two near but distinct viewpoints: To make the work the two artists stood next to each other snapping the same views, so the differences between what appears on the two screens are entirely the product of small differences in position and the speed with which each artist pushed the shutter button. One's attention is engaged partly by the ghostlike presence of passersby fading in and out of view and partly by the even more intangible presence of the two invisible people who registered their movements."
- Barry Schwabsky, Art Critic, from an essay first published in Contemporary Artists St. James Press/Video Hound, Gale Group, MI (2001) and in Art Forum XLI 4, (December 2002) pp.148-9.
"The Kopystianskys have not made a film about dirty streets so much as a celebration of chance encounters. Many hours of footage carefully collected on windy days have been meticulously edited to capture these magical moments. It is remarkable how quickly we start to read characters into these discarded objects. The particular formal properties of each of the objects determine the very individualistic movement each character acquires through the animating breath of the wind. At times the characterization becomes so strong that audiences spontaneously burst out laughing. When an empty hamburger box moves forward in a series of jerky steps with the lid flapping up and down it becomes a vividly anthropomorphic image and zanily Muppet-like.
There are also moments of great elegance particularly when pieces of fabric or a plastic bag twist and twirl their way along the gutter or defying gravity fly up into the air then shudder and spin back to earth. There is a long and interesting history of poor and discarded materials being recycled into art, but this work brings the genre to a new level of aesthetic pleasure. We think of Joseph Beuys sweeping the streets and the forests of Germany as an environmental gesture and then framing the resulting material in a vitrine. There were the décollage artists in France in the late 1950s, whose torn billboard posters aestheticized everyday Parisian street furniture. Before them Kurt Schwitters elevated old bus tickets and fragments of paper into high art and Marcel Duchamp and Joseph Cornel kept up a long exchange of such fragments, some of which found their way into artworks and journals.
A more recent example might be the installations of Tony Cragg in the early 1980s. Many of these works were assembled from fragments of colored plastics found along the banks of the Thames in London at low tide. Cragg arranged them into geometric or pictorial configurations that elevated trash into valuable art, a sleight of hand that was only partly a conceptual critique of commodification and the art market. The other side of Cragg's assemblages was a finely balanced form between the chances of nature and cultural signs. This balance revealed his genuine delight in the visual and tactile qualities of things. The same is true of the Kopystianskys. The history of their work makes it clear that they understand the critical context of art in society but they always also raise the aesthetic value of the work to a level that brings a surprising degree of pleasure to the viewer."
-Anthony Bond, Head Curator, International Art, Art Gallery of New South Wales, Sidney
The Kopystiansky's have jointly participated in many international exhibitions including the Venice Biennale Aperto (1988), Sydney Biennial (1992), San Paolo Biennial (1994), Sculpture Project Munster (1997) Istanbul Biennale (1995), Johannesburg Biennale (199), Lyon biennale (1997), First British Biennale in Liverpool (1999), and Documenta 11 (2002).
Solo exhibitions of Igor and Svetlana Kopystiansky have taken place at the Martin-Gropius-Bau, (DAAD) Berlin (1991), Kunsthalle Dusseldorf (1994), The Art Institute of Chicago (1996), the Kunstmuseum Dusseldorf (2000), the Sprengel Museum Hannover, Germany (2002), the Art Gallery of New South Wales, Sydney, Australia (2003) and the Scottsdale Museum of Contemporary Art, Arizona (2005). Their work is represented by Lisson Gallery in London and was recently exhibited at the Christine Burgin Gallery in New York.The exhibition is guest curated by Gregory Salzman, an independent curator who previously exhibited Svetlana and Igor Kopystiansky's video, Fog (1999-2000) in an exhibition concerning landscape. The present exhibition will travel to the Kunsthalle Fridericianum in Kassel, Germany, from December 20, 2005 to February 26, 2006. A fully illustrated catalogue, featuring essays by the exhibition's guest curator, Gregory Salzman and Whitney Museum of Art director, Adam D. Weinberg, will accompany the exhibition. All events related to this exhibition are free and all are welcome to attend. This program is supported in part by the University of Massachusetts Arts Council.
L'orchide italica (Orchis italica Poir., 1798), nota volgarmente come uomo nudo, è una pianta della famiglia delle orchidacee.
Come ricorda l'epiteto specifico, è una delle più diffuse orchidee selvatiche in Italia. Deve il nome comune alla forma del labello del fiore che sembra imitare il corpo di un uomo, compreso il sesso; ma questa sola caratterizzazione potrebbe portare a confonderla con la Orchis simia.
La pianta è alta da 20 a 50 cm, ma può eccezionalmente arrivare anche ad 80 cm.
Le foglie basali, disposte a rosetta, lunghe circa 10 cm, hanno forma ovata, margini fortemente ondulati e sono talvolta maculate.
Ne esiste una forma apocromatica interamente bianca.
In Italia è diffusa nelle regioni centro-meridionali ed in Sicilia, manca nelle regioni settentrionali ed in Sardegna.
Preferisce i prati aridi, le garighe, la macchia mediterranea o i boschi luminosi con predilezione per i suoli calcarei, da 0 a 1300 metri sul livello del mare.
Fiorisce tra marzo e maggio.
Wikipedia.
The Italic orchid (Orchis italica Poir . , 1798) , commonly known as a naked man , is a plant of the family of orchids .
How do you remember the specific epithet , is one of the most common wild orchids in Italy . It owes its name to the common form of the lip of the flower that appears to mimic the body of a man , including sex ; but only this characterization could lead to confusion with the Orchis Simia .
The plant is high from 20 to 50 cm, but can exceptionally be up to 80 cm .
The basal leaves arranged in a rosette, about 10 cm long , are ovate , strongly wavy margins and are sometimes spotted .
There is one form apochromatically entirely white .
In Italy it is widespread in central and southern regions and in Sicily , is missing in the northern regions and in Sardinia.
It prefers arid grasslands , scrublands the , the Mediterranean or the woods bright with a preference for calcareous soils , 0 to 1300 meters above sea level.
It blooms between March and May.
Wikipedia .
Argonne researcher prepares a surface area analyzer for the characterization of battery materials.
The Advanced Battery Materials Synthesis and Manufacturing R&D Program is focused on scalable process R&D to produce advanced battery materials in sufficient quantity for industrial testing. This work is intended to support domestic battery manufacturing and to enable the transition of new materials and technology to the market.
For more information or additional images, please contact 202-586-5251.
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: James Murnan/NOAA
Unbound:
@Unbounders:
Author David Brin posted this to his Facebook stream yesterday. How
appropriate to discover this marvelous resource via a well-known
author! David posts the most wonderful things to his Facebook page,
and if you don't follow him, I highly recommend doing so.
Unbound is a crowdsourcing tool. I'm a big fan of crowdsourcing.
Remember Hilary Clinton's concept, "It takes a village to raise a
child"? That is the basic idea — that it takes a village to do pretty
much anything worthwhile, and that the village may include a broader
range of people than we traditionally expect, and in roles that may
surprise some. Crowdsourced science (also known as citizen science)
gives a way for the general public to assist in generating, gathering,
organizing, and analysing data for various science projects. Unbound,
in part, creates a space to crowdsource funding for authors to write
books.
I remember back in grad school writing an entry for a scholarship
award contest, a one page essay. Mine was on the origins of copyright,
and let me tell you that writing a one-page essay on copyright was
quite possible the most difficult piece of writing I ever attempted.
The gist of it was that the original purpose of copyright was to:
a) provide incentives, rewards, and protections for those wonderful
creative people who do what the rest of can't but need;
b) to do so primarily in a form that fosters relationships between the
creative person and the audience who appreciates their works; and
c) with the primary purpose being to encourage the creative person to
KEEP BEING CREATIVE (as a benefit to society at large).
Well, copyright legislation has been co-opted, and no longer does what
it was intended to do, instead feeding the middleman instead of either
the creative person or the consumer of creative words and goods. In
response to the breakdown in copyright law and the resulting gaps
where it was originally functioning, we've seen a number of
alternatives arise, from shareware to open access and open source,
along with Creative Commons licensing and more. Unbound is another
entry into that chasm where copyright used to be.
Historically, for an author to write a book they either had to be a
person with a fair amount of leisure, or received donations from a
sponsor. The sponsor would often provide influence or shape to the
creative work, or would be honored in it, either through a thinly
veiled plotline hinting at their achievements, or by name or
characterization. Once publishers moved into prominence, royalty
advances became more typical, or grants from foundations or the
government specifically intended to support creative works that were
unlikely to generate commercial profit.
With more and more authors moving outside of commercial publishing to
make their works available, and taking advantage of print on demand
services, the role for publishers is changing quite a bit. Authors
have the choice of starting off independently (indie publishing, so to
speak) and then seeing if a large publisher is interested in picking
up on option after they see how it sells. I've bought Kindle books on
Amazon, and seen the author dialog with the readers and go back and
change things. Then I get the option of whether I want the new version
or the one I already read.
I've seen authors soliciting funding supporton Kickstarter for writing
a book, as well as composers
and game
designers and a wide variety of creative endeavors — even a comicbook!
Unbound is similar, but focusing specifically on writers and writing.
So here's the story, direct from the folks at Unbound.
"We think authors and readers should decide which books get published.
On the Unbound site, authors pitch their ideas directly to you. If you
like what you read, you can pledge your support to help make the book
happen. Everyone who supports an author before they reach 100% of the
funding target gets their name printed in every edition of that book.
All levels include a digital version and immediate access to the
author's shed while they write the book, and supporters of projects
that don't reach their target receive a full refund."
What, and who, do you want to be reading?
One of my chicks enjoys her favorite movie... :)
Meaning of 'Chick Flick' :
A film with characterization and storylines that appeal especially to women.
Remote sensing provides capabilities for regional characterizations and monitoring of landscape hazards.
Advanced sensor technologies and digital image processing techniques can be used to characterize geologic structure.
Thermal imaging can be used to examine processes, such as groundwater recharge/discharge systems.
SHOWN IS THE LOADING OF CONTACT-HANDLED TRANSURANIC WASTE INTO TRUPACT-LLS AT THE GENERAL ELECTRIC VALLECITOS NUCLEAR CENTER.
This shipment is headed to Idaho for characterization shipment to Waste Isolation Pilot Plant. (WIPP)
For more information or additional images, please contact 202-586-5251
plaque reads: Jan. 6 1880 - Oct 12. 1940 - In Memory of Tom Mix - Whose spirit left his body on this spot and whose characterization and protrayal in life served to better fix memories of the Old West in the minds of living men." • Tom Mix was film actor, 336 films 1910-1935 • drove 1937 yellow Cord 812 convertible about 75 mph on adjacent dirt road, crashed in ditch, died of broken neck caused by flying suitcase • my father's photo of Tom Mix Circus winter hq
Family will always drive you crazy.
They make long drives home even longer.
13.5% Shiraz Cabernet, out of my Rocky Horror Picture Show wine glass'. Oh, and UFC :)
THE HVEM, AT 1.5 MEV, IS THE MOST POWERFUL AND VERSATILE MICROSCOPE OF ITS KIND IN THE COUNTRY.
THE NATIONAL CENTER FOR ELECTRON MICROSCOPY AT THE LAWRENCE BERKELEY LABORATORY IS A USER-ORIENTED FACILITY DESIGNED TO MAKE AVAILABLE A WIDE RANGE OF MICRO-STRUCTURAL AND MICRO-CHEMICAL CHARACTERIZATION TECHNIQUES. THE CENTER IS BUILT AROUND TWO MICROSCOPES, EACH HOUSED IN ITS OWN THREE-STORY SILO. INSTALLED IN 1982, THE HIGH VOLTAGE ELECTRON MICRO- SCOPE (HVEM), WHICH ACCELERATES ELECTRONS TO ENERGIES OF 1.5 MILLION ELECTRON VOLTS (MEV), IS THE MOST POWERFUL MICROSCOPE OF ITS KIND IN THE U.S. THE ATOMIC RESOLUTION MICROSCOPE (ARM), INSTALLED IN 1983, OPERATES IN THE 0.4 TO 1.O MEV RANGE AND OFFERS THE HIGHEST RESOLUTION IN THE WORLD. THESE TWO INSTRUMENTS WILL ENABLE MATERIALS SCIENTISTS AND BIOLOGISTS TO STUDY SAMPLES UNDER THE MOST REALISTIC CONDITIONS EVER POSSIBLE AND TO DISTINGUISH INDIVIDUAL ATOMS IN EVEN CLOSELY PACKED METALLIC AND CERAMIC STRUCTURES.
For more information or additional images, please contact 202-586-5251.
The Wondrous Stag.
Book thesis on the characterization of female and male characters in western & eastern folktales.
Chemist (Postdoctoral Appointee), Catalysis and Energy Conversion, Chemical Sciences & Engineering
Area of study: Design, synthesis, characterization, and catalytic testing of the supported single-site “molecular” catalysts. More information.
Limestone, Late Classical, late 4th-3rd Century B.C.E., From the sanctuary of Apollo Hylates, Kourion
The figure is exceptional for the specificity of the characterization. It may have been dedicated by a ruler or warrior at the sanctuary of Apollo Hylates at Kourion.
From the collection of the Metropolitan Museum of Art, New York.
Polished flint spearpoint from the Pennsylvanian of Ohio, USA. (~10.3 centimeters tall) (made by Warren Whitmer)
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: 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
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).
Suspended Animation Classic #611
First published September 10, 2000 (#37) (Dates are approximate)
Superman: Reign of Emperor Joker
By Mark Allen
D.C.'s Superman books may have run their most entertaining story yet.
In "The Reign of Emperor Joker," Mr. Mxyzptlk, Superman's impish sparring partner from the 5th dimension, decides to give the Joker, Batman's insane nemesis, 1% of his cosmic powers as a prank. Tricked by the Clown Prince of Crime into revealing his secret name, Mxyzptlk is forced to surrender 99.9% instead. Chaos ensues as the Joker remakes the world in his twisted image, and becomes "Emperor Joker." In this world, Superman is the most dangerous villain known to man, while Bizarro is Earth's greatest hero. Superman must now help the JLA (a gang of criminals in this world) to remember the real Earth, and who they truly are, in order to enlist their aid and put an end to the Joker's reign.
The artists on the Super-books have their own distinctive and entertaining takes on Superman (my personal favorite being Ed McGuinness of Superman), and the writers do a wonderful job of "fleshing out" Supes and his supporting cast; it's been years since the character was less two-dimensional.
The best piece of characterization however, must be credited to writer Joe Kelly in Action Comics #770. In a stunning scene between Clark Kent (Superman), Bruce Wayne (Batman) and the Spectre, Clark realizes the trauma and horror Wayne has endured as the greatest enemy of an all-powerful Joker. Faced with the fact that the dark knight has been hopelessly broken by such violation, and believing that Batman is too badly needed to lose, Kent agrees to "adopt" those memories as his own, freeing his crime-fighting companion of any knowledge of the event. Several key events in the relationship between these two characters have transpired, but none more significant than this.
"The Reign of Emperor Joker" runs through the Emperor Joker Special, Superman #161, Adventures of Superman #583, Superman: The Man of Steel #105, and Action Comics #770, available at your local comic book store.
Lori Gittinger, Illinois Natural History Survey LTRMP Water Quality specialist, works with Kevin Simpson, YSI, Inc. Senior Project Manager for Global Systems and Services, as they launch PISCES (Pontoon for In-situ Characterization of Environmental Systems) into the Mississippi River for the first time in October 2012. Photo by S. Paige Allen, Lewis and Clark Community College photographer.
On a Farm 1875 - Józef Chełmoński (1849–1914)
'Chełmoński visited Ukraine on the way back from Munich. Having arrived in Warsaw, he produced works regarded as excellent manifestations of realism in Polish painting: Indian Summer, Night Watchman, Autumn, Before Guests’ Departure in Ukraine, Case before the Community Leader and On a Farm. These paintings determined the range of subjects typical of this artist: a rural landscape showing the lives of peasantry and gentry. On a Farm depicts a scene from the life of the borderland landed gentry, set in a vast, sunny landscape. The painting impresses with the perfect sense of space, air and light. With the aim to convey the transience of the moment as well as the vitality and sensual charm of the Ukrainian landscape, Chełmoński emphasized the randomness of the composition. The characterization of the representatives of the borderland society: a stocky lady of the manor, a lord of the manor with a Sarmatian moustache, a grey-haired estate supervisor and a stable boy with broad, work-worn hands, reveals his keen observation and a sense of humour. However, the ordinary beauty of these figures did not earn Chełmoński recognition from Warsaw critics, who were not able to accept the realism of this work. The artist was accused of triviality, the lack of aesthetics and weirdness. The public was also shocked by his vivid, contrasting colours and a bold, vigorous way of painting, considered as technical imperfection resulting from the sloppy finish. Aleksandra Krypczyk'
Vishnu Moorthi Theyyam is the characterization of “ Narasimham “ in ‘Puranam’
This is the Expression after killing “Hiranya Kashibu “ by Narasimham
Church of St Miles Coslany
Monument to Edmund †1784 and Elizabeth †1793 Hooke. Marble West wall, north. Commissioned by their son Edmund Hooke. Attributed to John Ivory
All the memorials had been removed from the church at the time that Simon Knott visited in 2016 (www.norfolkchurches.co.uk/norwichmiles/norwichmiles.htm), but the photograph taken by George Plunkett (georgeplunkett.co.uk Medieval city churches St Miles interior view west [2236] 1938-03-31) shows it in its original setting, before being replaced higher up to accommodate the new platform. That this extremely grand monument was planned as a larger pendant to that of his wife’s sister, Martha Wilson, was also commissioned by his son, another barrister Edward supports the view that, although unsigned, it too must be by John Ivory. Here the central urn has been replaced by a portrait bust. This shows Hooke with a serious lined face staring straight out. He wears a wig with curls and his lawyer’s costume, with books and a scroll resting on the base of the portrait bust under a winged angel with a foreshortened crown. The characterization is comparable to, but more vivid than, that of the earlier profile view on the medallion to Dr Thomas Moore, a collaboration with de Carle in Norwich Cathedral. Here the larger oval inscription is wreathed in garlands and set against a background warm marble similar to that in the monument to his sister in law, Martha Wilson.
The long inscription outlines Hooke’s distinguished career as a barrister and member of the Middle Temple noting that he had been sheriff in 1744 and had married Elizabeth Wilson, whose father was a manufacturer, who out lived him by nine years. The inscription draws attention to his role in dealing with the food riot in September 1766. The riot was prompted when a ‘butter woman’ had raised her price from 8d to 9d per pint. A mob damaged the market, and then to moved onto the New Mills, and then bakers and brewers. This was part of a wider pattern of discontent resulting from poor harvests here and abroad the previous year. This had prompted widespread anger that millers and grain farmers were keeping back or exporting their stock for greater profit and to drive up prices. The anger was shared by many middling people but fear that giving in to the rioters would encourage further disruptions often prompted firm action. The mayor, John Patteson, read the riot act, but armed citizens confronted the rioters, and the ring leaders were tried by a special commission and while eight were condemned to death, only two were executed.
Opinions about treatment of the rioters differed; Lord Barrington, the secretary of war, who had ordered militia to the city, wrote: ‘Pray hang as many of your prisoners as possible.’ The mayor referred to the prisoners as ‘unhappy convicts’ and, as the inscription notes, Edmund Hooke defended them without fee. If Lord Barrington’s letter mirrored one end of the spectrum of responses, those of John Patteson and Edmund Hooke that of the middling sort whose ‘sense of a moral economy’ extended distrust of rioters to those who used their economic power for profit.
Frank Meeres, A History of Norwich, Chichester, 1998, pp.99-10; Adrian Randall, Riotous Assemblies: Popular Protest in Hanoverian England, Oxford, 2006, pp. chapter 5 esp.
detail of winged angel heads
solar cell characterization
Customer - Soldaduras Avanzadas - Spain
Quinta Ingenieria develop custom tester equipment in automatic, semiautomatic and manual mode, including electrical testing, computer vision, measurement of torque, angle, size, etc. ...
We have developed test equipment and quality control (hardware and software) for automotive, solar and electronics in general
Please do CLICK View On Black
"Ladies, current affairs and another exception: Yeah, its cosmetics she is interested in" (Friend)
Today I had a wonderful discussion with Frederic and It was about characterization of Bernstein Polynomials! I didn't have lunch today (as usual) and when I got back from INRIA, I waited at republique, thinking about weather to rush back home and sate my hunger or quickly collect some pictures! In the process, I got this one done!
She looks hot and the red stole makes her look hotter!
Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」(individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
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University of Michigan
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WorldCat® Identities
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National Yang Ming University 國立陽明大學
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National Taiwan University of Science and Technology 國立臺灣科技大學
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Wikimedia Commons 維基共享資源
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
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聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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A Story of Professor Theophilus Raynsford Mann
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University of California, Berkeley period
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University of Oxford period
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German
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Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: James Murnan/NOAA
In 2009 I worked on a portfolio of photographs for my friend Raj. He needed an actor portfolio and this is a photo from that set.
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
Bell 47G approaching spray characterization card line. Aerial Pesticide Application Training (APAT). Ovid, Michigan.
Photo by: Unknown
Date: March 22, 2017
Credit: USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection.
Source: Forest Health Protection digital file collection. Regional Office; Portland, Oregon.
Image provided by USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
solar cell characterization
Customer - Soldaduras Avanzadas - Spain
Quinta Ingenieria develop custom tester equipment in automatic, semiautomatic and manual mode, including electrical testing, computer vision, measurement of torque, angle, size, etc. ...
We have developed test equipment and quality control (hardware and software) for automotive, solar and electronics in general
Laura Garci-a y Ricardo J. Rodriguez
A Journey through iOS Malware Landscape: Evolution & Characterization
[This photograph was identify the painter (378)]
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Édouard Vuillard French
Detail from: Madame Louis Kapferer , c. 1918-19
Glue-based distemper on canvas
This painting was commissioned by the sitter’s sons, Henri and Marcel. Madame Kapferer’s pose is regal, reminiscent of an El Greco cardinal, her expression austere. We feel we know what sort of person she is—her tastes, her cultural and economic class, her personality. From the curious angle of the viewpoint, the virtuoso treatment of her black dress, and the subtle disorder that reigns among the accumulated bibelots and photographs there emerges one of the artist’s masterpieces of setting and characterization.
Private Collection
From the placard: The Jewish Museum
ICARDA-ILRI training course on methods and approaches on phenotypic characterization of animal genetic resources (goats), Addis Ababa, 20-21 December 2012 (photo credit: ILRI/Liya Dejene).
Sesión de fotos inspirada en el libro de El Principito de Antoine de Saint-Exupéry / Photoshoot inspired by Le petit prince, by Antoine de Saint-Exupéry.
Frans de Waal, one of the world's most popular primatologists, states that the Bonobo often is capable of altruism, compassion, empathy, kindness, patience, and sensitivity. Other scientists have disputed these characterizations, pointing out that de Waal has not in fact observed Bonobos not living in captivity. The view that Bonobos are a more egalitarian species of primate has become controversial in recent years as more scientists have observed the Bonobo population in their natural habitat.
Palmistry, or chiromancy (also spelled cheiromancy; from Greek kheir (χεῖρ, ός; “palm”) and manteia (μαντεία, ας; “divination”)), is the claim of characterization and foretelling the future through the study of the palm, also known as palm reading or chirology. The practice is found all over the world, with numerous cultural variations. Those who practice chiromancy are generally called palmists, palm readers, palm analysts, or chirologists.
Suspended Animation Classic #326
Originally published March 26, 1995 (#13)
(Dates are approximate)
Golden Age Greats, The Rocketeer Adventure Magazine
By Michael Vance
“You’re about to be Terror stricken!” And you’ll be better for it.
If it’s true that the 1930s and 1940s were simpler times, many simply terrific characters were created during this ‘golden age’ of comic books.
It is true.
Among the best early superheroes were “The Flame”, “The Black Terror”, and "The Fighting Yank”. All are featured in “Golden-Age Greats”, a thick, new collection from Paragon publishing.
That these were simpler times is reflected in the clean, uncluttered plots that dominated these characters who had clean, uncluttered definitions of right and wrong. All fought evil, and evil was always defeated. Adventure and art won over characterization and plot twists every time, but they remain wonderfully intriguing even today.
The best of this volume are “The Flame”, a yellow and red garbed hero with vaguely outlined powers who fought crime, and “The Black Terror”, who donned one of the best uniforms in comics history, all black except for yellow arm and leg bands, a stark skull and bones emblazoned the chest.
They are best because the art on “The Flame” remains outstanding even today, though these early stories lack the polish of later Lou Fine masterpieces. In the two reprinted features, this hero battles racketeers who infest the construction business, and a mob leader whose schemes are carried out by zombies.
Both writing and art on “The Black Terror” are distinctive, technically brilliant, and downright fun. With art by Jerry Robinson and Mort Meskin, “The Black Terror” and his sidekick solve a circus murder.
The remaining “Espionage-Black X” by comics genius Will Eisner, and “The Fighting Yank” by Robinson and Meskin round out a rip-roaring leap back into the early, energetic days of comic books.
Leap with them. Highly recommended.
“Golden Age Greats” (#3)/78 pages, $9.95/available in comics shops and by mail.
MINIVIEW: “The Rocketeer Adventure Magazine”. Pulp magazine and movie serial thrills in the tradition of “G-8” and “The Shadow”. A must buy.
Scientist analyzes results at Argonne National Laboratory's Battery Post-Test Facility.
The facility allows the laboratory's renowned researchers to dissect, harvest and analyze battery materials from used and previously tested battery cells in order to identify for developers and manufacturers the exact mechanisms that limit the life of their battery cells. This is preformed in one glove box. It keeps the air-sensitive battery materials pristine and intact, yielding more information about what's really going on in the later stages of characterization and analysis.
For more information or additional images, please contact 202-586-5251.
it doesn't hurt.
i got an external today.
however, i still have a piece of junk of computer.
ever spend $200 at dollarama? i did today. the most important items: chocolate and sparklers.
oh and hey? notice my new hair? BANGs
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: James Murnan/NOAA
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).
Project: UAS CHARACTERIZATION OF HIGH WIND DAMAGE TO VEGETATION AND RURAL AREA ASSESSMENTS
With the help of the NOAA Oceanic and Atmospheric Research (OAR) Uncrewed Systems Research Transition Office (USRTO), scientists from the NOAA National Severe Storms Laboratory in collaboration with the Cooperative Institute for Mesoscale Meteorological Studies are working on developing an uncrewed aircraft system (UAS)-based approach to better characterize high-wind damage to vegetation and in rural areas to improve disaster response and recovery.
Photo Credit: NOAA
Witnessing the Birth of a Baby Planet: The first image captured by the Hubble Space Telescope of the newborn exoplanet PDS70b, orbiting a young star approximately 370 light years away from Earth. Undergraduate researcher Aniket Sanghi applied a technique called angular differential imaging to systematically remove contamination from the host star's light to uncover the nearly 1000 times fainter planet, seen bottom left in the image. The host star's position relative to the planet is marked with a white asterisk. The black circle masks the host star's residual light. Cardinal directions north and east are shown on the top right as arrows. The young planet is actively accreting mass onto itself. This high-fidelity detection enables the detailed characterization of its underlying formation mechanisms.
— Aniket Sanghi, Astronomy and Physics Undergraduate Student
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).
Monica Mason, Director, The Royal Ballet coaches First Artist Francesca Filpi in the characterization of Gertrude from Giselle at a recent Insights event. Philip Cornfield is at the piano.
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Photograph: Tom Nelson
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
Flint from the Pennsylvanian of Ohio, USA. (field of view ~1.85 centimeters across)
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.
The sample shown here has numerous subtle, thin, closely-spaced lines and 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 (?).
This flint is sparsely fossiliferous with macrofossils of crinoid stem columnals, preserved as empty external molds (= vugs) (= structure at the center of the picture).
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)