View allAll Photos Tagged characterization
A note about these renders:
I forget from who I gleaned this idea from, but I have rendered the same model with both bluerender and LDD to POVRay converter from the same orientation and field of view. The renders are laid over each other in software after the fact, and adjusted so that bluerender offers its rich color, and POVRay offers the definition to the elements.
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Initiative to model this came from a challenge at Brick Model Railroader calling for LEGO builders to make rolling stock that would look silly navigating 40-stud radius curves. I applaud BMR for coming up with a contest that promotes being "silly"--self-awareness is a good counter weight to being an adult who plays with toys under the pretense of being a "scale modeler".
This is the first train I have built with an 8-stud wide cab. All my previous North American rolling stock was built strictly to a seven-stud wide cabin width (not including pistons or rods etc. which inevitably protrude). I find some irony in that the prototype is of European origin. The real locomotives operate on a 3,5" track gauge so maybe I can be forgiven.
The scale, generally, is indeterminate. The LEGO build measures 82 studs in length to the proto's 92 feet, but as other builders of steam locomotives have decided on it is the diameter of the driving wheels that govern the scale. I am not one to plan out the exact dimensions of a train build in advance. I eyeball it from start to finish. My philosophy is that a better toy model may come firstly from a characterization of the prototype where there is compatibility between its character and the character of LEGO elements and assemblies, and only secondly by bare scale accuracy to the dimensions of the prototype.
...Which is a long liberal-arts degree way of saying, oh hell, I will just put LEGO together until I like the way it looks.
Characterization | ROSKILDE FESTIVAL GRAFFITI 2013 | © Frederik Emil Høyer-Christensen/gbCrates (All Rights Reserved)
5 words for my future self
When I talk to someone I sometimes ask if a person can describe his close friend using only 5 adjectives. That puzzles sometimes as one tries extremely hard to find only positive connotations in characterization of the others in order not to sound rude. I like asking it simply because I like to see how people analyze the behavior of the others. It is surprising to see that the things I find positive, others find negative and vise a versa.
It is one thing to characterize others and completely another to characterize yourself. The procedure of characterization should be taking very seriously. No favors. To be true to oneself is rather difficult. We usually try to find excuses for our actions and behavior.
There are some certain traits of my character on which I want to work. Almost a year ago I have chosen 5 words that perfectly characterize what I want my future self to be. The words portray whom I want to be. Here they are:
1. Kind. I want to become kinder to people. Although I dare to admit that I remember two episodes in my life I wished somebody something bad. Paying no attention to the fact that the deeds towards me were truly terrible and disgusting, I understand that there is no way to hatred. I believe that a person should not hide his offences or else they will choke him one day. The key note to the world is in kindness and forgiveness.
2. Caring. I pay a lot attention to my family and close friends. I want them to feel secure and happy. For those people I am ready and available at any time.
3. Inspired. I think that inspiration rules the world. If someone has no passion for something than I doubt if he is alive. I get inspired by people, cinema, imagination, nature and simply life as it is.
4. Holistic. A holistic person is one living in harmony, one who is ready to take decisions and bear responsibility. I have no problem with taking responsibility and risks, but I have a problem in taking too much of responsibilities (sometimes the responsibility of others) so that one can comfortably sit on my neck. I try hard on that point to change the situation.
5. Calm. I find this point the most important. I used to be hot-tempered. Now I consider myself to be much more balanced. But I still have to deal with needless nervousness. I think that the problem taken with calmness is a half way to its solution.
The list of these 5 words is kept on my working space. I look at the list every day and see the progress I made. A lot has to be done, but I feel that I am on the right way.
Now tell me, dear friends, what are your 5 words?
Model: Dasha Egorowa
| blog
French postcard by lmp editions, no. SH 071. Photo: Studio Harcourt, Paris, 2005.
French model and actress Laetitia Casta (1978) became a Guess? Girl in 1993 and was a spokesperson for cosmetics company L'Oreal. She has appeared on over 100 covers of such magazines as Cosmopolitan, Vogue, Rolling Stone, Elle and Glamour, and modelled for designers like Yves Saint Laurent, Jean-Paul Gaultier, Chanel, and Vivienne Westwood. After her film debut in the blockbuster Asterix & Astérix et Obélix contre César/Asterix & Obelix Take On Caesar (1999), Casta became an established actress. She starred on stage in 'Ondine' (2004-2005) as well as in films like Nés en 68/Born in 68 (2008), Visage/Face (2009) and as Brigitte Bardot in Gainsbourg (Vie héroïque)/Gainsbourg: A Heroic Life (2010).
Laetitia Marie Laure Casta was born in Pont-Audemer in Normandy in 1978. She spent her childhood in Normandy and Corsica, while her mother, Line Blin, from Normandy and her father, Dominique Casta, from Corsica. She has an older brother, Jean-Baptiste, and a younger sister, Marie-Ange. Casta's modelling career reportedly began when she was discovered by the photographer Frederic Cresseaux, an agent of Paris' Madison Models, during a family holiday in her father's native Corsica, at age 15. With her natural beauty, she impressed both the agency director and the editor of Elle magazine and got a contract. In 1993 Laetitia signed on with Guess? Jeans for a very successful advertising campaign. Since 1998, Casta has been the L'Oréal Paris brand ambassador. Casta has appeared on over 100 magazine covers including Victoria's Secret catalogues, Harper's Bazaar, Elle magazine, and Vogue magazine. She is the face of several fragrances, including Chanel's Allure and Givenchy's Forbidden flower. She walked down the annual Victoria's Secret Fashion Show from 1997 till 2000. In 1999, Casta was ranked first in a national survey ordered by the French Mayors Association to decide who should be the new model for the bust of Marianne, an allegorical symbol of the French Republic, which stands inside every French town hall. For her first film, Casta has made forays into the blockbuster Asterix & Astérix et Obélix contre César/Asterix & Obelix Take On Caesar (Claude Zidi, 1999), based on the comic book by René Goscinny. In this live-action film, she played Falbala, a love interest for Obelix (Gérard Depardieu). It was the most expensive French film ever made and a smash hit in Europe. Her acting career gained momentum when she starred in the TV mini-series La bicyclette bleue/The blue bicycle (Thierry Binisti, 2000), set in WWII France.
The following year, Laetitia Casta appeared in the dramatic film Les Âmes Fortes/Savage Souls (Raoul Ruiz, 2001). It was a major disappointment. James Travers at Films de France: “Despite an impressive cast and some excellent production values, this quality adaptation of the classic French novel by Jean Giono generally fails to engage the spectator and is amongst the least satisfactory of Raoul Ruiz's directorial efforts to date. Visually impressive this film may be - with some beautiful photography of its Provencal setting and meticulous attention to period detail - but shallow characterization and uneven narrative pacing make watching it a painfully empty experience.” Other films are Errance/Wandering (Damien Odoul, 2003) and the TV film Luisa Sanfelice (Paolo Taviani, Vittorio Taviani, 2004). On stage, she featured in the plays Ondine (2004-2005) written by Jean Giraudoux and Elle t'attend (She is waiting for you) (2008), written and directed by Florian Zeller. In the cinema, she worked with interesting directors like Olivier Ducastel and Jacques Martineau for Nés en 68/Born in 68 (2008) and Tsai Ming-Liang for Visage/Face (2009). Her interpretation of Brigitte Bardot in the film Gainsbourg (Vie héroïque)/Gainsbourg: A Heroic Life (Joann Sfar, 2010) was received well. She was nominated for the César Award of the Best Supporting Actress. Casta served as a jury member at the 69th Venice International Film Festival in 2012. That year, she also appeared in her first American film, Arbitrage (Nicholas Jarecki, 2012) starring Richard Gere. In 2012 Laetitia Casta became a Chevalier dans l'Ordre des Arts et des Lettres (Knight in Order of Arts and of Letters). Since then she appeared with Vanessa Paradis and Isabelle Adjani in Very Bad Girls (Audrey Dana, 2014), in L'Homme fidèle/A Faithful Man (Louis Garrel, 2018), and in Le Milieu de l'horizon/Beyond the Horizon (Delphine Lehericey, 2019). Since 2017, she is married to French actor Louis Garrel. She has four children: a daughter Sahteene Sednaoui (2001) with her ex-boyfriend, the photographer Stephane Sednaoui, a son Orlando Accorsi (2006) and a daughter Athena Accorsi (2009) with ex-fiancé, the Italian actor Stefano Accorsi and a son Azel (2021) with husband Louis Garrel. Her most recent films are Coma (Bertrand Bonello, 2022) with Julia Faure and the recently deceased Gaspard Ulliel, and Selon la police/Cop goes missing (Frédéric Videau, 2022).
Sources: James Travers (Films de France), Paul Agius (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
For BBC Contest 78: The Good 20-20!
Based off the BZTower Brickfair 2011 Build
Backstory: During the after hours of BrickFair VA in 2011, when a bunch of us either didn't want to join the Adult drinking events (or were too young to), we raided the collection of loose Lego bricks and built a giant tower, thusly named the BZTower after our favorite fansite.
This model commemorates that moment when a bunch of us came together to make a quick but massive model. Additionally, this also honors the tradition of building MOCs based off BZP members. Because, in case it isn't obvious, these are abstract characterizations of some of the members involved based on their usernames.
From left to right, we have Chocolate Frogs, Emperor Whenua, Me (Xccj), Nuju Metru, and Bionicle Raptor.
British postcard by Anabas, Essex, no. AP752.
French model and actress Laetitia Casta (1978) became a Guess? Girl in 1993 and was a spokesperson for cosmetics company L'Oreal. She has appeared on over 100 covers of such magazines as Cosmopolitan, Vogue, Rolling Stone, Elle and Glamour, and modelled for designers like Yves Saint Laurent, Jean-Paul Gaultier, Chanel, and Vivienne Westwood. After her film debut in the blockbuster Asterix & Astérix et Obélix contre César/Asterix & Obelix Take On Caesar (1999), Casta became an established actress. She starred on stage in 'Ondine' (2004-2005) as well as in films like Nés en 68/Born in 68 (2008), Visage/Face (2009) and as Brigitte Bardot in Gainsbourg (Vie héroïque)/Gainsbourg: A Heroic Life (2010).
Laetitia Marie Laure Casta was born in Pont-Audemer in Normandy in 1978. She spent her childhood in Normandy and Corsica, while her mother, Line Blin, from Normandy and her father, Dominique Casta, from Corsica. She has an older brother, Jean-Baptiste, and a younger sister, Marie-Ange. Casta's modelling career reportedly began when she was discovered by the photographer Frederic Cresseaux, an agent of Paris' Madison Models, during a family holiday in her father's native Corsica, at age 15. With her natural beauty, she impressed both the agency director and the editor of Elle magazine and got a contract. In 1993 Laetitia signed on with Guess? Jeans for a very successful advertising campaign. Since 1998, Casta has been the L'Oréal Paris brand ambassador. Casta has appeared on over 100 magazine covers including Victoria's Secret catalogues, Harper's Bazaar, Elle magazine, and Vogue magazine. She is the face of several fragrances, including Chanel's Allure and Givenchy's Forbidden flower. She walked down the annual Victoria's Secret Fashion Show from 1997 till 2000. In 1999, Casta was ranked first in a national survey ordered by the French Mayors Association to decide who should be the new model for the bust of Marianne, an allegorical symbol of the French Republic, which stands inside every French town hall. For her first film, Casta has made forays into the blockbuster Asterix & Astérix et Obélix contre César/Asterix & Obelix Take On Caesar (Claude Zidi, 1999), based on the comic book by René Goscinny. In this live-action film, she played Falbala, a love interest for Obelix (Gérard Depardieu). It was the most expensive French film ever made and a smash hit in Europe. Her acting career gained momentum when she starred in the TV mini-series La bicyclette bleue/The blue bicycle (Thierry Binisti, 2000), set in WWII France.
The following year, Laetitia Casta appeared in the dramatic film Les Âmes Fortes/Savage Souls (Raoul Ruiz, 2001). It was a major disappointment. James Travers at Films de France: “Despite an impressive cast and some excellent production values, this quality adaptation of the classic French novel by Jean Giono generally fails to engage the spectator and is amongst the least satisfactory of Raoul Ruiz's directorial efforts to date. Visually impressive this film may be - with some beautiful photography of its Provencal setting and meticulous attention to period detail - but shallow characterization and uneven narrative pacing make watching it a painfully empty experience.” Other films are Errance/Wandering (Damien Odoul, 2003) and the TV film Luisa Sanfelice (Paolo Taviani, Vittorio Taviani, 2004). On stage, she featured in the plays Ondine (2004-2005) written by Jean Giraudoux and Elle t'attend (She is waiting for you) (2008), written and directed by Florian Zeller. In the cinema, she worked with interesting directors like Olivier Ducastel and Jacques Martineau for Nés en 68/Born in 68 (2008) and Tsai Ming-Liang for Visage/Face (2009). Her interpretation of Brigitte Bardot in the film Gainsbourg (Vie héroïque)/Gainsbourg: A Heroic Life (Joann Sfar, 2010) was received well. She was nominated for the César Award of the Best Supporting Actress. Casta served as a jury member at the 69th Venice International Film Festival in 2012. That year, she also appeared in her first American film, Arbitrage (Nicholas Jarecki, 2012) starring Richard Gere. In 2012 Laetitia Casta became a Chevalier dans l'Ordre des Arts et des Lettres (Knight in Order of Arts and of Letters). Since then she appeared with Vanessa Paradis and Isabelle Adjani in Very Bad Girls (Audrey Dana, 2014), in L'Homme fidèle/A Faithful Man (Louis Garrel, 2018), and in Le Milieu de l'horizon/Beyond the Horizon (Delphine Lehericey, 2019). Since 2017, she is married to French actor Louis Garrel. She has four children: a daughter Sahteene Sednaoui (2001) with her ex-boyfriend, the photographer Stephane Sednaoui, a son Orlando Accorsi (2006) and a daughter Athena Accorsi (2009) with ex-fiancé, the Italian actor Stefano Accorsi and a son Azel (2021) with husband Louis Garrel. Her most recent films are Coma (Bertrand Bonello, 2022) with Julia Faure and the recently deceased Gaspard Ulliel, and Selon la police/Cop goes missing (Frédéric Videau, 2022).
Sources: James Travers (Films de France), Paul Agius (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Raznikov House, address 23 Kalischer Street in Tel Aviv, was built in 1925 and designed by architect Moshe Lubernizky for residential purposes in the eclectic style. The building incorporates a 19th-century inspired facade with influences from Jewish motives, such as plaster decorations in the shape of the two tablets of stone, with building characterizations from the 1920's. The building was renovated in 2013 by Lala architects office.
Persecuting Artists.
Différenciation des propriétés Indifférent universalité négatif sens de haptodysphoria,
stabilit vorbind colectoare întrepătrund senzuale agățat gât unitate,
Цель непрерывности принципы критерий универсальное сознание вычеты расстреляли,
extrema motus perceptiones febriphobia picta films operas numerosa salit exhibits,
προέκυψε αναλήθειες ευαισθητοποίηση σιωπηρή αφαιρέσεις υπάρχουν φυγής καλλιτέχνες υπόγεια,
dolori pesantezza impazienti aborrivano stati disgrazie pubbliche orribili scomposti,
podrážděný nejistota práce cynický unasinous styly předpoklady výkyvy nálady konspirovat,
csíkozás emberölés falak eltérő blatteroons különcség bűnös társadalmi törvények születtek,
karaluchy majaczenia kompozycje walki notorycznie rozmowy w awarii Adoksografia,
hopeloos moorden onverantwoord biografen krankzinnig eeuw dissipatie steiger hoog,
arweinwyr bywiog condemnio artistiaid emosiynol yn amddiffyn characterizations hanwybyddu,
スキャンダラスな尋問血液スラッシングキャンバスアーティスト非常識なシーン.
Steve.D.Hammond.
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Photographed at Algonquin Provincial Park, Ontario, Canada
between 22.21 and 22.43 EDT
(285 km by road north of Toronto)
* Altitude of M16 at time of exposures: 29°, decreasing to 27°
* Temperature 11° C.
* Total exposure time: 10 minutes
* 1200 mm focal length telescope
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Description:
This is another favourite target of amateur astronomers with modest telescopes. The human eye can detect only black, white and various shades of grey when observing most celestial objects in the sky, but the digital camera sensor records the colours that are actually present.
From Wikipedia:
"The Eagle Nebula (catalogued as Messier 16 or M16, and as NGC 6611, and also known as the Star Queen Nebula and The Spire) is a young open cluster of stars in the constellation Serpens, discovered by Jean-Philippe de Chéseaux in 1745–46. Both the "Eagle" and the "Star Queen" refer to visual impressions of the dark silhouette near the center of the nebula, an area made famous as the "Pillars of Creation" photographed by the Hubble Space Telescope. The nebula contains several active star-forming gas and dust regions, including the Pillars of Creation.
The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is catalogued as IC 4703. This region of active current star formation is about 7000 light-years distant. A spire of gas that can be seen coming off the nebula in the northeastern part is approximately 9.5 light-years or about 90 trillion kilometers long.
The cluster associated with the nebula has approximately 8100 stars, which are mostly concentrated in a gap in the molecular cloud to the north-west of the Pillars. The brightest star (HD 168076) has an apparent magnitude of +8.24, easily visible with good binoculars. It is actually a binary star formed of an O3.5V star plus an O7.5V companion.[6] This star has a mass of roughly 80 solar masses, and a luminosity up to 1 million times that of the Sun. The cluster's age has been estimated to be 1–2 million years.
The descriptive names reflect impressions of the shape of the central pillar rising from the southeast into the central luminous area. The name "Star Queen Nebula" was introduced by Robert Burnham, Jr., reflecting his characterization of the central pillar as the Star Queen shown in silhouette."
To see a wider angle view this star cluster and nebula and other adjacent ones, click here:
www.flickr.com/photos/97587627@N06/28874267555
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Nikon D810a camera body on Explore Scientific 152 mm (6") apochromatic refracting telescope, mounted on Astrophysics 1100GTO equatorial mount with a Kirk Enterprises ball head
Ten stacked subframes; each frame:
ISO 5000; 1 minute exposure at f/8
(with LENR - long exposure noise reduction)
Subframes stacked in RegiStar;
Processed in Photoshop CS6 (brightness, contrast, levels, colour balance, sharpening)
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Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56545. Photo: MGM / Collection Cinémathèque Suisse, Lausanne. Buster Keaton and Kathryn McGuire in Sherlock Junior (Buster Keaton, 1924).
Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.
Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from the impassive to the slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gag man, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.
Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge had divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at a great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.
Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel), and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton had returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.
Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
And, please check out our blog European Film Star Postcards.
PATUXENT RIVER, Md. – On June 14, F-35B Joint Strike Fighter test aircraft BF-2 completed the first test flight for the short takeoff and vertical landing variant with an asymmetric weapons load. Cmdr. Eric Buus flew BF-2 with an AIM-9X Sidewinder inert missile on the starboard pylon, a centerline 25 mm gun pod, and a GBU-32 and AIM-120 in the starboard weapon bay. Significant weapons testing for the F-35B and F-35C variants is in progress, including fit checks, captive carriage environment characterization, and pit drops. Aerial weapons separation testing is scheduled for this summer.
The F-35B is the variant of the Joint Strike Fighter for the U.S. Marine Corps, capable of short take-offs and vertical landings for use on amphibious ships or expeditionary airfields to provide air power to the Marine Air-Ground Task Force. The F-35B is undergoing test and evaluation at NAS Patuxent River prior to delivery to the fleet.
(Photo courtesy of Lockheed Martin)
The saga continues with cars of director Raphael Granas 2025.
This month, The Joker.
The Joker is a fictional character, a comic book supervillain published by DC Comics. He is the archenemy of Batman, having been directly responsible for numerous tragedies in Batman's life, including the paralysis of Barbara Gordon and the death of Jason Todd, the second Robin. Created by Jerry Robinson, Bill Finger and Bob Kane, the character first appeared in Batman Nº1 (Spring 1940).
Throughout his comic book appearances, the Joker is portrayed as a master criminal whose characterization has varied. The original and currently dominant image is of a highly intelligent psychopath with a warped, sadistic sense of humor, while other writers have portrayed him as an eccentric prankster. Similarly, throughout the character's long history, there have been several different origin tales; they most commonly depict him as falling into a tank of chemical waste, which bleaches his skin white and turns his hair green and his lips bright red, giving him the appearance of a clown. He has been repeatedly analyzed by critics as the perfect adversary for Batman. Their long, dynamic relationship often parallels the concept of 'Yin and Yang'.
As one of the most iconic and recognized villains in popular media, The Joker was ranked Nº1 on Wizard's list of the 100 Greatest Villains of All Time.He was also named Nº2 on IGN's list of the Top 100 Comic Book Villains of All Time List, was ranked Nº8 on the Greatest Comic Book Characters in History list by Empire (being the highest ranking villain on the list) and was listed as the fifth Greatest Comic Book Character Ever in Wizard Magazine's 200 Greatest Comic Book Characters of all Time list, also the highest villain on the list. On their list of the 100 Greatest Fictional Characters, Fandomania.com ranked the Joker at number 30.
Black on flat water past the jonquil lawns
Riding, the black swan draws
A private chaos warbling in its wake,
Assuming, like a fourth dimension, splendor
That calls the child with white ideas of swans
Nearer to that green lake
Where every paradox means wonder.
From The Black Swan by James Merrill (1926 - 1995)
The term black swan was a Latin expression — its oldest known reference comes from the poet Juvenal's characterization of something being "rara avis in terris nigroque simillima cygno" (6.165).[1] In English, this Latin phrase means "a rare bird in the lands, and very like a black swan." When the phrase was coined, the black swan was presumed not to exist. Juvenal's phrase was a common expression in 16th century London as a statement of impossibility. The London expression derives from the Old World presumption that all swans must be white because all historical records of swans reported that they had white feathers. In that context, a black swan was impossible or at least nonexistent. After a Dutch expedition led by explorer Willem de Vlamingh on the Swan River in 1697, discovered black swans in Western Australia, the term metamorphosed to connote that a perceived impossibility might later be disproven.
touch me im sick
stigma
Social stigma is severe social disapproval of personal characteristics or beliefs that are perceived to be against cultural norms.
Examples of existing or historical social stigmas include mental illness, physical disabilities and diseases such as leprosy, about which leprosy stigma may also be called, as well as illegitimacy, skin tone or affiliation with a specific nationality, religion (or lack of religion) or being deemed to be or proclaiming oneself to be of a certain ethnicity, in any of a myriad of geopolitical and corresponding sociopolitical contexts in various parts of the world.
The perception or attribution, rightly or wrongly, of criminality carries a strong social stigma.
Stigma comes in three forms:[4] Firstly, overt or external deformations, such as scars, physical manifestations of anorexia nervosa, leprosy (leprosy stigma), or of a physical disability or social disability, such as obesity. Secondly, deviations in personal traits, including mental illness, drug addiction, alcoholism, and criminal backgrounds are stigmatized in this way. Thirdly, "tribal stigmas" are traits, imagined or real, of ethnic groups, nationalities, or religions that are deemed to constitute a deviation from what is perceived to be the prevailing normative ethnicity, nationality or religion. Stigma is generally based on stereotypical and uninformed impressions or characterizations of a given subject. Although the specific social categories that become stigmatized can vary across times and places, the three basic forms of stigma (physical deformity, poor personal traits, and tribal outgroup status) are found in most cultures and time periods, leading some psychologists[citation needed] to hypothesize that the tendency to stigmatize may have evolutionary roots.
French postcard by Éditions Hazan, Paris, no. 6007, 1988. Photo: Sam Levin, 1969. Federico Fellini on the set of Satyricon (1969).
Italian film director and screenwriter Federico Fellini (1920-1993) was one of the most influential filmmakers of all time. He was known for his distinct style that blends fantasy and baroque images with earthiness. In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita (1960), was nominated for twelve Academy Awards. He won an Oscar for La Strada (1954), Le notti di Cabiria (1957), 8½ (1963) and Amarcord (1973).
Federico Fellini was born in 1920 in Rimini in the Emilia-Romagna region. His native Rimini and characters there like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would later be remembered in several of his films. His traveling salesman father Urbano Fellini showed up in La dolce vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. Fellini's first passion was the theater, and at the age of 12, he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real-life role of a journalist. Additionally, Fellini worked as an artist on fumetti (Italy's illustrated magazines), and occasionally even made his living as a caricaturist at Roman restaurants. He caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds 'Cico and Pallina'. Pallina was played by acting student Giulietta Masina, who became Fellini's real-life wife in 1943. They remained together until his death. The young Fellini loved vaudeville and was befriended in 1939 by leading comedian Aldo Fabrizi. Fabrizi recruited Fellini to supply stories and ideas for his performances; between 1939 and 1944. The two men worked in tandem on a number of largely forgotten comedies, among them No Me Lo Dire, Quarta Pagina, and Campo de Fiori. When young director Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma città aperta (Roberto Rosselini, 1945), he made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisà (Roberto Rosselini, 1946). Dale O'Connor at IMDb: "On that film, he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work."
Federico Fellini collaborated on films by Pietro Germi (including In Nomine Della Legge and Il Cammino Della Speranza) and Alberto Lattuda (Il Delitto di Giovanni Episcopo and Il Mulino del Po), among others. In 1948, Fellini completed the screenplay for Il Miracolo, the second and longer section of Rossellini's two-part effort Amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters (a simple-minded peasant girl and her male counterpart, a kind of holy simpleton), recurring motifs (show business, parties, the sea), and an ambiguous relationship with religion and spirituality. He further explored this in his script for Rossellini's Francesco, Giullare di Dio (Roberto Rosselini, 1949). In 1950, Fellini made his first attempt at directing one of his own screenplays (with help of Alberto Lattuda), Luci del Varieta (Federico Fellini, Alberto Lattudada, 1950), which further developed his fusion of neorealism with the atmosphere of surrealism. Fellini then directed the romantic satire Lo Sciecco Bianc. The film marked his first work with composer Nino Rota. Fellini's initial masterpiece, I Vitteloni, followed in 1953. The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of many similar honours. The brilliant La Strada followed in 1954, also garnering the Silver Lion as well as the Oscar for Best Foreign Language Picture. After helming Il Bidone (1955), Fellini and a group of screenwriters (including a young Pier Paolo Pasolini) began work on Le Notti di Cabiria (1956), which also won an Oscar. Then he mounted La Dolce Vita (1960), the first of his pictures to star actor Marcello Mastroianni. He would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La Dolce Vita won the Palm d'Or at the Cannes Film Festival and remains a landmark in cinematic history.
During the 1960s, many films by Federico Fellini were influenced by the work of Swiss psychiatrist Carl Jung and his ideas on the role of archetypes and the collective unconscious. The women who had both attracted and frightened him in his youth and an Italy dominated in his youth by Mussolini and Pope Pius XII inspired Fellini's dreams. In the 1960s, he started to record them in notebooks, and life and dreams became the raw material for such films as 8½ (1963) or Fellini - Satyricon (1969). With 1965's Giulietta Degli Spiriti, Fellini worked for the first time in color. After experimenting with LSD under the supervision of doctors, he began scripting Il Viaggio di G. Mastorna. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial. Finally on April 10th, 1967, Fellini suffered a nervous breakdown, resulting in a month-long nursing homestay. Ultimately, he gave up on ever bringing Il Viaggio di G. Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre Passi nel Delirio. Turning to television, he helmed Fellini: A Director's Notebook, a one-hour special for NBC, followed by the feature effort Fellini Satyricon. I Clown followed in 1970, with Roma bowing in 1972. Amarcord, a childhood reminiscence, won a fourth Academy Award in 1974. It proved to be his final international success. He later shot Il Casanova di Federico Fellini (1976), Prova d'Orchestra (1979), and La Citta delle Donne (1980), which were less successful. Fellini turned to publishing with Fare un Film, an anthology of notes about his life and work. E la Nave Va (1983) and Ginger e Fred (1985) followed, but by the time of L'Intervista (1987), he was facing considerable difficulty finding financing for his projects. His last completed film was La Voce Della Luna (1989). In the early 1990s, Fellini helmed a handful of television commercials, and in 1993 he won his fifth Academy Award for a lifetime of service to the film industry. In 1993, Federico Fellini died the day after his 50th wedding anniversary. He was 73 years old. Jason Ankeny at AllMovie: "One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term "Felliniesque" could accurately describe it. "
Source: Jason Ankeny (AllMovie), Dale O' Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
府城的119消防隊 - 從文學館看世界 / 古蹟是文化的表徵 - 整修美容風華再現
Tainan city 119 fire brigades - The views of the National Museum of Taiwanese Literature / Characterization of cultural monuments - The refurbishment of beauty elegance reproduction
Departamentos de bomberos de la ciudad 119 de Tainan - Las vistas del Museo Nacional de la literatura taiwanesa / Caracterización de los monumentos culturales - La remodelación de reproducción elegancia belleza
府城の119消防隊 - 台湾の文献の国立博物館の眺め / 古跡は文化の外面に現れたしるしです - 美容を修繕する風采と文才は再現します
Feuerwehren der Tainan-Stadt 119 - Die Ansichten des Nationalmuseums der taiwanesischen Literatur / Charakterisierung von Kulturdenkmälern - Die Sanierung der Schönheit Eleganz Wiedergabe
Les sapeurs-pompiers de la ville 119 de Tainan - Les vues du Musée National de la littérature taiwanaise / Caractérisation des monuments culturels - La rénovation de la beauté élégance reproduction
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2015/10/03 安平古堡 Fort Zeelandia performances
{ 誰よりも君を愛す I love you more than anyone else 我比誰更愛你 }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
家住安南鹽溪邊
The family lives in nearby the Annan salt river
隔壁就是聽雨軒
The next door listens to the rain porch
一旦落日照大員
The sunset Shineing to the Taiwan at once
左岸青龍飛九天
The left bank white dragon flying in the sky
From the back cover:
HOT BLOOD IN HARLEM
Maybe Luz wasn't the best kind of woman, but she was a real beauty -- and she belonged to Carlos. But one night Carlos came back to their flat in Spanish Harlem and found her gone. Now in the code of his birthplace, there was only one thing to do. So he bought a knife and started hunting the other man.
But this wasn't Puerto Rico, this was the teeming tenement jungle of Manhattan, and the man who'd stolen his wife was its feared boss -- a racketeer and killer. And Carlos, by his action, set off a chain reaction of vengeance and terror that could not be stopped until it reached its explosive climax.
Louis Malley, author of "Horns for the Devil," has written a tension-packed novel of the Puerto Ricans in America, told with understanding, full-bodied characterization and rising excitement.
Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56550. Photo: MGM / Collection Cinémathèque Suisse, Lausanne.
Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.
Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from the impassive to the slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gag man, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.
Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge had divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage, and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.
Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking, and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton had returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.
Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
"NASA 1970's Mars penetrator mission concept. The carrier spacecraft would launch the penetrator by rocket from a tube. An umbrella-like deployable fabric decelerator would be used to slow and stabilize the penetrator, which would leave an aftbody antenna at the surface."
The above, although associated with a black & white diagram of the image I've posted in the comments section, still aptly pertains to the striking view portrayed by Ken Hodges:
www.lpl.arizona.edu/~rlorenz/penetrators_asr.pdf
Credit: College of Science/Lunar & Planetary Laboratory/The University of Arizona website
AND!
“…A Mars Science Working Group (MSWG) chaired by Thomas Mutch was established by NASA to develop a science strategy for a future mission (Mars Science Working Group, 1977). It met four times in 1977. The plan assumed two Space Shuttle launches in December 1983 or January 1984, each carrying a spacecraft consisting of an orbiter, a lander with rover, and three penetrators, set to arrive at Mars in September or October 1984. The penetrators would be deployed just before arrival, but the rovers would wait in orbit until the dust storm season was over. Highly elliptical initial orbits would permit magnetospheric studies. After the rovers landed, the orbiters would enter circular orbits, one near-polar at 500 km altitude for global mapping and communication with the penetrators, the other 1000 km high with about a 30° inclination for rover communications. As the rovers might each deploy an instrument station with a seismometer, there could be ten simultaneously operating landed components.
As each orbiter neared the planet, it would deploy three penetrators which would fall on a circle around the centre of the planet’s disk as seen from the approach direction. After deployment the orbiters would be deflected off the approach path to enter orbit. The six penetrators, carrying seismometers and soil and atmospheric analysis equipment, would form a global array. Three would be placed about 500 km apart in an area likely to be seismically active, such as Tharsis. The other three would be spaced about 5000 km apart to give global coverage. Two additional and more sophisticated seismometers would be deployed by the rovers in areas partly shielded from the wind. Latitudes between 50° N and 87° S would be accessible, and the landing ellipses were 200-km-diameter circles. Slopes would have to be less than 45° at the impact point. Site selection was reported in a Penetrator Site Studies document preserved in Tim Mutch’s papers at Brown University. One potential array design was described (Table 36), along with four deployment options which include several additional sites (Table 37). Option 1 was the potential array described in Table 36. The penetrator sites in Table 37 were also described in Manning (1977), in which the site selection work was attributed to T. E. Bunch and Ronald Greeley.
The rover landing ellipses were roughly 50 by 80 km across. Five landing sites were studied using Viking data, in addition to the four sites previously considered by USGS for the Viking Rover (Figures 109 and 110). Only two sites were identified in the MSWG report, Capri and Candor (Table 38, Figures 111 and 112). The other sites were identified in Working Group documents among Tim Mutch’s papers in the archives at Brown University.
The rover landing ellipses in these documents were 65 by 40 km across. The polar orbiter would be able to deploy its rover from orbit at latitudes between 30° N and 50° N (this range could vary, depending on the launch date), whereas the low-inclination orbit could deliver a rover to latitudes between 20° S and 20° N.
Six rover landing sites were identified in a Rover Site Studies report prepared for the Working Group (Table 38a, Figure 111). Most derived from work done earlier for Viking or the Viking rover study, including proposals to land near Viking 1 and visit it or to explore the abandoned A-1 site with its complex geology. In a memorandum dated 9 May 1977, Hal Masursky followed up on discussions at a meeting of the Mars 1984 Mission Study Group held on 1 April. He asked Tim Mutch to request high-resolution stereoscopic Viking imaging coverage of four of these sites, using slightly different coordinates (Table 38b). These, he said, ‘were sites for which we have made traverse plans’. He added that ‘a backup smoother site near B-1’ at Cydonia had also been studied. Eventually the Capri and Candor sites were chosen, and detailed mission plans were prepared (Figure 109). Traverses near the Chryse sites were also prepared, including those in Figure 114.
The Capri site provided access to cratered uplands, crater ejecta and a fluvial channel. Candor was on the floor of the canyon system, with access to thick-layered deposits, canyon wall materials and, at the end of the extended mission, possibly the volcanic plateau surrounding the canyon. Alba had fractured volcanic plains and crater ejecta, but also small channels.
The Mars 1984 rovers had three traverse modes. Mode 1 was for detailed site investigations and involved only short, precise drives as needed for science operations. Mode 2, the ‘survey traverse mode’, would cover about 400 m per sol and could include some observations along the route. Mode 3, the ‘fast traverse mode’, could cover as much as 800 m per sol, including travel at night. The goal was to cover about 200 km during one Mars year and up to 200 km more in an extended mission in the second Mars year.
On 13 May 1977, Carl Pilcher, Hal Masursky and Ron Greeley suggested a variation on the role of penetrators in this mission. Two penetrators would be dropped in the lander target ellipse, carrying beacons to help guide the rover to a precision landing. After the landing they would operate with instruments on the lander itself as a local area seismic network.
The Mars 1984 orbiters would carry cameras, spectrometers for surface composition, infrared and microwave radiometers, a magnetometer, a plasma probe, a radar altimeter and communication relay equipment.
The relationship between Mars 1984 and other missions was considered by the Working Group. If Viking Lander 1 survived long enough, it might provide useful meteorological data for a Mars 1984 landing at Chryse, if that site was chosen. Conversely, Mars 1984 might be reconfigured to gather samples for collection by a sample return mission in about 1990.
Mars 1984 was not funded, probably in part because significant opposition to it arose in the science community. Jim Arnold and Mike Duke objected publicly that the final report of the Working Group did not reflect the group discussions, particularly in its assertions that the rovers were the only realistic option, that they were essential for future Mars Sample Return missions, and that simpler missions (orbiters, hard landers) were ‘a step backwards’. The report also suggested that only Mars rovers would command broad public interest, whereas missions such as Voyager, Jupiter Orbiter/Probe (Galileo) and the Lunar Polar Orbiter would not. This mention of Voyager refers to the outer planet spacecraft, not the earliest version of Viking (Table 2), and the suggestion that it would attract little public interest turned out to be the opposite of the truth. Elbert King (University of Houston) wrote to Mutch on 29 August 1977, stating emphatically that Mars 1984 ‘would only ensure a repeat of the very limited scientific success of Viking – providing mostly only costly clues and ambiguous answers to the important scientific questions’. He argued that only sample return was justified by the cost. This dismal assessment of Viking’s scientific worth stems from its failure to detect life, or to definitively rule it out, but overlooks its detailed characterization of surface and atmospheric composition, meteorology and landing site geology, not to mention the mission’s orbital data…”
WOW, I say again, WOW. The above phenomenal excerpt from “The International Atlas of Mars Exploration”, written by Philip J. Stooke, and most graciously made available by Cambridge Core/Cambridge University Press, at.
Wait one, maybe NOT so gracious.
Apparently, like everybody/place else, one is required to be registered or possibly possess an esteemed enough pedigree in order to be granted access...I apparently burned my one gratis peek:
www.cambridge.org/core/books/international-atlas-of-mars-...
We've come quite a way, eh? From dropping Jarts from orbit to flying a helicopter!
See also:
spaceflighthistory.blogspot.com/2017/08/prelude-to-mars-s...
spaceflighthistory.blogspot.com/2017/08/prelude-to-mars-s...
Both above credit: David S. F. Portree/"No Shortage of Dreams" blogspot
Last, but NOT least. This is a wonderful find, with a lot of fantastic imagery, to include this one. AND, it's still free, with no login/registration required...HOT-DAMN:
rpif.asu.edu/slides_mission_concepts/
Specifically:
rpif.asu.edu/slide_sets/future_mission_concepts/Mars_Pene...
Credit: Ronald Greeley Center for Planetary Studies/Arizona State University website
The fresco decoration of the Hall of Justice of the fortress of Angera constitutes one of the main figurative testimonies of the development phase of the Gothic pictorial language in the Lombard territory; it also proposes a rare and early example of painting with profane themes, of historical-political and celebratory significance.
The room, on the second floor of the Visconti wing of the building, has a rectangular plan, divided into two parts by a pointed arch. The ceiling, formed by cross vaults, is covered by a lively decoration with geometric motifs, with squares and rounds interwoven to form a sort of sumptuous painted fabric. The six bays of the walls, illuminated by large windows with two lights, host the pictorial decoration, which is divided into three superimposed registers within large arches defined by ornamental borders with stylized stars and flowers: the narrative scenes, in the center, are surmounted by a high band with astrological-astronomical subjects, while the lowest register is formed by a lozenge decoration that supported an elegant painted veil, now almost completely disappeared.
The cycle narrates the deeds of Ottone Visconti, archbishop and lord of Milan from 1277 after the victory obtained in Desio over the opposing Torriani family. Since a long time, studies have linked the frescoes to a precise literary source, the Liber de gestis in civitate Mediolani, a work in praise of the Visconti family written by the monk Stefanardo da Vimercate probably in the last decade of the thirteenth century; the tituli that accompany the scenes are inspired by it, while other Latin inscriptions report, to complete the upper decorative band, some verses of the astrological treatise De Sphaera.
From a stylistic point of view, the author of the paintings shows a marked taste for the complex layout of the scenes, while neglecting the coherence of the figure-architecture relationship; the forms are simplified and the faces, lacking in individual characterization, derive strong consistency from the resentful linear definition and the thick dark outlines; these elements constitute an evident link with the thirteenth-century pictorial tradition of Byzantine matrix, probably filtered through the knowledge of works from the Veneto area. Moreover, the attention that will be typically Lombardy for the realistic definition of details or for the description of costumes is already present and alive.
The brilliant overall effect of the room is enhanced by the whirlwind of colors of the vault, a real explosion of chromatic happiness that finds immediate comparisons in the vault of S. Bassiano in Lodi Vecchio, also decorated with joyful secular subjects.
The representations of the planets and the signs of the zodiac are still linked to those astrological-astronomical themes that had an enormous development since the beginning of the Christian Middle Ages and in particular in the Romanesque period; connected to the scansion of time and of the different working activities - in particular agricultural and pastoral -, they had multiple ethical, civil and religious implications. Situated in the courtroom of the Rocca, the cycle must have had the value of an exemplum for those who were called to judge, through the underlining of motifs such as the clemency of the winner on the vanquished enemy or the subjection of earthly power to the stars and to Fortune, and with precise indications on the virtues that should accompany the exercise of power.
As for the dating of the paintings, critics have expressed themselves in various ways, with wide oscillations between 1277 of the battle of Desio and 1314, the year in which Matteo Visconti definitively acquired possession of the fortress after a period of domination by the Torriani and other families.
"The Fall of Man" Lilith may be linked in part to a historically earlier class of female demons (lilītu) in ancient Mesopotamian religion, found in cuneiform texts of Sumer, the Akkadian Empire, Assyria, and Babylonia. The confessional in its modern form dates no farther back than the 16th century, and Du Cange cites the year 1563 for an early use of the word confessionale for the sacrum poenitentiae tribunal. Originally the term was applied to the place where a martyr or "confessor" (in the sense of one who confesses Christ) had been buried. There are, however, instances (e.g. the confessional of Church of St. Trophime at Arles) where the name was attached to the spot, whether cell or seat, where noted saints had a habit of hearing confessions. In the popular Protestant view confessional boxes are associated with the scandals, real or supposed, of the practice of auricular confession. They were, however, devised to guard against such scandals by securing at once essential publicity and a reasonable privacy, and by separating priest and penitent. In the Middle Ages stringent rules were laid down, in this latter respect, by the canon law in the case of confessions by women and especially nuns. In England, before the Protestant Reformation, publicity was reckoned the best safeguard. Thus Archbishop Walter Reynolds, in 1322, says in his Constitutions: "Let the priest choose for himself a common place for hearing confessions, where he may be seen generally by all in the church; and do not let him hear any one, and especially any woman, in a private place, except in great necessity." It would seem that the priest usually heard confessions at the chancel opening or at a bench end in the nave near the chancel. There is, however, in some churchwardens' accounts mention of a special seat: "the shryving stool", "shriving pew" or "shriving place". At Lenham in Kent there is an ancient armchair in stone, with a stone bench and steps on one side, which appears to be a confessional. With the revival of the practice of auricular confession in the Church of England, confessionals were introduced into some parishes with an Anglo-Catholic bent. Since, however, they formed no part of "the furniture of the church" in the "second year of King Edward VI", some have argued that they are not covered by the "Ornaments Rubric" in the Prayer-Book. The question of their legality was raised in 1900 in the case of Davey v. Hinde (vicar of the Church of the Annunciation at Brighton) tried before Dr Tristram in the consistory court of Chichester. They were condemned "on the ground that they are not articles of church furniture requisite for or conducive to conformity with the doctrine or practice of the Church of England in relation to the reception of confession.."Confessional", in the sense of a due payable for the right to hear confession, is now obsolete.
Adam and Eve, according to the creation myth of the Abrahamic religions, were the first man and woman. They are central to the belief that humanity is in essence a single family, with everyone descended from a single pair of original ancestors. It also provides the basis for the doctrines of the fall of man and original sin that are important beliefs in Christianity, although not held in Judaism or Islam.
In the Book of Genesis of the Hebrew Bible, chapters one through five, there are two creation narratives with two distinct perspectives. In the first, Adam and Eve are not mentioned (at least not mentioned by name). Instead, God created humankind in God's image and instructed them to multiply and to be stewards over everything else that God had made. In the second narrative, God fashions Adam from dust and places him in the Garden of Eden. Adam is told that he can eat freely of all the trees in the garden, except for a tree of the knowledge of good and evil. Subsequently, Eve is created from one of Adam's ribs to be Adam's companion. They are innocent and unembarrassed about their nakedness. However, a serpent deceives Eve into eating fruit from the forbidden tree, and she gives some of the fruit to Adam. These acts give them additional knowledge, but it gives them the ability to conjure negative and destructive concepts such as shame and evil. God later curses the serpent and the ground. God prophetically tells the woman and the man what will be the consequences of their sin of disobeying God. Then he banishes them from the Garden of Eden.
The story underwent extensive elaboration in later Abrahamic traditions, and it has been extensively analyzed by modern biblical scholars. Interpretations and beliefs regarding Adam and Eve and the story revolving around them vary across religions and sects; for example, the Islamic version of the story holds that Adam and Eve were equally responsible for their sins of hubris, instead of Eve being the first one to be unfaithful. The story of Adam and Eve is often depicted in art, and it has had an important influence in literature and poetry. The story of the fall of Adam is often understood to be an allegory.
There is no physical evidence that Adam and Eve ever existed, and their literal existence is incompatible with human evolutionary genetics. However, there is in some countries a large discrepancy between the scientific consensus and popular opinion; a 2014 poll reports that 56% of Americans believe that "Adam and Eve were real people", and 44% believe so with strong or absolute certainty.
Adam and Eve are figures from the Primeval History (Genesis 1 to 11), the Bible's mythic history of the first years of the world's existence. The History tells how God creates the world and all its beings and places the first man and woman (Adam and Eve) in his Garden of Eden, how the first couple are expelled from God's presence, of the first murder which follows, and God's decision to destroy the world and save only the righteous Noah and his sons; a new humanity then descends from these sons and spreads throughout the world. Although the new world is as sinful as the old, God has resolved never again to destroy the world by flood, and the History ends with Terah, the father of Abraham, from whom will descend God's chosen people, the Israelites.*
Adam and Eve are the Bible's first man and first woman. Adam's name appears first in Genesis 1 with a collective sense, as "mankind"; subsequently in Genesis 2-3 it carries the definite article ha, equivalent to English "the", indicating that this is "the man". In these chapters God fashions "the man" (ha adam) from earth (adamah), breathes life into his nostrils, and makes him a caretaker over creation. God next creates for the man an ezer kenegdo, a "helper corresponding to him", from his side or rib. She is called ishsha, "woman", because, the text says, she is formed from ish, "man". The man receives her with joy, and the reader is told that from this moment a man will leave his parents to "cling" to a woman, the two becoming one flesh.
The first man and woman are in God's Garden of Eden, where all creation is vegetarian and there is no violence. They are permitted to eat of all the trees except one, the tree of the knowledge of good and evil, the woman is tempted by a talking serpent to eat the forbidden fruit, and gives some to the man, who eats also. (Contrary to popular myth she does not beguile the man, who appears to have been present at the encounter with the serpent). God curses all three, the man to a lifetime of hard labour followed by death, the woman to the pain of childbirth and to subordination to her husband, and the serpent to go on his belly and suffer the enmity of both man and woman. God then clothes the nakedness of the man and woman, who have become god-like in knowing good and evil, then banishes them from the garden lest they eat the fruit of a second tree, the tree of life, unmentioned up to this point, and live forever.
Genesis 4 introduces the humans in their life outside God's garden. The chapter deals with the birth of Adam's sons Cain and Abel and the story of the first murder, followed by the birth of a third son, Seth. Genesis 5, the Book of the Generations of Adam, lists the descendants of Adam from Seth to Noah with their ages at the birth of their first sons (except Adam himself, for whom his age at the birth of Seth, his third son, is given) and their ages at death (Adam lives 930 years). The chapter notes that Adam had other sons and daughters after Seth, but does not name them. Adam has already named the woman Eve at the end of the Eden narrative, and in Genesis 4:25 and for the first time, he is called Adam as a personal name.
The Adam and Eve story continues in Genesis 3 with the "expulsion from Eden" narrative. A form analysis of Genesis 3 reveals that this portion of the story can be characterized as a parable or "wisdom tale" in the wisdom tradition. The poetic addresses of the chapter belong to a speculative type of wisdom that questions the paradoxes and harsh realities of life. This characterization is determined by the narrative's format, settings, and the plot. The form of Genesis 3 is also shaped by its vocabulary, making use of various puns and double entendres.
The expulsion from Eden narrative begins with a dialogue between the woman and a serpent, identified in Genesis 3:1 as an animal that was more crafty than any other animal made by God, although Genesis does not identify the serpent with Satan.:16 The woman is willing to talk to the serpent and respond to the creature's cynicism by repeating God's prohibition against eating fruit from the tree of knowledge (Genesis 2:17). The woman is lured into dialogue on the serpent's terms which directly disputes God's command.[15] The serpent assures the woman that God will not let her die if she ate the fruit, and, furthermore, that if she ate the fruit, her "eyes would be opened" and she would "be like God, knowing good and evil" (Genesis 3:5). The woman sees that the fruit of the tree of knowledge is a delight to the eye and that it would be desirable to acquire wisdom by eating the fruit. The woman eats the fruit and gives some to the man (Genesis 3:6). With this the man and woman recognize their own nakedness, and they make loincloths of fig leaves (Genesis 3:7).
In the next narrative dialogue, God questions the man and the woman (Genesis 3:8–13), and God initiates a dialogue by calling out to the man with a rhetorical question designed to consider his wrongdoing. The man explains that he hid in the garden out of fear because he realized his own nakedness (Genesis 3:10). This is followed by two more rhetorical questions designed to show awareness of a defiance of God's command. The man then points to the woman as the real offender, and he implies that God is responsible for the tragedy because the woman was given to him by God (Genesis 3:12). God challenges the woman to explain herself, whereby she shifts the blame to the serpent (Genesis 3:13).
Divine pronouncement of three judgments are then laid against all the culprits, Genesis 3:14–19.[12] A judgement oracle and the nature of the crime is first laid upon the serpent, then the woman, and, finally, the man. On the serpent, God places a divine curse.[20] The woman receives penalties that impact her in two primary roles: she shall experience pangs during childbearing, pain during childbirth, and while she shall desire her husband, he will rule over her. The man's penalty results in God cursing the ground from which he came, and the man then receives a death oracle, although the man has not been described, in the text, as immortal.:18;Abruptly, in the flow of text, in Genesis 3:20, the man names the woman "Eve" (Heb. hawwah), "because she was the mother of all living". God makes skin garments for Adam and Eve (Genesis 3:20).
The chiasmus structure of the death oracle given to Adam in Genesis 3:19, is a link between man's creation from "dust" (Genesis 2:7) to the "return" of his beginnings:" you return, to the ground, since from it you were taken, for dust you are, and to dust, you will return."
The garden account ends with an intradivine monologue, determining the couple's expulsion, and the execution of that deliberation (Genesis 3:22–24}.The reason given for the expulsion was to prevent the man from eating from the tree of life and becoming immortal: "Behold, the man is become as one of us, to know good and evil; and now, lest he put forth his hand, and take also of the tree of life, and eat, and live for ever" (Genesis 3:22).God exiles Adam and Eve from the Garden and installs cherubs (supernatural beings that provide protection) and the "ever-turning sword" to guard the entrance (Genesis 3:24).
Genesis 4 tells of the birth of Cain and Abel, Adam and Eve's first children, while Genesis 5 gives Adam's genealogy past that. Adam and Eve are listed as having three children, Cain, Abel and Seth, then "other sons and daughters", Genesis 5:4. According to the Book of Jubilees (which is usually not considered canonical), Cain married his sister Awan, a daughter of Adam and Eve.
The Primeval History forms the opening chapters of the Torah, the five books making up the history of the origins of Israel. This achieved something like its current form in the 5th century BCE, but Genesis 1-11 shows little relationship to the rest of the Bible:for example, the names of its characters and its geography - Adam (man) and Eve (life), the Land of Nod ("Wandering"), and so on - are symbolic rather than real, and almost none of the persons, places and stories mentioned in it are ever met anywhere else. This has led scholars to suppose that the History forms a late composition attached to Genesis and the Pentateuch to serve as an introduction.Just how late is a subject for debate: at one extreme are those who see it as a product of the Hellenistic period, in which case it cannot be earlier than the first decades of the 4th century BCE; on the other hand the Yahwist source has been dated by some scholars, notably John Van Seters, to the exilic pre-Persian period (the 6th century BCE) precisely because the Primeval History contains so much Babylonian influence in the form of myth. The Primeval History draws on two distinct "sources", the Priestly source and what is sometimes called the Yahwist source and sometimes simply the "non-Priestly"; for the purpose of discussing Adam and Eve in the Book of Genesis the terms "non-Priestly" and "Yahwist" can be regarded as interchangeable.
Certain concepts, such as the serpent being identified as Satan, Eve being a sexual temptation, or Adam's first wife being Lilith, come from literary works found in various Jewish apocrypha, but they are not found anywhere in the Book of Genesis or the Torah itself.[citation needed] Writings dealing with these subjects are extant literature in Greek, Latin, Slavonic, Syriac, Armenian, and Arabic, extending back to ancient Jewish thought. The concepts are not part of Rabbinic Judaism,[citation needed] but they did influence Christian theology, and this marks a radical split between the two religions. Some of the oldest Jewish portions of apocrypha are called Primary Adam Literature where some works became Christianized. Examples of Christianized works are Life of Adam and Eve, Conflict of Adam and Eve with Satan and an original Syriac work entitled Cave of Treasures which has close affinities to the Conflict as noted by August Dillmann.
Some modern scholars, such as James Barr, Moshe Greenberg, and Michael Fishbane, see the story of Adam and Eve as a representation of a rise to moral agency, at least as much as, if not more than the story of a fall from grace. Carol Meyers and Bruce Naidoff view the tale as an explanation of agricultural conditions in the highlands of Canaan.
For the Jewish Weekly Torah portion, see Bereshit (parsha) § Third reading, and Bereshit (parsha) § Fourth reading.
It was also recognized in ancient Judaism, that there are two distinct accounts for the creation of man. The first account says "male and female [God] created them", implying simultaneous creation, whereas the second account states that God created Eve subsequent to the creation of Adam. The Midrash Rabbah – Genesis VIII:1 reconciled the two by stating that Genesis one, "male and female He created them", indicates that God originally created Adam as a hermaphrodite,[37] bodily and spiritually both male and female, before creating the separate beings of Adam and Eve. Other rabbis suggested that Eve and the woman of the first account were two separate individuals, the first being identified as Lilith, a figure elsewhere described as a night demon.
According to traditional Jewish belief, Adam and Eve are buried in the Cave of Machpelah, in Hebron.
In Reform Judaism, Harry Orlinsky analyzes the Hebrew word nefesh in Genesis 2:7 where "God breathes into the man's nostrils and he becomes nefesh hayya." Orlinsky argues that the earlier translation of the phrase "living soul" is incorrect. He points out that "nefesh" signifies something like the English word "being", in the sense of a corporeal body capable of life; the concept of a "soul" in the modern sense, did not exist in Hebrew thought until around the 2nd century B.C., when the idea of a bodily resurrection gained popularity.
Adam, Eve, and the (female) serpent (often identified as Lilith) at the entrance to Notre Dame Cathedral in Paris
Main articles: Fall of man and Original sin
Some early fathers of the Christian church held Eve responsible for the Fall of man and all subsequent women to be the first sinners because Eve tempted Adam to commit the taboo. "You are the devil's gateway" Tertullian told his female listeners, and went on to explain that they were responsible for the death of Christ: "On account of your desert [i.e., punishment for sin, that is, death], even the Son of God had to die."In 1486, the Dominicans Kramer and Sprengler used similar tracts in Malleus Maleficarum ("Hammer of Witches") to justify the persecution of "witches".
Medieval Christian art often depicted the Edenic Serpent as a woman (often identified as Lilith), thus both emphasizing the serpent's seductiveness as well as its relationship to Eve. Several early Church Fathers, including Clement of Alexandria and Eusebius of Caesarea, interpreted the Hebrew "Heva" as not only the name of Eve, but in its aspirated form as "female serpent."
Based on the Christian doctrine of the Fall of man, came the doctrine of original sin. St Augustine of Hippo (354–430), working with a Latin translation of the Epistle to the Romans, interpreted the Apostle Paul as having said that Adam's sin was hereditary: "Death passed upon [i.e., spread to] all men because of Adam, [in whom] all sinned", Romans 5:12[40] Original sin became a concept that man is born into a condition of sinfulness and must await redemption. This doctrine became a cornerstone of Western Christian theological tradition, however, not shared by Judaism or the Orthodox churches.
Over the centuries, a system of unique Christian beliefs had developed from these doctrines. Baptism became understood as a washing away of the stain of hereditary sin in many churches, although its original symbolism was apparently rebirth. Additionally, the serpent that tempted Eve was interpreted to have been Satan, or that Satan was using a serpent as a mouthpiece, although there is no mention of this identification in the Torah and it is not held in Judaism.
Conservative Protestants typically interpret Genesis 3 as defining humanity's original parents as Adam and Eve who disobeyed God's prime directive that they were not to eat "the fruit of the tree of the knowledge of good and evil" (NIV). When they disobeyed, they committed a major transgression against God and were immediately punished, which led to "the fall" of humanity. Thus, sin and death entered the universe for the first time. Adam and Eve were ejected from the Garden of Eden, never to return.
Gnostic Christianity discussed Adam and Eve in two known surviving texts, namely the "Apocalypse of Adam" found in the Nag Hammadi documents and the "Testament of Adam". The creation of Adam as Protoanthropos, the original man, is the focal concept of these writings.
Another Gnostic tradition held that Adam and Eve were created to help defeat Satan. The serpent, instead of being identified with Satan, is seen as a hero by the Ophites. Still other Gnostics believed that Satan's fall, however, came after the creation of humanity. As in Islamic tradition, this story says that Satan refused to bow to Adam due to pride. Satan said that Adam was inferior to him as he was made of fire, whereas Adam was made of clay. This refusal led to the fall of Satan recorded in works such as the Book of Enoch.
In Islam, Adam (Ādam; Arabic: آدم), whose role is being the father of humanity, is looked upon by Muslims with reverence. Eve (Ḥawwāʼ; Arabic: حواء ) is the "mother of humanity". The creation of Adam and Eve is referred to in the Qurʼān, although different Qurʼanic interpreters give different views on the actual creation story (Qurʼan, Surat al-Nisaʼ, verse 1).
In al-Qummi's tafsir on the Garden of Eden, such place was not entirely earthly. According to the Qurʼān, both Adam and Eve ate the forbidden fruit in a Heavenly Eden (see also Jannah). As a result, they were both sent down to Earth as God's representatives. Each person was sent to a mountain peak: Adam on al-Safa, and Eve on al-Marwah. In this Islamic tradition, Adam wept 40 days until he repented, after which God sent down the Black Stone, teaching him the Hajj. According to a prophetic hadith, Adam and Eve reunited in the plain of ʻArafat, near Mecca. They had two sons together, Qabil and Habil. There is also a legend of a younger son, named Rocail, who created a palace and sepulcher containing autonomous statues that lived out the lives of men so realistically they were mistaken for having souls.
The concept of "original sin" does not exist in Islam, because according to Islam Adam and Eve were forgiven by God. When God orders the angels to bow to Adam, Iblīs questioned, "Why should I bow to man? I am made of pure fire and he is made of soil." The liberal movements within Islam have viewed God's commanding the angels to bow before Adam as an exaltation of humanity, and as a means of supporting human rights; others view it as an act of showing Adam that the biggest enemy of humans on earth will be their ego.
In the Bahá'í Faith, the Adam and Eve narrative is seen as symbolic. In Some Answered Questions, 'Abdu'l-Bahá rejects a literal reading and states that the story contains "divine mysteries and universal meanings". Adam symbolizes the "heavenly spirit", Eve symbolizes the "human soul", the Tree of Knowledge symbolizes "the human world", and the serpent symbolizes "attachment to the human world". The fall of Adam thus represents the way humanity became conscious of good and evil. In another sense, Adam and Eve represent God's Will and Determination, the first two of the seven stages of Divine Creative Action.
While a traditional view was that the Book of Genesis was authored by Moses and has been considered historical and metaphorical, modern scholars consider the Genesis creation narrative as one of various ancient origin myths.
Analysis like the documentary hypothesis also suggests that the text is a result of the compilation of multiple previous traditions, explaining apparent contradictions.[56][57] Other stories of the same canonical book, like the Genesis flood narrative, are also understood as having been influenced by older literature, with parallels in the older Epic of Gilgamesh.
With scientific developments in paleontology, geology, biology and other disciplines, it was discovered that humans, and all other living things, share a common ancestor and evolved through natural processes, with earlier life forms going back to billions of years.
In biology the most recent common ancestors, when traced back using the Y-chromosome for the male lineage and mitochondrial DNA for the female lineage, are commonly called the Y-chromosomal Adam and Mitochondrial Eve, respectively. These do not fork from a single couple at the same epoch even if the names were borrowed from the Tanakh.
In alchemy, nigredo, or blackness, means putrefaction or decomposition. The alchemists believed that as a first step in the pathway to the philosopher's stone all alchemical ingredients had to be cleansed and cooked extensively to a uniform black matter.In analytical psychology, the term became a metaphor 'for the dark night of the soul, when an individual confronts the shadow within'.For Carl Jung, 'the rediscovery of the principles of alchemy came to be an important part of my work as a pioneer of psychology'. As a student of alchemy, he (and his followers) 'compared the "black work" of the alchemists (the nigredo) with the often highly critical involvement experienced by the ego, until it accepts the new equilibrium brought about by the creation of the self'.Jungians interpreted nigredo in two main psychological senses.
The first sense represented a subject's initial state of undifferentiated unawareness, 'the first nigredo, that of the unio naturalis, is an objective state, visible from the outside only...an unconscious state of non-differentiation between self and object, consciousness and the unconscious'. Here the subject is unaware of the unconscious; i.e. the connection with the instincts'.In the second sense, 'the nigredo of the process of individuation on the other hand is a subjectively experienced process brought about by the subject's painful, growing awareness of his shadow aspects'.It could be described as a moment of maximum despair, that is a prerequisite to personal development.As individuation unfolds, so 'confrontation with the shadow produces at first a dead balance, a standstill that hampers moral decisions and makes convictions ineffective or even impossible...nigredo, tenebrositas, chaos, melancholia'.Here is 'the darkest time, the time of despair, disillusionment, envious attacks; the time when Eros and Superego are at daggers drawn, and there seems no way forward...nigredo, the blackening'.Only subsequently would come 'an enantiodromia; the nigredo gives way to the albedo...the ever deepening descent into the unconscious suddenly becomes illumination from above'Further steps of the alchemical opus include such images as albedo (whiteness), citrinitas (yellowness), and rubedo (redness). Jung also found psychological equivalents for many other alchemical concepts, with 'the characterization of analytic work as an opus; the reference to the analytic relationship as a vas, vessel or container; the goal of the analytic process as the coniunctio, or union of conflicting opposites'.
The Institut de France (French pronunciation: [ɛ̃stity də fʁɑ̃s], French Institute) is a French learned society, grouping five académies, the most famous of which is the Académie française.The Institute, located in Paris, manages approximately 1,000 foundations, as well as museums and châteaux open for visit. It also awards prizes and subsidies, which amounted to a total of €5,028,190.55 for 2002. Most of these prizes are awarded by the Institute on the recommendation of the académies.The Académie originated as a council of five humanists, "scholars who were the most versed in the knowledge of history and antiquity": Jean Chapelain, François Charpentier, Jacques Cassagne, Amable de Bourzeys, and a M. Douvrier.The organizer was King Louis XIV's finance minister Jean-Baptiste Colbert. Its first name was the Académie royale des Inscriptions et Médailles, and its mission was to compose or obtain Latin inscriptions to be written on public monuments and medals issued to celebrate the events of Louis' reign. However, under Colbert's management, the Académie performed many additional roles, such as determining the art that would decorate the Palace of Versailles.In 1683 Minister Louvois increased the membership to eight. In 1701 its membership was expanded to 40 and reorganized under the leadership of Chancellor Pontchartrain. It met twice a week at the Louvre, its members began to receive significant pensions, and was made an official state institution on the king's decree.In January 1716 it was permanently renamed to the Académie royale des Inscriptions et Belles-Lettres with the broader goal of elevating the prestige of the French monarchy using physical symbols uncovered or recovered through the methods of classical erudition.The Académie des Inscriptions et Belles-Lettres is a French learned society devoted to the humanities, founded in February 1663 as one of the five academies of the Institut de France.The Académie originated as a council of five humanists, "scholars who were the most versed in the knowledge of history and antiquity": Jean Chapelain, François Charpentier, Jacques Cassagne, Amable de Bourzeys, and a M. Douvrier.The organizer was King Louis XIV's finance minister Jean-Baptiste Colbert. Its first name was the Académie royale des Inscriptions et Médailles, and its mission was to compose or obtain Latin inscriptions to be written on public monuments and medals issued to celebrate the events of Louis' reign. However, under Colbert's management, the Académie performed many additional roles, such as determining the art that would decorate the Palace of Versailles.In 1683 Minister Louvois increased the membership to eight.In 1701 its membership was expanded to 40 and reorganized under the leadership of Chancellor Pontchartrain. It met twice a week at the Louvre, its members began to receive significant pensions, and was made an official state institution on the king's decree. In January 1716 it was permanently renamed to the Académie royale des Inscriptions et Belles-Lettres with the broader goal of elevating the prestige of the French monarchy using physical symbols uncovered or recovered through the methods of classical erudition.The Académie originated as a council of five humanists, "scholars who were the most versed in the knowledge of history and antiquity": Jean Chapelain, François Charpentier, Jacques Cassagne, Amable de Bourzeys, and a M. Douvrier. The organizer was King Louis XIV's finance minister Jean-Baptiste Colbert. Its first name was the Académie royale des Inscriptions et Médailles, and its mission was to compose or obtain Latin inscriptions to be written on public monuments and medals issued to celebrate the events of Louis' reign. However, under Colbert's management, the Académie performed many additional roles, such as determining the art that would decorate the Palace of Versailles.In 1683 Minister Louvois increased the membership to eight. In 1701 its membership was expanded to 40 and reorganized under the leadership of Chancellor Pontchartrain. It met twice a week at the Louvre, its members began to receive significant pensions, and was made an official state institution on the king's decree. In January 1716 it was permanently renamed to the Académie royale des Inscriptions et Belles-Lettres with the broader goal of elevating the prestige of the French monarchy using physical symbols uncovered or recovered through the methods of classical erudition.The Académie originated as a council of five humanists, "scholars who were the most versed in the knowledge of history and antiquity": Jean Chapelain, François Charpentier, Jacques Cassagne, Amable de Bourzeys, and a M. Douvrier.The organizer was King Louis XIV's finance minister Jean-Baptiste Colbert. Its first name was the Académie royale des Inscriptions et Médailles, and its mission was to compose or obtain Latin inscriptions to be written on public monuments and medals issued to celebrate the events of Louis' reign. However, under Colbert's management, the Académie performed many additional roles, such as determining the art that would decorate the Palace of Versailles.In 1683 Minister Louvois increased the membership to eight. In 1701 its membership was expanded to 40 and reorganized under the leadership of Chancellor Pontchartrain. It met twice a week at the Louvre, its members began to receive significant pensions, and was made an official state institution on the king's decree.In January 1716 it was permanently renamed to the Académie royale des Inscriptions et Belles-Lettres with the broader goal of elevating the prestige of the French monarchy using physical symbols uncovered or recovered through the methods of classical erudition.
en.wikipedia.org/wiki/Institut_de_France
Three days before his death, in March, 1661, Mazarin based a new college, intended to assure the free education of sixty young people native of four provinces which had gathered in France the treaties of Wesphalie in 1648 and the Treaty of the Pyrenees in 1659. They were Artois, Alsace, small part of the Savoie, Roussillon and Cerdanya. We called this new institution the College of Four Nations.
Comme tout homme d’État, Mazarin voulait laisser des traces de son passage. Proviseur du collège de Sorbonne, Richelieu avait fait édifier la superbe chapelle où s’élève encore aujourd’hui son tombeau. Trois jours avant sa mort, en mars 1661, Mazarin fondait un collège nouveau, destiné à assurer l’éducation gratuite de soixante jeunes gens originaires de quatre provinces qu’avaient réunies à la France les traités de Wesphalie en 1648 et le traité des Pyrénées en 1659. C’étaient l’Artois, l’Alsace, une petite partie de la Savoie, le Roussillon et la Cerdagne. On appela cette nouvelle institution le Collège des Quatre-Nations.Le cénotaphe de Mazarin. Sculpture de marbre blanc d'Antoine Coysevox (1640-1720)Le cardinal léguait quatre millions de livres pour financer la construction et une rente de soixante-cinq mille livres par an pour le fonctionnement, avant tout pour les bourses des étudiants. Son tombeau devait être placé dans la chapelle. Ce sera seulement son mausolée, le corps n’y ayant jamais été déposé.L’homme de confiance de Mazarin, Colbert, désigna l’architecte : Louis Le Vau, déjà architecte des agrandissements du Louvre. Il sera le principal architecte de Versailles. Le site choisi était prestigieux : sur l’emplacement de la porte de Nesles, face au Louvre. Le bâtiment sera une véritable scénographie urbaine : deux pavillons carrés encadrant la chapelle et sa coupole, le tout réuni en une vaste courbe.À la mort de Le Vau en 1670, François d’Orbay lui succède. C’est lui qui conçoit cette coupole haute de 44 mètres, une coupole circulaire à l’extérieur et en ellipse à l’intérieur. Le décor en est fait des médaillons des douze apôtres, des initiales de saint Louis et d’une citation du prophète Ezéchiel : "il siégera sous son ombre au milieu des nations".Trois sculpteurs, Coysevox, Tuby et le Hongre collaborent pour élever le mausolée.Le Collège accueille ses premiers élèves en 1688. Il sera prospère jusqu’à sa fermeture en 1791.Il avait reçu les quarante mille ouvrages réunis par le cardinal dans son hôtel de la rue Vivienne, celui-là même qui allait accueillir la Bibliothèque royale et où se trouve encore aujourd’hui une notable partie de la Bibliothèque nationale de France. Ces livres forment la base de la bibliothèque Mazarine, ouverte au public dès ses débuts et aujourd’hui riche d’un demi-million de manuscrits et d’imprimés.
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The Apadana staircase in Dariush the Great's Hall of Audience, Persepolis, is best divided into three portions, a central, a northern and a southern panel. [...].
Some sections of [the southern panel] are artistically more advanced than others while some are not polished or even completed. The details of dress and the characterization of animals is unusually excellent. Artistically one of the best is panel 8, the Cilicians with the two fat-tailed rams.
realhistoryww.com/world_history/ancient/Misc/Elam/Persepo...
FYI:
Fat-tailed sheep
Fat tailed or fat-rumped sheep are so-named because they can store large amounts of fat in the tail and region of the rump. Fat-tailed sheep are found mostly in the extremely arid regions of Africa, the Middle East, and Asia. They often produce wool, but are raised primarily for meat or milk production. Fat-tailed sheep comprise 25 percent of the world's sheep population.
www.sheep101.info/sheeptypes.html
Upon the defeat of the Persian Empire by the Macedonian King Alexander the Great in 330 B.C. Persepolis was plundered, and the palace of the then Persian King Xerxes, was burned. [...].
What's left of the palace is marked by a large terrace [...] on the west side of [which] is the magnificent double stairs of Apadana. [on which] are relief's of Persian, Median, and Elamite officials.
Additionally, there are twenty three scenes, separated by cypress trees, depicting representatives from the twenty three vassal kingdoms of the empire. They are being led by a Persian or Mede, as they come to [make] offerings to the king at the festival of the vernal equinox. The various delegates are shown in great detail, giving insight into the costume and equipment of the various peoples of the Persian Empire in the 5th century B.C. But, there is NO inscription to identify who these people are!
www.enel.ucalgary.ca/People/far/hobbies/iran/persepolis.html
The Namib Desert
The Namib sand dunes are dynamic; that is, they are constantly shifting with the wind. The breeze displaces sand from the crest, sending it down the slipface hence perpetuating the continually changing shapes and contours.
The various shapes of dunes are results of different wind patterns and there are several different types.
* Traverse dunes are long and linear with the crest perpendicular to the prevailing winds,such as the dunes at Walvis Bay.
* In the area around Sossususvlei parabolic dunes prevail,a result of variable wind patterns. Being the most stable they are also the most vegetated.
* Star dunes have multiple ridges, their eponymous form created by the forces of multi-directional winds.
* Lastly there are barchan dunes which are formed by unidirectional winds and are the most mobile of all the dunes. These can be found in the southern part of the Skeleton Coast Park, and fitting to the sometimes sinister characterization of this bit of coastline.
The central motif of the upper frieze is Cassandra leaning in despair against her mother Hecuba who is taking care of her. The young woman is depicted with a laurel wreath and a knotted and tasseled fillet around her head, holding a laurel branch, attribute shared with her twin brother Helenos painted in the right corner of the scene. The laurel branch points towards Hector’s helmet, held by a charioteer, in the lower register. Next to the woman, a filleted tripod standing on the top of an Ionic column confirms her prophetic and Apollonian characterization. The eagle flying on the top right side with a snake in its claws is another sign of her ability to see into the future. But Apollo, after giving her this gift, punished her refusal of his love: nobody would have believed her prophecies. So it is not surprising that neither her mother nor her father Priam on their left share her concern for Hector. Only another Trojan, her twin brother Helenos, who also had the same gift, can recognize the sign of her prophecy concerning the fate of Hector. The soldier between Cassandra and his brother is a trumpeter, probably ,signifying the imminence of battle.
In the center of the lower frame there is a quadriga. The charioteer holds the helmet of the warrior portrayed on foot near the chariot. His Phrygian cap points out the Eastern origins of the characters involved. To left a farewell scene between a man and a child hold in the arms of a woman. Both the man and the woman look dejected as if they knew their fate. A second woman partly lost is represented standing in the far left corner. It is just as clear that the lower scene is the farewell of Hektor, who is taking his leave of Andromache and his baby son, Astyanax, the moving episode immortalized in Iliad book 6 (vv 390-502). Yet, as soon as the great epic scene is recognized, a viewer who knows the poem will see a contraindication signaling that this is not precisely the Homeric narrative. Hektor's charioteer is holding the famous helmet, which is positioned, shining brightly, right in the center of the composition. In Homer, Hektor is at first wearing it, but then, when he holds out his arms to his son and the child cries, he takes it off and lays it on the ground. At the end of the meeting, Hektor picks up his helmet himself and sets off on foot. Given that this picture is not following Homer exactly, it is more likely that the woman holding the baby is Andromache herself, rather than the nurse (who holds the baby in the Iliad). The figure of a woman standing behind her is unfortunately incomplete; it might have decisively signaled that she was either Andromache or, more probably, the nurse (with white hair).
Here the artist combines two narrative episodes concerning the departure of Hektor to battle and the dire prophecies by Cassandra into a single composition. Some scholars suggest that the vase painter was inspired by the plot of a lost tragedy called “Hektor” by the fourth-century playwright Astydamas.
Sources:
Oliver Platin, “Pots and Plays – Interactions between tragedies and Greek Vase-painting of the Fourth Century B.C.”
Fabio Lo Piparo, “Torn Fillets and a Broken Sceptre: Cassandra’s Costume, Props and Attributes in Ancient Greek Drama and Vase-Painting”
Apulian Volute Krater
Height 107 cm
Attributed to The Underworld Painter
Ca. 340 BC
Berlin, Altes Museum – Inv. 1984.45
On the Road
From Wikipedia, the free encyclopedia
"Marylou" redirects here. For the album by Anna Rossinelli, see Marylou (album).
For other uses, see On the Road (disambiguation).
On the Road
1st edition
On the Road is a novel by American writer Jack Kerouac. On the Road is based on the travels of Kerouac and his friends across America. It is considered a defining work of the postwar Beat and Counterculture generations, with its protagonists living life against a backdrop of jazz, poetry and drug use.
The idea for On the Road formed during the late 1940s. It was to be Kerouac's second novel, and it underwent several drafts before he completed it in April 1951. It was first published by Viking Press in 1957.
When the book was originally released, The New York Times hailed it as "the most beautifully executed, the clearest and the most important utterance yet made by the generation Kerouac himself named years ago as 'beat,' and whose principal avatar he is."[1] In 1998, the Modern Library ranked On the Road 55th on its list of the 100 best English-language novels of the 20th century. The novel was chosen by Time magazine as one of the 100 best English-language novels from 1923 to 2005.[2]
This section is written like a personal reflection or opinion essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (December 2012)
Many aspects go into understanding the context of On the Road, and they must be viewed cohesively in order to appreciate why the book was as relevant and pertinent as it was. The following issues are important to consider as the foundation for the book and its reception by the public.
Kerouac biography[edit]
Kerouac was born in a French-Canadian neighborhood of Lowell, Massachusetts, and learned English at age six. (He had difficulty with the language into his teens.) He grew up in a devout Catholic home, and this influence manifested itself throughout the work. During high school, Kerouac was a star football player and earned a scholarship to Columbia University. After dropping out following a conflict with the football coach, he then served on several different sailing vessels before returning to New York in search of inspiration to write. Here he met the likes of Allen Ginsberg and William Burroughs who would not only become characters in the book but also form the core of the Beat Generation.[3]
Many of the events depicted in the book are the experiences that shaped both its content and production. Kerouac met Neal Cassady, who would become Dean Moriarty, in December 1946 and began his road adventures in 1947 while writing what would become The Town and the City. The adventures themselves, which took place between 1947 and 1950, were meant to help him overcome writers block during early attempts to write the book. It was through letters and other interactions with his friends that Kerouac decided to write the first person narrative that became On the Road as we know it today.[3]
The publication process was another adventure unto itself, which took a major psychological toll on Kerouac. He was discouraged by the struggle (even though he continued to write during the period) and finally agreed to substantially revise the original version after years of failed negotiations with different publishers. He removed several parts in order to focus the story and also to protect himself from potential issues of libel. He also continued to write feverishly after its publication in spite of attacks from critics.[3]
Historical context[edit]
On the Road portrays the story of a fierce personal quest for meaning and belonging. This comes at an interesting point in American history when conformity was praised and outsiders were suspect. The Beat Generation arose out of a time of intense conflict, both internally and externally.
The issues of the Cold War, the Second Red Scare and McCarthyism took center stage of the cultural arena in the 1950s. As the U.S government cracked down on left-wing influences at home and abroad, the sentiment of unifying and banding together led to extreme measures of censorship and control.
The Cold War was the backdrop for this fight. In a short time after defeating Germany, the Soviet Union fell from ally to threat in the eyes of the United States. In the postwar reconstruction process, the two powers found themselves continually at odds. The sentiment arose clearly as a struggle between two opposing ways of life. Contention over Soviet support for alleged communist revolution in Iran, then Turkey and Greece, led to the American policy of containment and the Truman Doctrine. Before a joint session of Congress on March 12, 1947, President Harry S. Truman stated, "I believe it must be the policy of the United States to support the people who are resisting attempted subjugation by armed minorities or by outside pressures."[4] That summer, Secretary of State George C. Marshall proposed a plan for the economic reconstruction of Europe. While Western European countries planned how to go about rebuilding with American help, the Soviets walked away and forced the Eastern European countries to do the same. A Soviet aid and recovery plan followed for these countries and would mark the beginning of a punch and counterpunch pattern that would typify the early years of the Cold War. This laid a foundation for the tension that would define the period.[4]
Beat Generation summary[edit]
It was in this climate that some individuals of the young generation were seeking meaning outside the mainstream worldview. Amidst all the conflict and contradiction, the Beats were seeking out a way to navigate through the world. As John Clellon Holmes put it, "Everywhere the Beat Generation seems occupied with the feverish production of answers—some of them frightening, some of them foolish—to a single question: how are we to live?"[5]
The idea of what it means to be "beat" is still difficult to accurately describe. While many critics still consider the word "beat" in its literal sense of "tired and beaten down," others, including Kerouac himself promoted the generation more in sense of "beatific" or blissful.[6] "Beat" can also be read as a 'rhythm' such as in music, as in Jazz - a rhythmic beat or 'the rhythm of life' itself.
Holmes and Kerouac published several articles in popular magazines in an attempt to explain the movement. In the November 16, 1952 New York Times Sunday Magazine, he wrote a piece exposing the faces of the Beat Generation. "[O]ne day [Kerouac] said, 'You know, this is a really beat generation' ... More than mere weariness, it implies the feeling of having been used, of being raw. It involves a sort of nakedness of mind, and ultimately, of soul: a feeling of being reduced to the bedrock of consciousness. In short, it means being undramatically pushed up against the wall of oneself."[7] He distinguishes Beats from the Lost Generation of the 1920s pointing out how the Beats are not lost but how they are searching for answers to all of life's questions. Kerouac's preoccupation with writers like Ernest Hemingway shaped his view of the beat generation. He uses a prose style which he adapted from Hemingway and throughout On the Road he alludes to novels like The Sun Also Rises. "How to live seems much more crucial than why."[7] In many ways, it is a spiritual journey, a quest to find belief, belonging, and meaning in life. Not content with the uniformity promoted by government and consumer culture, the Beats yearned for a deeper, more sensational experience.
Holmes expands his attempt to define the generation in a 1958 article in Esquire magazine. This article was able to take more of a look back at the formation of the movement as it was published after On the Road. "It describes the state of mind from which all unessentials have been stripped, leaving it receptive to everything around it, but impatient with trivial obstructions. To be beat is to be at the bottom of your personality, looking up."[5]
Literary context[edit]
At the time of publication, On the Road was not the first book to criticize contemporary American culture. A nonconformist sentiment characterized the arts and popular culture of the 1950s as a way of rejecting societal norms. Many of the best selling books of the time achieved this same mission.[4]
J. D. Salinger produced the first shock to the tranquil suburban landscape with the publication of The Catcher in the Rye in 1951. His protagonist Holden Caulfield struck a chord with young readers also at odds with the adult world. Caulfield's rejection of the regimentation and "phoniness" of the world around him resonated with the struggle for meaning that drove the Beat Generation. Salinger's rejection of traditional middle-class values signaled the first widely recognized public stand against the cultural conformist pressure.[4]
Among the best-selling novels of 1950s was Peyton Place by Grace Metalious. Published in September 1956, it managed to be the second most sold book in the country that year and then to top the chart in 1957. In fact, it went on to be the best-selling book in American history up to that point.[8] Often cited as the prime example of the decline in American culture of the decade, the novel examines the traditional values of a New England mill town by introducing the complications of extramarital sexual affairs. A book that received a broad range of reviews after publication, Peyton Place's popularity shows that popular culture was ready for a break from their traditional expectations.[8]
Another popular contemporary was Sloan Wilson's The Man in the Gray Flannel Suit (1955) that dealt with the increasing suburbanization of American society. Tom Rath struggles with the dilemma of following his conscience or pursuing the big salary and lush lifestyle typically portrayed of the 1950s family. In the end, though, he discovers that he can have both. While Wilson can be seen as chastising the societal norms at times, he concludes with his character achieving them. This shows the dichotomy of attitudes toward the middle-class values of the day.[9]
Production and publication[edit]
The scroll, exhibited at the Boott Cotton Mills Museum in Lowell, Massachusetts, summer 2007
Kerouac often promoted the story about how in April 1951 he wrote the novel in three weeks, typing continuously onto a 120-foot roll of teletype paper.[10] Although the story is true per se, the book was in fact the result of a long and arduous creative process. Kerouac carried small notebooks, in which much of the text was written as the eventful span of road trips unfurled. He started working on the first of several versions of the novel as early as 1948, based on experiences during his first long road trip in 1947. However, he remained dissatisfied with the novel.[11] Inspired by a thousand-word rambling letter from his friend Neal Cassady, Kerouac in 1950 outlined the "Essentials of Spontaneous Prose" and decided to tell the story of his years on the road with Cassady as if writing a letter to a friend in a form that reflected the improvisational fluidity of jazz.[12]
The first draft of what was to become the published novel was written in three weeks in April 1951 while Kerouac lived with Joan Haverty, his second wife, at 454 West 20th Street in Manhattan, New York. The manuscript was typed on what he called "the scroll"—a continuous, one hundred and twenty-foot scroll of tracing paper sheets that he cut to size and taped together.[13] The roll was typed single-spaced, without margins or paragraph breaks. In the following years, Kerouac continued to revise this manuscript, deleting some sections (including some sexual depictions deemed pornographic in the 1950s) and adding smaller literary passages.[14] Kerouac authored a number of inserts intended for On the Road between 1951 and 1952, before eventually omitting them from the manuscript and using them to form the basis of another work, Visions of Cody.[15] On the Road was championed within Viking Press by Malcolm Cowley and was published by Viking in 1957, based on revisions of the 1951 manuscript.[16] Besides differences in formatting, the published novel was shorter than the original scroll manuscript and used pseudonyms for all of the major characters.
Viking Press released a slightly edited version of the original manuscript on 16 August 2007 titled On the Road: The Original Scroll corresponding with the 50th anniversary of original publication. This version has been transcribed and edited by English academic and novelist Dr. Howard Cunnell. As well as containing material that was excised from the original draft due to its explicit nature, the scroll version also uses the real names of the protagonists, so Dean Moriarty becomes Neal Cassady and Carlo Marx becomes Allen Ginsberg, etc.[17]
In 2007, Gabriel Anctil, a journalist of the Montreal's daily Le Devoir discovered, in Kerouac's personal archives in New York, almost 200 pages of his writings entirely in Quebec French, with colloquialisms. The collection included ten manuscript pages of an unfinished version of On the Road, written on January 19, 1951. The date of the writings makes Kerouac one of the earliest known authors to use colloquial Quebec French in literature.[18]
Plot summary[edit]
The two main characters of the book are the narrator, Salvatore "Sal" Paradise, and his new friend Dean Moriarty, much admired for his carefree attitude and sense for adventure, a free-spirited maverick eager to explore all kicks and an inspiration and catalyst for Sal's travels. The novel contains five parts, three of them describing road trips with Moriarty. The narrative takes place in the years 1947 to 1950, is full of Americana, and marks a specific era in jazz history, "somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis." The novel is largely autobiographical, Sal being the alter ego of the author and Dean standing for Neal Cassady. The epic nature of the adventures and the text itself creates a tremendous sense of meaning and purpose for the themes and lessons.
Part One[edit]
The first section describes Sal's first trip to San Francisco. Disheartened after a divorce, his life changes when he meets Dean Moriarty, who is "tremendously excited with life," and begins to long for the freedom of the road: "Somewhere along the line I knew there would be girls, visions, everything; somewhere along the line the pearl would be handed to me." He sets off in July 1947 with fifty dollars in his pocket. After taking several buses and hitchhiking, he arrives in Denver, where he hooks up with Carlo Marx, Dean, and their friends. There are parties — among them an excursion to the ghost town of Central City. Eventually Sal leaves by bus and gets to San Francisco, where he meets Remi Boncoeur and his girlfriend Lee Ann. Remi arranges for Sal to take a job as a night watchman at a boarding camp for merchant sailors waiting for their ship. Not holding this job for long, Sal hits the road again. "Oh, where is the girl I love?" he wonders. Soon he meets Terry, the "cutest little Mexican girl," on the bus to Los Angeles. They stay together, traveling back to Bakersfield, then to Sabinal, "her hometown," where her family works in the fields. He meets Terry's brother Ricky, who teaches him the true meaning of "mañana" ("tomorrow"). Working in the cotton fields, Sal realizes that he is not made for this type of work. Leaving Terry behind, he takes the bus back to New York and walks the final stretch from Times Square to Paterson, just missing Dean, who had come to see him, by two days.
In this section, Kerouac not only introduces many of the book's characters but also its central conflicts and dilemmas. He initially shows Sal as the deep thinking writer who yearns for greater freedom. As the plot unfolds he shows the depth and degree of Sal's internal conflict in the pursuit of "kicks," torn between the romanticized freedom of the open road and practicality of a more settled, domestic life. Dean appears as the "yellow roman candle" that catalyzes the action of the novel. His uncontainable spirit invites Sal to follow but also foreshadows problems of commitment and devotion that will reappear later on.
Part Two[edit]
In December 1948 Sal is celebrating Christmas with his relatives in Testament, Virginia when Dean shows up with Marylou (having left his second wife, Camille, and their newborn baby, Amy, in San Francisco) and Ed Dunkel. Sal's Christmas plans are shattered as "now the bug was on me again, and the bug's name was Dean Moriarty." First they drive to New York, where they meet Carlo and party. Dean wants Sal to make love to Marylou, but Sal declines. In Dean's Hudson they take off from New York in January 1949 and make it to New Orleans. In Algiers they stay with the morphine-addicted Old Bull Lee and his wife Jane. Galatea Dunkel joins her husband in New Orleans while Sal, Dean, and Marylou continue their trip. Once in San Francisco, Dean again leaves Marylou to be with Camille. "Dean will leave you out in the cold anytime it is in the interest of him," Marylou tells Sal. Both of them stay briefly in a hotel, but soon she moves out, following a nightclub owner. Sal is alone and on Market Street has visions of past lives, birth, and rebirth. Dean finds him and invites him to stay with his family. Together, they visit nightclubs and listen to Slim Gaillard and other jazz musicians. The stay ends on a sour note: "what I accomplished by coming to Frisco I don't know," and Sal departs, taking the bus back to New York.
In this section, Marylou sums up the dilemma of Dean's lack of commitment and selfishness when she says that he will always leave you if it isn't in his interest. This central conflict appears again after Dean returns to Camille in San Francisco, abandoning his two travel companions. Sal again finds himself at a loss for purpose and direction. He has spent his time following the other characters but is unfulfilled by the frantic nature of this life. Much of the euphoria has worn off as he becomes more contemplative and philosophical.
Part Three[edit]
In the spring of 1949, Sal takes a bus from New York to Denver. He is depressed and "lonesome"; none of his friends are around. After receiving some money, he leaves Denver for San Francisco to see Dean. Camille is pregnant and unhappy, and Dean has injured his thumb trying to hit Marylou for sleeping with other men. Camille throws them out, and Sal invites Dean to come to New York, planning to travel further to Italy. They meet Galatea, who tells Dean off: "You have absolutely no regard for anybody but yourself and your kicks." Sal realizes she is right — Dean is the "HOLY GOOF" — but also defends him, as "he's got the secret that we're all busting to find out." After a night of jazz and drinking in Little Harlem on Folsom Street, they depart. On the way to Sacramento they meet a "fag," who propositions them. Dean tries to hustle some money out of this but is turned down. During this part of the trip Sal and Dean have ecstatic discussions having found "IT" and "TIME." In Denver a brief argument shows the growing rift between the two, when Dean reminds Sal of his age, Sal being the older of the two. They get a '47 Cadillac from the travel bureau that needs to be brought to Chicago. Dean drives most of the way, crazy, careless, often speeding over 100 miles per hour, bringing it in a disheveled state. By bus they move on to Detroit and spend a night on Skid Row, Dean hoping to find his homeless father. From Detroit they share a ride to New York and arrive at Sal's aunt's new flat in Long Island. They go on partying in New York, where Dean meets Inez and gets her pregnant while his wife is expecting their second child.
After seeing how he treats Camille and Marylou, Sal finally begins to realize the nature of his relationship with Dean. While he cares greatly about him, several times discussing future plans to live on the same street, he recognizes that the feeling may not be mutual. The situations are beginning to change, though, as Sal has received some money from his recently published book and can begin to support himself and also Dean when he comes to New York. Sal is taking a more active role in his freedom as opposed to just following Dean.
Part Four[edit]
In the spring of 1950, Sal gets the itch to travel again while Dean is working as a parking lot attendant in Manhattan, living with his girlfriend Inez. Sal notices that he has been reduced to simple pleasures — listening to basketball games and looking at erotic playing cards. By bus Sal takes to the road again, passing Washington, Ashland, Cincinnati, St. Louis, and eventually reaching Denver. There he meets Stan Shephard, and the two plan to go to Mexico City when they learn that Dean had bought a car and is on the way to join them. In a rickety '37 Ford sedan the three set off across Texas to Laredo, where they cross the border. They are ecstatic, having left "everything behind us and entering a new and unknown phase of things." Their money buys more (10 cents for a beer), police are laid back, cannabis is readily available, and people are curious and friendly. The landscape is magnificent. In Gregoria, they meet Victor, a local kid, who leads them to a bordello where they have their last grand party, dancing to mambo, drinking, and having fun with prostitutes. In Mexico City Sal becomes ill from dysentery and is "delirious and unconscious." Dean leaves him, and Sal later reflects that "when I got better I realized what a rat he was, but then I had to understand the impossible complexity of his life, how he had to leave me there, sick, to get on with his wives and woes."
In this section we see Dean's selfishness finally extend to Sal, as he leaves Sal abandoned in Mexico City. Sal has sunk to the bottom of his reality having seen Victor put his family obligations over the freedom of the road and Dean was not ready to do the same thing. This is the moment where the paths diverge and Sal realizes that he has more to live for than just constantly moving.
Part Five[edit]
Dean, having obtained divorce papers in Mexico, had first returned to New York to marry Inez, only to leave her and go back to Camille. After his recovery from dysentery in Mexico, Sal returns to New York in the fall. He finds a girl, Laura, and plans to move with her to San Francisco. Sal writes to Dean about his plan to move to San Francisco. Dean writes back saying that he's willing to come and accompany Laura and Sal. Dean arrives over five weeks early but Sal is out taking a late-night walk alone. Sal returns home to Laura and sees a copy of Proust and knows that it is Dean's. Sal realizes that his friend has arrived, but at a time when Sal doesn't have the money to relocate to San Francisco. On hearing this Dean makes the decision to head back to Camille and Sal's friend Remi Boncoeur denies Sal's request to give Dean a short lift to 40th Street on their way to a Duke Ellington concert at the Metropolitan Opera House. Sal's girlfriend Laura realises that this is a painful moment for Sal and prompts him for a response as the party drives off without Dean; to which he replies "He'll be alright". Sal later reflects as he sits on a river pier under a New Jersey night sky about the roads and lands of America that he has travelled and states ". . . I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty."
Character key[edit]
Kerouac often based his fictional characters on friends and family.[19][20]
"Because of the objections of my early publishers I was not allowed to use the same person's name in each work."[21]
Real-life personCharacter name
Jack KerouacSal Paradise
Gabrielle KerouacSal's Aunt
Alan AnsenRollo Greb
William S. BurroughsOld Bull Lee
Joan VollmerJane
Lucien CarrDamion
Neal CassadyDean Moriarty
Carolyn CassadyCamille
Hal ChaseChad King
Henri CruRemi Boncoeur
Bea Franco (Beatrice Kozera)Terry
Allen GinsbergCarlo Marx
Diana HansenInez
Alan HarringtonHal Hingham
Joan HavertyLaura
Luanne HendersonMarylou
Al HinkleEd Dunkel
Helen HinkleGalatea Dunkel
Jim HolmesTom Snark
John Clellon HolmesIan MacArthur
Ed StringhamTom Saybrook
Herbert HunckeElmer Hassel
Frank JeffriesStan Shephard
Gene PippinGene Dexter
Allan TemkoRoland Major
Bill TomsonRoy Johnson
Helen TomsonDorothy Johnson
Ed UhlEd Wall
Helen GullionRita Betancourt
Major themes[edit]
The main ideas of the Beat Generation, the longing for belief and meaning in life, are reflected in On the Road. While interest in the book initially revolved more around Kerouac's personal life rather than the literary nature of the text, critical attention has burgeoned in recent years. Although the book can be viewed through many lenses, several major themes rise up from a deeper study.
Kerouac has admitted that the biggest of these themes is religion. In a letter to a student in 1961, he wrote:
"Dean and I were embarked on a journey through post-Whitman America to FIND that America and to FIND the inherent goodness in American man. It was really a story about 2 Catholic buddies roaming the country in search of God. And we found him."
[22]
This idea of an inward adventure is illustrated in all of the experimentation. The Beats had a more liberal definition of God and spirituality closely related to personal experience.
All of the travel and personal interaction in the book permit an examination of the ideas of masculinity and mobility in the 1950s. While these concepts may seem unrelated, Kerouac weaves them together to provide another form of rebellion against the social norm of conformity. Mary Pannicia Carden examines this and proposes that traveling was a way for the characters to assert their independence. "[Sal and Dean] attempt to replace the model of manhood dominant in capitalist America with a model rooted in foundational American ideals of conquest and self-discovery."[23] Travel is a very symbolic act both in history and in literature of coming of age and self-realization, especially for males. But not only do they see conformity as restricting, but in many senses, they view women this way as well. "Reassigning disempowering elements of patriarchy to female keeping, they attempt to substitute male brotherhood for the nuclear family and to replace the ladder of success with the freedom of the road as primary measures of male identity."[23] The interactions of the book come down to balances of power and gains and losses of masculinity. Even though they seek to defy its traditional markers, Dean and Sal also rely on this masculinity in their self-definition. In the end, their divergence to different paths reflects Sal's understanding of the limitations of complete freedom that is sought on the road in so far as it pertains to relations to culture and identity.
In a broader sense, On the Road's major lesson is about the proper way of growing up. Unlike Holden Caulfield, Sal Paradise is struggling with getting through adolescence and maturity rather than delaying it. We see this contrasted with Dean Moriarty who is portrayed as the depiction of a child, always on the move. Sal's struggle is how to balance these opposing forces. We saw these exact issues in Holmes's definition of the Beat Generation as a whole, of which Sal Paradise becomes the metaphorical face.
Language[edit]
In addition to the themes and controversial topics addressed in On the Road, Kerouac's apparently erratic writing style garnered much attention for the novel. Some have said that On the Road was merely a transitional phase in between the traditional narrative structure of The Town and the City (1951) and the so-called "wild form" of Kerouac's later books like Visions of Cody (1972).[24]
Kerouac's own explanation of his style begins with the publication of "Essentials of Spontaneous Prose" (1953) in which he outlines the core features of his techniques. He likens his writing to Impressionist painters who sought to create art through direct observation. He endeavored to present a raw version of truth which did not lend itself to the traditional process of revision and rewriting but rather the emotionally charged practice of spontaneity he pursued.[25]
This spontaneity produced a book that was not only readable in 1957 but still captures the attention of audiences today. The personal nature of the text helps foster a direct link between Kerouac and the reader. Because he is writing about actual experiences, conveying appropriately the environment provided this connection. Kerouac chose to do this through his detailed descriptions, rarely pausing for a breath between sentences. His more casual diction and very relaxed syntax, although viewed as less than serious by some, was an intentional attempt to depict events as they happened and to convey all of the energy and emotion of the experiences.[25]
Reception[edit]
The book received a mixed reaction from the media in 1957. Some of the earlier reviews spoke highly of the book, but the backlash to these was swift and strong. Although this was discouraging to Kerouac, he still received great recognition and notoriety from the work. Since its publication, critical attention has focused on issues of both the context and the style, addressing the actions of the characters as well as the nature of Kerouac's prose.
Initial reaction[edit]
In his review for The New York Times, Gilbert Millstein wrote, "its publication is a historic occasion in so far as the exposure of an authentic work of art is of any great moment in an age in which the attention is fragmented and the sensibilities are blunted by the superlatives of fashion" and praised it as "a major novel."[1] Millstein was already sympathetic toward the Beat Generation and his promotion of the book in the Times did wonders for its recognition and acclaim. Not only did he like the themes, but also the style, which would come to be just as hotly contested in the reviews that followed. "There are sections of On the Road in which the writing is of a beauty almost breathtaking...there is some writing on jazz that has never been equaled in American fiction, either for insight, style, or technical virtuosity."[1] Kerouac and Joyce Johnson, a younger writer he was living with, read the review shortly after midnight at a newsstand at 69th Street and Broadway, near Joyce's apartment in the Upper West Side. They took their copy of the newspaper to a neighborhood bar and read the review over and over. "Jack kept shaking his head," Joyce remembered later in her memoir Minor Characters, "as if he couldn’t figure out why he wasn’t happier than he was." Finally, they returned to her apartment to go to sleep. As Joyce recalled: "Jack lay down obscure for the last time in his life. The ringing phone woke him the next morning, and he was famous.”[26]
The backlash began just a few days later in the same publication. David Dempsey published a review that contradicted most of what Millstein had promoted in the book. "As a portrait of a disjointed segment of society acting out of its own neurotic necessity, "On the Road", is a stunning achievement. But it is a road, as far as the characters are concerned, that leads to nowhere." While he did not discount the stylistic nature of the text (saying that it was written "with great relish"), he dismissed the content as a "passionate lark" rather than a novel."[27]
Other reviewers were also less than impressed. Phoebe Lou Adams in Atlantic Monthly wrote that it "disappoints because it constantly promises a revelation or a conclusion of real importance and general applicability, and cannot deliver any such conclusion because Dean is more convincing as an eccentric than as a representative of any segment of humanity."[28] While she liked the writing and found a good theme, her concern was repetition. "Everything Mr. Kerouac has to say about Dean has been told in the first third of the book, and what comes later is a series of variations on the same theme."[28]
The review from Time exhibited a similar sentiment. "The post-World War II generation—beat or beatific—has not found symbolic spokesmen with anywhere near the talents of Fitzgerald, Hemingway, or Nathaniel West. In this novel, talented Author Kerouac, 35, does not join that literary league, either, but at least suggests that his generation is not silent. With his barbaric yawp of a book, Kerouac commands attention as a kind of literary James Dean."[29] It considers the book partly a travel book and partly a collection of journal jottings. While Kerouac sees his characters as "mad to live...desirous of everything at the same time," the reviewer likens them to cases of "psychosis that is a variety of Ganser Syndrome" who "aren't really mad—they only seem to be."[29]
Current reactions[edit]
On the Road has been the object of much study since its publication. In celebration of the 50th anniversary of publication, several critics took a fresh look at the text in 2007. It is interesting to consider how the perception has evolved in the last half century.
David Brooks of the New York Times compiled several of these opinions and summarized them in an Op-Ed from October 2, 2007. Where as Millstein saw it as a story in which the heroes took pleasure in everything, George Mouratidis, an editor of a new edition, claimed "above all else, the story is about loss." "It's a book about death and the search for something meaningful to hold on to — the famous search for 'IT,' a truth larger than the self, which, of course, is never found," wrote Meghan O'Rourke in Slate. "Kerouac was this deep, lonely, melancholy man," Hilary Holladay of the University of Massachusetts Lowell told The Philadelphia Inquirer. "And if you read the book closely, you see that sense of loss and sorrow swelling on every page." "In truth, 'On the Road' is a book of broken dreams and failed plans," wrote Ted Gioia in The Weekly Standard.[30]
John Leland, author of Why Kerouac Matters: The Lessons of On the Road (They're Not What You Think), says "We're no longer shocked by the sex and drugs. The slang is passé and at times corny. Some of the racial sentimentality is appalling" but adds "the tale of passionate friendship and the search for revelation are timeless. These are as elusive and precious in our time as in Sal's, and will be when our grandchildren celebrate the book's hundredth anniversary."[31]
To Brooks, this characterization seems limited. "Reading through the anniversary commemorations, you feel the gravitational pull of the great Boomer Narcissus. All cultural artifacts have to be interpreted through whatever experiences the Baby Boomer generation is going through at that moment. So a book formerly known for its youthful exuberance now becomes a gloomy middle-aged disillusion."[30] He laments how the book's spirit seems to have been tamed by the professionalism of America today and how it has only survived in parts. The more reckless and youthful parts of the text that gave it its energy are the parts that have "run afoul of the new gentility, the rules laid down by the health experts, childcare experts, guidance counselors, safety advisers, admissions officers, virtuecrats and employers to regulate the lives of the young."[30] He claims that the "ethos" of the book has been lost.
Influence[edit]
On the Road has been a major influence on many poets, writers, actors and musicians, including Bob Dylan, Van Morrison, Jim Morrison, Hunter S. Thompson, and many more.
"It changed my life like it changed everyone else's," Dylan would say many years later. Tom Waits, too, acknowledged its influence, hymning Jack and Neal in a song and calling the Beats "father figures." At least two great American photographers were influenced by Kerouac: Robert Frank, who became his close friend — Kerouac wrote the introduction to Franks' book, The Americans — and Stephen Shore, who set out on an American road trip in the 1970s with Kerouac's book as a guide. It would be hard to imagine Hunter S. Thompson's road novel Fear and Loathing in Las Vegas had On the Road not laid down the template; likewise, films such as Easy Rider, Paris, Texas, and even Thelma and Louise.[32]
In his book Light My Fire: My Life with The Doors, Ray Manzarek (keyboard player of The Doors) wrote "I suppose if Jack Kerouac had never written On the Road, The Doors would never have existed."
Since the mobile lifestyle popularized by "On The Road" had a strong influence on the large market segment of baby boomers who joined the hippie movement the death of Jack Kerouac was of interest to the readers of the pioneering new journalism publication Rolling Stone. As a result, editor and publisher of the tabloid, Jann Wenner, printed a detailed account of the funeral of the "On The Road" author by writers Stephen Davis and Eric Ehrmann. According to the Rolling Stone article, Jack Kerouac's open casket viewing at the Archambault Funeral Home and subsequent burial funeral at the Edson Cemetery in Lowell, Massachusetts were attended by few of his "On The Road" era friends. Neal Cassady (Dean Moriarty in the book) had died the year before in 1968. San Francisco poet Lawrence Ferlinghetti chose not to come east to attend. Allen Ginsberg (Carlo Marx in the book) showed up with Peter Orlovsky and Gregory Corso was there filming the event. Author Terry Southern sent a floral arrangement that was on display near the bier. One writer in attendance not associated with the "On The Road" group or Beatnik crowd was New York Daily News columnist Jimmy Breslin, who, like Kerouac, came from a working-class background. Breslin, who had been inspired by "On The Road" in his youth, journeyed up to Lowell to pay his respects, his feelings about Kerouac's appearing as part of the Rolling Stone coverage. Many writers, actors and artists including Ann Charters and Hettie Jones, inter alia, would later share their feelings about how they were influenced by "On The Road" and the Beat culture in the Rolling Stone Book of The Beats edited by Holly George Warren published by Hyperion in 1999.
"NASA 1970's Mars penetrator mission concept. The carrier spacecraft would launch the penetrator by rocket from a tube. An umbrella-like deployable fabric decelerator would be used to slow and stabilize the penetrator, which would leave an aftbody antenna at the surface."
The above, associated with a black & white diagram of the image, labeled as Fig. 7, at:
www.lpl.arizona.edu/~rlorenz/penetrators_asr.pdf
Credit: College of Science/Lunar & Planetary Laboratory/The University of Arizona website
AND!
“…A Mars Science Working Group (MSWG) chaired by Thomas Mutch was established by NASA to develop a science strategy for a future mission (Mars Science Working Group, 1977). It met four times in 1977. The plan assumed two Space Shuttle launches in December 1983 or January 1984, each carrying a spacecraft consisting of an orbiter, a lander with rover, and three penetrators, set to arrive at Mars in September or October 1984. The penetrators would be deployed just before arrival, but the rovers would wait in orbit until the dust storm season was over. Highly elliptical initial orbits would permit magnetospheric studies. After the rovers landed, the orbiters would enter circular orbits, one near-polar at 500 km altitude for global mapping and communication with the penetrators, the other 1000 km high with about a 30° inclination for rover communications. As the rovers might each deploy an instrument station with a seismometer, there could be ten simultaneously operating landed components.
As each orbiter neared the planet, it would deploy three penetrators which would fall on a circle around the centre of the planet’s disk as seen from the approach direction. After deployment the orbiters would be deflected off the approach path to enter orbit. The six penetrators, carrying seismometers and soil and atmospheric analysis equipment, would form a global array. Three would be placed about 500 km apart in an area likely to be seismically active, such as Tharsis. The other three would be spaced about 5000 km apart to give global coverage. Two additional and more sophisticated seismometers would be deployed by the rovers in areas partly shielded from the wind. Latitudes between 50° N and 87° S would be accessible, and the landing ellipses were 200-km-diameter circles. Slopes would have to be less than 45° at the impact point. Site selection was reported in a Penetrator Site Studies document preserved in Tim Mutch’s papers at Brown University. One potential array design was described (Table 36), along with four deployment options which include several additional sites (Table 37). Option 1 was the potential array described in Table 36. The penetrator sites in Table 37 were also described in Manning (1977), in which the site selection work was attributed to T. E. Bunch and Ronald Greeley.
The rover landing ellipses were roughly 50 by 80 km across. Five landing sites were studied using Viking data, in addition to the four sites previously considered by USGS for the Viking Rover (Figures 109 and 110). Only two sites were identified in the MSWG report, Capri and Candor (Table 38, Figures 111 and 112). The other sites were identified in Working Group documents among Tim Mutch’s papers in the archives at Brown University.
The rover landing ellipses in these documents were 65 by 40 km across. The polar orbiter would be able to deploy its rover from orbit at latitudes between 30° N and 50° N (this range could vary, depending on the launch date), whereas the low-inclination orbit could deliver a rover to latitudes between 20° S and 20° N.
Six rover landing sites were identified in a Rover Site Studies report prepared for the Working Group (Table 38a, Figure 111). Most derived from work done earlier for Viking or the Viking rover study, including proposals to land near Viking 1 and visit it or to explore the abandoned A-1 site with its complex geology. In a memorandum dated 9 May 1977, Hal Masursky followed up on discussions at a meeting of the Mars 1984 Mission Study Group held on 1 April. He asked Tim Mutch to request high-resolution stereoscopic Viking imaging coverage of four of these sites, using slightly different coordinates (Table 38b). These, he said, ‘were sites for which we have made traverse plans’. He added that ‘a backup smoother site near B-1’ at Cydonia had also been studied. Eventually the Capri and Candor sites were chosen, and detailed mission plans were prepared (Figure 109). Traverses near the Chryse sites were also prepared, including those in Figure 114.
The Capri site provided access to cratered uplands, crater ejecta and a fluvial channel. Candor was on the floor of the canyon system, with access to thick-layered deposits, canyon wall materials and, at the end of the extended mission, possibly the volcanic plateau surrounding the canyon. Alba had fractured volcanic plains and crater ejecta, but also small channels.
The Mars 1984 rovers had three traverse modes. Mode 1 was for detailed site investigations and involved only short, precise drives as needed for science operations. Mode 2, the ‘survey traverse mode’, would cover about 400 m per sol and could include some observations along the route. Mode 3, the ‘fast traverse mode’, could cover as much as 800 m per sol, including travel at night. The goal was to cover about 200 km during one Mars year and up to 200 km more in an extended mission in the second Mars year.
On 13 May 1977, Carl Pilcher, Hal Masursky and Ron Greeley suggested a variation on the role of penetrators in this mission. Two penetrators would be dropped in the lander target ellipse, carrying beacons to help guide the rover to a precision landing. After the landing they would operate with instruments on the lander itself as a local area seismic network.
The Mars 1984 orbiters would carry cameras, spectrometers for surface composition, infrared and microwave radiometers, a magnetometer, a plasma probe, a radar altimeter and communication relay equipment.
The relationship between Mars 1984 and other missions was considered by the Working Group. If Viking Lander 1 survived long enough, it might provide useful meteorological data for a Mars 1984 landing at Chryse, if that site was chosen. Conversely, Mars 1984 might be reconfigured to gather samples for collection by a sample return mission in about 1990.
Mars 1984 was not funded, probably in part because significant opposition to it arose in the science community. Jim Arnold and Mike Duke objected publicly that the final report of the Working Group did not reflect the group discussions, particularly in its assertions that the rovers were the only realistic option, that they were essential for future Mars Sample Return missions, and that simpler missions (orbiters, hard landers) were ‘a step backwards’. The report also suggested that only Mars rovers would command broad public interest, whereas missions such as Voyager, Jupiter Orbiter/Probe (Galileo) and the Lunar Polar Orbiter would not. This mention of Voyager refers to the outer planet spacecraft, not the earliest version of Viking (Table 2), and the suggestion that it would attract little public interest turned out to be the opposite of the truth. Elbert King (University of Houston) wrote to Mutch on 29 August 1977, stating emphatically that Mars 1984 ‘would only ensure a repeat of the very limited scientific success of Viking – providing mostly only costly clues and ambiguous answers to the important scientific questions’. He argued that only sample return was justified by the cost. This dismal assessment of Viking’s scientific worth stems from its failure to detect life, or to definitively rule it out, but overlooks its detailed characterization of surface and atmospheric composition, meteorology and landing site geology, not to mention the mission’s orbital data…”
WOW, I say again, WOW. The above phenomenal excerpt from “The International Atlas of Mars Exploration”, written by Philip J. Stooke, and most graciously made available by Cambridge Core/Cambridge University Press, at.
Wait one, maybe not so gracious. Apparently, like everybody/place else, one is required to be registered or possibly possess an esteemed enough pedigree in order to be granted access...I apparently burned my one gratis token on the above. Hmm, I wonder if the Indonesian document hosting website has it:
www.cambridge.org/core/books/international-atlas-of-mars-...
We've come quite a way, eh? From dropping Jarts from orbit to flying a helicopter!
Also:
spaceflighthistory.blogspot.com/2017/08/prelude-to-mars-s...
spaceflighthistory.blogspot.com/2017/08/prelude-to-mars-s...
Both above credit: David S. F. Portree/"No Shortage of Dreams" blogspot
This characterization of Superman appears on a poster I saw in a toy store. He looks like he is holding his breath for some reason.
The fresco decoration of the Hall of Justice of the fortress of Angera constitutes one of the main figurative testimonies of the development phase of the Gothic pictorial language in the Lombard territory; it also proposes a rare and early example of painting with profane themes, of historical-political and celebratory significance.
The room, on the second floor of the Visconti wing of the building, has a rectangular plan, divided into two parts by a pointed arch. The ceiling, formed by cross vaults, is covered by a lively decoration with geometric motifs, with squares and rounds interwoven to form a sort of sumptuous painted fabric. The six bays of the walls, illuminated by large windows with two lights, host the pictorial decoration, which is divided into three superimposed registers within large arches defined by ornamental borders with stylized stars and flowers: the narrative scenes, in the center, are surmounted by a high band with astrological-astronomical subjects, while the lowest register is formed by a lozenge decoration that supported an elegant painted veil, now almost completely disappeared.
The cycle narrates the deeds of Ottone Visconti, archbishop and lord of Milan from 1277 after the victory obtained in Desio over the opposing Torriani family. Since a long time, studies have linked the frescoes to a precise literary source, the Liber de gestis in civitate Mediolani, a work in praise of the Visconti family written by the monk Stefanardo da Vimercate probably in the last decade of the thirteenth century; the tituli that accompany the scenes are inspired by it, while other Latin inscriptions report, to complete the upper decorative band, some verses of the astrological treatise De Sphaera.
From a stylistic point of view, the author of the paintings shows a marked taste for the complex layout of the scenes, while neglecting the coherence of the figure-architecture relationship; the forms are simplified and the faces, lacking in individual characterization, derive strong consistency from the resentful linear definition and the thick dark outlines; these elements constitute an evident link with the thirteenth-century pictorial tradition of Byzantine matrix, probably filtered through the knowledge of works from the Veneto area. Moreover, the attention that will be typically Lombardy for the realistic definition of details or for the description of costumes is already present and alive.
The brilliant overall effect of the room is enhanced by the whirlwind of colors of the vault, a real explosion of chromatic happiness that finds immediate comparisons in the vault of S. Bassiano in Lodi Vecchio, also decorated with joyful secular subjects.
The representations of the planets and the signs of the zodiac are still linked to those astrological-astronomical themes that had an enormous development since the beginning of the Christian Middle Ages and in particular in the Romanesque period; connected to the scansion of time and of the different working activities - in particular agricultural and pastoral -, they had multiple ethical, civil and religious implications. Situated in the courtroom of the Rocca, the cycle must have had the value of an exemplum for those who were called to judge, through the underlining of motifs such as the clemency of the winner on the vanquished enemy or the subjection of earthly power to the stars and to Fortune, and with precise indications on the virtues that should accompany the exercise of power.
As for the dating of the paintings, critics have expressed themselves in various ways, with wide oscillations between 1277 of the battle of Desio and 1314, the year in which Matteo Visconti definitively acquired possession of the fortress after a period of domination by the Torriani and other families.
Italian postcard in the Federico Fellini series by Gruppo Prospettive. Film poster for I Clowns (Federico Fellini, 1970) by Rinaldo Geleng.
Italian film director and screenwriter Federico Fellini (1920-1993) was one of the most influential filmmakers of all time. He was known for his distinct style that blends fantasy and baroque images with earthiness. In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita (1960), was nominated for twelve Academy Awards. He won an Oscar for La Strada (1954), Le notti di Cabiria (1957), 8½ (1963) and Amarcord (1973).
Federico Fellini was born in 1920 in Rimini in the Emilia-Romagna region. His native Rimini and characters there like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would later be remembered in several of his films. His traveling salesman father Urbano Fellini showed up in La dolce vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. Fellini's first passion was the theater, and at the age of 12, he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real-life role of a journalist. Additionally, Fellini worked as an artist on fumetti (Italy's illustrated magazines), and occasionally even made his living as a caricaturist at Roman restaurants. He caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds 'Cico and Pallina'. Pallina was played by acting student Giulietta Masina, who became Fellini's real-life wife in 1943. They remained together until his death. The young Fellini loved vaudeville and was befriended in 1939 by leading comedian Aldo Fabrizi. Fabrizi recruited Fellini to supply stories and ideas for his performances; between 1939 and 1944. The two men worked in tandem on a number of largely forgotten comedies, among them No Me Lo Dire, Quarta Pagina, and Campo de Fiori. When young director Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma città aperta (Roberto Rosselini, 1945), he made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisà (Roberto Rosselini, 1946). Dale O'Connor at IMDb: "On that film, he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work."
Federico Fellini collaborated on films by Pietro Germi (including In Nomine Della Legge and Il Cammino Della Speranza) and Alberto Lattuda (Il Delitto di Giovanni Episcopo and Il Mulino del Po), among others. In 1948, Fellini completed the screenplay for Il Miracolo, the second and longer section of Rossellini's two-part effort Amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters (a simple-minded peasant girl and her male counterpart, a kind of holy simpleton), recurring motifs (show business, parties, the sea), and an ambiguous relationship with religion and spirituality. He further explored this in his script for Rossellini's Francesco, Giullare di Dio (Roberto Rosselini, 1949). In 1950, Fellini made his first attempt at directing one of his own screenplays (with help of Alberto Lattuda), Luci del Varieta (Federico Fellini, Alberto Lattudada, 1950), which further developed his fusion of neorealism with the atmosphere of surrealism. Fellini then directed the romantic satire Lo Sciecco Bianc. The film marked his first work with composer Nino Rota. Fellini's initial masterpiece, I Vitteloni, followed in 1953. The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of many similar honours. The brilliant La Strada followed in 1954, also garnering the Silver Lion as well as the Oscar for Best Foreign Language Picture. After helming Il Bidone (1955), Fellini and a group of screenwriters (including a young Pier Paolo Pasolini) began work on Le Notti di Cabiria (1956), which also won an Oscar. Then he mounted La Dolce Vita (1960), the first of his pictures to star actor Marcello Mastroianni. He would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La Dolce Vita won the Palm d'Or at the Cannes Film Festival and remains a landmark in cinematic history.
During the 1960s, many films by Federico Fellini were influenced by the work of Swiss psychiatrist Carl Jung and his ideas on the role of archetypes and the collective unconscious. The women who had both attracted and frightened him in his youth and an Italy dominated in his youth by Mussolini and Pope Pius XII inspired Fellini's dreams. In the 1960s, he started to record them in notebooks, and life and dreams became the raw material for such films as 8½ (1963) or Fellini - Satyricon (1969). With 1965's Giulietta Degli Spiriti, Fellini worked for the first time in color. After experimenting with LSD under the supervision of doctors, he began scripting Il Viaggio di G. Mastorna. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial. Finally on April 10th, 1967, Fellini suffered a nervous breakdown, resulting in a month-long nursing homestay. Ultimately, he gave up on ever bringing Il Viaggio di G. Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre Passi nel Delirio. Turning to television, he helmed Fellini: A Director's Notebook, a one-hour special for NBC, followed by the feature effort Fellini Satyricon. I Clown followed in 1970, with Roma bowing in 1972. Amarcord, a childhood reminiscence, won a fourth Academy Award in 1974. It proved to be his final international success. He later shot Il Casanova di Federico Fellini (1976), Prova d'Orchestra (1979), and La Citta delle Donne (1980), which were less successful. Fellini turned to publishing with Fare un Film, an anthology of notes about his life and work. E la Nave Va (1983) and Ginger e Fred (1985) followed, but by the time of L'Intervista (1987), he was facing considerable difficulty finding financing for his projects. His last completed film was La Voce Della Luna (1989). In the early 1990s, Fellini helmed a handful of television commercials, and in 1993 he won his fifth Academy Award for a lifetime of service to the film industry. In 1993, Federico Fellini died the day after his 50th wedding anniversary. He was 73 years old. Jason Ankeny at AllMovie: "One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term "Felliniesque" could accurately describe it. "
Source: Jason Ankeny (AllMovie), Dale O' Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The Joker is a fictional character, a comic book supervillain published by DC Comics. He is the archenemy of Batman, having been directly responsible for numerous tragedies in Batman's life, including the paralysis of Barbara Gordon and the death of Jason Todd, the second Robin. Created by Jerry Robinson, Bill Finger and Bob Kane, the character first appeared in Batman #1 (Spring 1940).
Throughout his comic book appearances, the Joker is portrayed as a master criminal whose characterization has varied. The original and currently dominant image is of a highly intelligent psychopath with a warped, sadistic sense of humor, while other writers have portrayed him as an eccentric prankster. Similarly, throughout the character's long history, there have been several different origin tales; they most commonly depict him as falling into a tank of chemical waste, which bleaches his skin and turns his hair green and his lips bright red, giving him the appearance of a clown.
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Laurel and Hardy were a British-American comedy team during the early Classical Hollywood era of American cinema, consisting of Englishman Stan Laurel (1890–1965) and American Oliver Hardy (1892–1957). Starting their career as a duo in the silent film era, they later successfully transitioned to "talkies". From the late 1920s to the mid-1950s, they were internationally famous for their slapstick comedy, with Laurel playing the clumsy, childlike friend to Hardy's pompous bully. Their signature theme song, known as "The Cuckoo Song", "Ku-Ku", or "The Dance of the Cuckoos" (by Hollywood composer T. Marvin Hatley) was heard over their films' opening credits, and became as emblematic of them as their bowler hats.
Prior to emerging as a team, both had well-established film careers. Laurel had acted in over 50 films, and worked as a writer and director, while Hardy was in more than 250 productions. Both had appeared in The Lucky Dog (1921), but were not teamed at the time. They first appeared together in a short film in 1926, when they signed separate contracts with the Hal Roach film studio. They officially became a team in 1927 when they appeared in the silent short Putting Pants on Philip. They remained with Roach until 1940, and then appeared in eight B movie comedies for 20th Century Fox and Metro-Goldwyn-Mayer from 1941 to 1945. After finishing their film commitments at the end of 1944, they concentrated on performing stage shows, and embarked on a music hall tour of England, Ireland, Wales, and Scotland. They made their last film in 1950, a French–Italian co-production called Atoll K.
They appeared as a team in 107 films, starring in 32 short silent films, 40 short sound films, and 23 full-length feature films. They also made 12 guest or cameo appearances, including in the Galaxy of Stars promotional film of 1936. On December 1, 1954, they made their sole American television appearance, when they were surprised and interviewed by Ralph Edwards on his live NBC-TV program This Is Your Life. Since the 1930s, their works have been released in numerous theatrical reissues, television revivals, 8-mm and 16-mm home movies, feature-film compilations, and home videos. In 2005, they were voted the seventh-greatest comedy act of all time by a UK poll of professional comedians. The official Laurel and Hardy appreciation society is The Sons of the Desert, after a fictional fraternal society in the film of the same name.
History as Laurel and Hardy
Hal Roach
Hal Roach recounted how Laurel and Hardy became a team: Hardy was already working for Roach (and others) when Roach hired Laurel, whom he had seen in vaudeville. Laurel had very light blue eyes, and Roach discovered that, due to the technology of film at that time, Laurel's eyes wouldn't photograph properly—blue photographed as white. This problem is apparent in their first silent film together, The Lucky Dog, where an attempt was made to compensate for the problem by applying heavy makeup to Laurel's eyes. For about a year, Roach had Laurel work at the studio as a writer. Then panchromatic film was developed; they tested Laurel, and found the problem was solved. Laurel and Hardy were then put together in a film, and they seemed to complement each other. Comedy teams were usually composed of a straight man and a funny man, but these two were both comedians; however, each knew how to play the straight man when the script required it. Roach said, "You could always cut to a close-up of either one, and their reaction was good for another laugh."
Style of comedy and characterizations
The humor of Laurel and Hardy was highly visual, with slapstick used for emphasis. They often had physical arguments (in character) which were quite complex and involved a cartoonish style of violence. Their ineptitude and misfortune precluded them from making any real progress, even in the simplest endeavors. Much of their comedy involves "milking" a joke, where a simple idea provides a basis for multiple, ongoing gags without following a defined narrative.
Stan Laurel was of average height and weight, but appeared comparatively small and slight next to Oliver Hardy, who was 6 ft 1 in (185 cm) and weighed about 280 lb (127 kg; 20 st 0 lb) in his prime. Details of their hair and clothing were used to enhance this natural contrast. Laurel kept his hair short on the sides and back, growing it long on top to create a natural "fright wig". Typically, at times of shock, he simultaneously screwed up his face to appear as if crying while pulling up his hair. In contrast, Hardy's thinning hair was pasted on his forehead in spit curls and he sported a toothbrush moustache. To achieve a flat-footed walk, Laurel removed the heels from his shoes. Both wore bowler hats, with Laurel's being narrower than Hardy's, and with a flattened brim. The characters' normal attire called for wing collar shirts, with Hardy wearing a necktie which he would twiddle when he was particularly self-conscious; and Laurel, a bow tie. Hardy's sports jacket was a little small and done up with one straining button, whereas Laurel's double-breasted jacket was loose-fitting.
A popular routine was a "tit for tat" fight with an adversary. It could be with their wives—often played by Mae Busch, Anita Garvin, or Daphne Pollard—or with a neighbor, often played by Charlie Hall or James Finlayson. Laurel and Hardy would accidentally damage someone's property, and the injured party would retaliate by ruining something belonging to Laurel or Hardy. After calmly surveying the damage, one or the other of the "offended" parties found something else to vandalize, and the conflict escalated until both sides were simultaneously destroying items in front of each other. An early example of the routine occurs in their classic short Big Business (1929), which was added to the National Film Registry in 1992. Another short film which revolves around such an altercation was titled Tit for Tat (1935).
One of their best-remembered dialogue devices was the "Tell me that again" routine. Laurel would tell Hardy a genuinely smart idea he came up with, and Hardy would reply, "Tell me that again." Laurel would then try to repeat the idea, but, having instantly forgotten it, babble utter nonsense. Hardy, who had difficulty understanding Laurel's idea when expressed clearly, would then understand the jumbled version perfectly. While much of their comedy remained visual, humorous dialogue often occurred in Laurel and Hardy's talking films as well. Examples include:
"You can lead a horse to water, but a pencil must be led." (Laurel, Brats)
"I was dreaming I was awake, but I woke up and found meself asleep." (Laurel, Oliver the Eighth)
"A lot of weather we've been having lately." (Hardy, Way Out West)
In some cases, their comedy bordered on the surreal, in a style Laurel called "white magic". For example, in the 1937 film Way Out West, Laurel flicks his thumb upward as if working a lighter. His thumb ignites and he matter-of-factly lights Hardy's pipe. Amazed at seeing this, Hardy unsuccessfully attempts to duplicate it throughout the film. Much later he finally succeeds, only to be terrified when his thumb catches fire. Laurel expands the joke in the 1938 film Block-Heads by pouring tobacco into his clenched fist and smoking it as though it were a pipe, again to Hardy's bemusement. This time, the joke ends when a match Laurel was using relights itself, Hardy throws it into the fireplace, and it explodes with a loud bang.
Rather than showing Hardy suffering the pain of misfortunes, such as falling down stairs or being beaten by a thug, banging and crashing sound effects were often used so the audience could visualize the mayhem. The 1927 film Sailors, Beware! was a significant one for Hardy because two of his enduring trademarks were developed. The first was his "tie twiddle" to demonstrate embarrassment. Hardy, while acting, had received a pail of water in the face. He said, "I had been expecting it, but I didn't expect it at that particular moment. It threw me mentally and I couldn't think what to do next, so I waved the tie in a kind of tiddly-widdly fashion to show embarrassment while trying to look friendly." His second trademark was the "camera look", where he breaks the fourth wall and, in frustration, stares directly at the audience. Hardy said: "I had to become exasperated, so I just stared right into the camera and registered my disgust." Offscreen, Laurel and Hardy were quite the opposite of their movie characters: Laurel was the industrious "idea man", while Hardy was more easygoing.
Catchphrases
Laurel and Hardy's best-known catchphrase is, "Well, here's another nice mess you've gotten me into!" It was earlier used by W. S. Gilbert in both The Mikado (1885) and The Grand Duke (1896). It was first used by Hardy in The Laurel-Hardy Murder Case in 1930. In popular culture, the catchphrase is often misquoted as "Well, here's another fine mess you've gotten me into", which was never spoken by Hardy—a misunderstanding that stems from the title of their film Another Fine Mess. When Hardy said the phrase, Laurel's frequent, iconic response was to start to cry, pull his hair up, exclaim "Well, I couldn't help it...", then whimper and speak gibberish.
Some variations on the phrase occurred. For example, in Chickens Come Home, Ollie impatiently says to Stan, "Well...", and Stan continues for him: "Here's another nice mess I've gotten you into." The films Thicker than Water and The Fixer Uppers use the phrase "Well, here's another nice kettle of fish you've pickled me in!" In Saps at Sea, the phrase becomes "Well, here's another nice bucket of suds you've gotten me into!" The catchphrase, in its original form, was used as the last line of dialogue in the duo's last film, Atoll K (1951).
In moments of particular distress or frustration, Hardy often exclaims, "Why don't you do something to help me?", as Laurel stands helplessly by.
"OH!" (or drawn out as "Ohhhhh-OH!") was another catchphrase used by Hardy. He uses the expression in the duo's first sound film, Unaccustomed As We Are (1929) when his character's wife smashes a record over his head.
Mustachioed Scottish actor James Finlayson, who appeared in 33 Laurel and Hardy films, used a variation: "D'oh!" The phrase, expressing surprise, impatience, or incredulity, inspired the trademark "D'oh!" of character Homer Simpson (voiced by Dan Castellaneta) in the long-running animated comedy The Simpsons.
Films
Laurel's and Hardy's first film pairing, although as separate performers, was in the silent The Lucky Dog. Its production details have not survived, but film historian Bo Berglund has placed it between September 1920 and January 1921. According to interviews they gave in the 1930s, the pair's acquaintance at the time was casual, and both had forgotten their initial film entirely. The plot sees Laurel's character befriended by a stray dog which, after some lucky escapes, saves him from being blown up by dynamite. Hardy's character is a mugger attempting to rob Laurel. They later signed separate contracts with the Hal Roach Studios, and next appeared in the 1926 film 45 Minutes From Hollywood.
Hal Roach is considered the most important person in the development of Laurel's and Hardy's film careers. He brought them together, and they worked for Roach for almost 20 years. Director Charley Rogers, who worked closely with the three men for many years, said, "It could not have happened if Laurel, Hardy, and Roach had not met at the right place and the right time." Their first "official" film together was Putting Pants on Philip, released December 3, 1927. The plot involves Laurel as Philip, a young Scotsman who arrives in the United States in full kilted splendor, and suffers mishaps involving the kilts. His uncle, played by Hardy, tries to put trousers on him. Also in 1927, the pair starred in The Battle of the Century, a classic pie-throwing short involving over 3,000 real pies; only a fragment of the film was known to exist until the first half resurfaced in the 1970s; a more complete print was discovered in 2015 by historian Jon Mirsalis.
Laurel said to the duo's biographer John McCabe: "Of all the questions we're asked, the most frequent is, how did we come together? I always explain that we came together naturally." Laurel and Hardy were joined by accident and grew by indirection. In 1926, both were part of the Roach Comedy All Stars, a stock company of actors who took part in a series of films. Laurel's and Hardy's parts gradually grew larger, while those of their fellow stars diminished, because Laurel and Hardy had superior pantomime skills. Their teaming was suggested by Leo McCarey, their supervising director from 1927 and 1930. During that period, McCarey and Laurel jointly devised the team's format. McCarey also influenced the slowing of their comedy action from the silent era's typically frantic pace to a more natural one. The formula worked so well that Laurel and Hardy played the same characters for the next 30 years.
Although Roach employed writers and directors such as H. M. Walker, Leo McCarey, James Parrott, and James W. Horne on the Laurel and Hardy films, Laurel, who had a considerable background in comedy writing, often rewrote entire sequences and scripts. He also encouraged the cast and crew to improvise, then meticulously reviewed the footage during editing. By 1929, he was the pair's head writer, and it was reported that the writing sessions were gleefully chaotic. Stan had three or four writers who competed with him in a perpetual game of 'Can You Top This?' Hardy was quite happy to leave the writing to his partner. He said, "After all, just doing the gags was hard enough work, especially if you have taken as many falls and been dumped in as many mudholes as I have. I think I earned my money." Laurel eventually became so involved in their films' productions, many film historians and aficionados consider him an uncredited director. He ran the Laurel and Hardy set, no matter who was in the director's chair, but never asserted his authority. Roach remarked: "Laurel bossed the production. With any director, if Laurel said 'I don't like this idea,' the director didn't say 'Well, you're going to do it anyway.' That was understood." As Laurel made so many suggestions, there was not much left for the credited director to do.
Their 1929 silent Big Business is by far the most critically acclaimed. Laurel and Hardy are Christmas tree salesmen who are drawn into a classic tit-for-tat battle, with a character played by James Finlayson, that eventually destroys his house and their car. Big Business was added to the United States National Film Registry as a national treasure in 1992.
Sound films
In 1929 the silent era of film was coming to an end. Many silent-film actors failed to make the transition to "talkies"—some, because they felt sound was irrelevant to their craft of conveying stories with body language; and others, because their spoken voices were considered inadequate for the new medium. However, the addition of spoken dialogue only enhanced Laurel's and Hardy's performances; both had extensive theatrical experience, and could use their voices to great comic effect. Their films also continued to feature much visual comedy. In these ways, they made a seamless transition to their first sound film, Unaccustomed As We Are (1929) (whose title was a play on the familiar phrase, "Unaccustomed as I am to public speaking"). In the opening dialogue, Laurel and Hardy began by spoofing the slow and self-conscious speech of the early talking actors which became a routine they would use regularly.
The Music Box (1932), with the pair delivering a piano up a long flight of steps, won an Academy Award for Best Live Action Short Subject. The Music Box remains one of the duo's most widely known films.
Laurel and Hardy were favorites around the world, and Hal Roach catered to international audiences by filming many of their early talkies in other languages. They spoke their dialogue phonetically, in Spanish, Italian, French, or German. The plots remained similar to the English versions, although the supporting actors were often changed to those who were fluent in the native language. Pardon Us (1931) was reshot in all four foreign languages. Blotto, Hog Wild and Be Big! were remade in French and Spanish versions. Night Owls was remade in both Spanish and Italian, and Below Zero and Chickens Come Home in Spanish.
Feature films
Just as Laurel and Hardy's teaming was accidental, so was their entry into the field of feature films. In the words of biographer John McCabe, "Roach planned to use the MGM set [built for The Big House] for a simple prison-break two-reeler but MGM suddenly added a proviso: Laurel and Hardy would have to do a picture for them in exchange. Roach would not agree so he built his own prison set, a very expensive item for a two-reeler. So expensive was it indeed that he added four more reels to bring it into the feature category and, it was hoped, the bigger market." The experiment was successful, and the team continued to make features along with their established short subjects until 1935, when they converted to features exclusively.
Sons of the Desert (1933) is often cited as Laurel and Hardy's best feature-length film. The situation-comedy script by actor-playwright Frank Craven and screenwriter Byron Morgan is stronger than usual for a Laurel & Hardy comedy. Stan and Ollie are henpecked husbands who want to attend a convention held by the Sons of the Desert fraternal lodge. They tell their wives that Ollie requires an ocean voyage to Honolulu for his health, and they sneak off to the convention. They are unaware that the Honolulu-bound ship they were supposedly aboard is sinking, and the wives confront their errant husbands when they get home.
Babes in Toyland (1934) remains a perennial on American television during the Christmas season. When interviewed, Hal Roach spoke scathingly about the film and Laurel's behavior. Roach himself had written a treatment detailing the characters and storyline, only to find that Laurel considered Roach's effort totally unsuitable. Roach, affronted, tried to argue in favor of his treatment, but Laurel was adamant. Roach angrily gave up and allowed Laurel to make the film his way. The rift damaged Roach-Laurel relations to the point that Roach said that after Toyland, he didn't want to produce for Laurel and Hardy. Although their association continued for another six years, Roach no longer took an active hand in Laurel and Hardy films.
Way Out West (1937) was a personal favorite of both Stan Laurel and Oliver Hardy. A satire of the Gene Autry musical westerns sweeping America at the time, the film combines Laurel and Hardy's slapstick routines with songs and dances performed by the stars.
It appeared that the team would split permanently in 1938. Hal Roach had become dissatisfied with his distribution arrangement with Metro-Goldwyn-Mayer, and had begun releasing his films through United Artists. He still owed MGM one last feature, and made the Laurel and Hardy comedy Block-Heads, with the announcement that this would be Laurel and Hardy's farewell film. Stan Laurel's contract with Roach then expired, and Roach did not renew it. Oliver Hardy's contract was still in force, however, and Roach starred Hardy solo in the antebellum comedy Zenobia (1939), with Harry Langdon as Hardy's comic foil. This fueled rumors that Laurel and Hardy had split on bad terms.
After Zenobia, Laurel rejoined Hardy and the team signed with independent producer Boris Morros for the comedy feature The Flying Deuces (1939). Meanwhile, Hal Roach wanted to demonstrate his new idea of making four-reel, 40-minute featurettes—twice the length of standard two-reel, 20-minute comedies—which Roach felt could fit more conveniently into double-feature programs. He referred to these extended films as "streamliners". To test his theory, Roach rehired Laurel and Hardy. The resulting films, A Chump at Oxford and Saps at Sea (both 1940), were prepared as featurettes. United Artists overruled Roach and insisted that they be released as full-length features.
Hoping for greater artistic freedom, Laurel and Hardy split with Roach, and signed with 20th Century-Fox in 1941 and MGM in 1942. However, their working conditions were now completely different: they were simply hired actors, relegated to both studios’ B-film units, and not initially allowed to contribute to the scripts or improvise, as they had always done. When their films proved popular, the studios allowed them more input, and they starred in eight features until the end of 1944. These films, while far from their best work, were still very successful. Budgeted between $300,000 and $450,000 each, they earned millions at the box office for Fox and MGM. The Fox films were so profitable that the studio kept making Laurel and Hardy comedies after it discontinued its other "B" series films.
The busy team decided to take a rest during 1946, but 1947 saw their first European tour in 15 years. A film based in the charters of "Robin Hood" was planned during the tour, but not realized. In 1947, Laurel and Hardy famously attended the reopening of the Dungeness loop of the Romney, Hythe and Dymchurch Railway, where they performed improvised routines with a steam locomotive for the benefit of local crowds and dignitaries.
In 1948, on the team's return to America, Laurel was sidelined by illness and temporarily unable to work. He encouraged Hardy to take movie roles on his own. Hardy's friend John Wayne hired him to co-star in The Fighting Kentuckian for Republic Pictures, and Bing Crosby got him a small part in Frank Capra's Riding High.
In 1950–51, Laurel and Hardy made their final feature-length film together, Atoll K. A French-Italian co-production directed by Léo Joannon, it was plagued by problems with language barriers, production issues, and both actors' serious health issues. When Laurel received the script's final draft, he felt its heavy political content overshadowed the comedy. He quickly rewrote it, with screen comic Monte Collins contributing visual gags, and hired old friend Alfred Goulding to direct the Laurel and Hardy scenes. During filming, Hardy developed an irregular heartbeat, while Laurel experienced painful prostate complications that caused his weight to drop to 114 pounds. Critics were disappointed with the storyline, English dubbing, and Laurel's sickly physical appearance. The film was not commercially successful on its first release, and brought an end to Laurel and Hardy's film careers. Atoll K did finally turn a profit when it was rereleased in other countries. In 1954, an American distributor removed 18 minutes of footage and released it as Utopia; widely released on film and video, it is the film's best-known version.
After Atoll K wrapped in April 1951, Laurel and Hardy returned to America and used the remainder of the year to rest. Stan appeared, in character, in a silent TV newsreel, Swim Meet, judging a local California swimming contest.
Most Laurel and Hardy films have survived and are still in circulation. Only three of their 107 films are considered lost and have not been seen in complete form since the 1930s. The silent film Hats Off from 1927 has vanished completely. The first half of Now I'll Tell One (1927) is lost, and the second half has yet to be released on video. The Battle of the Century (1927), after years of obscurity, is now almost complete but a few minutes are missing. In the 1930 operatic Technicolor musical The Rogue Song, Laurel and Hardy appeared as comedy relief in 10 sequences; only one exists. The complete soundtrack has survived.
Radio
Laurel and Hardy made at least two audition recordings for radio, a half-hour NBC series, based on the skit, Driver’s License, and a 1944 NBC pilot for "The Laurel and Hardy Show," casting Stan and Ollie in different occupations each episode. The surviving audition record, "Mr. Slater's Poultry Market," has Stan and Ollie as meat-market butchers mistaken for vicious gangsters. A third attempt was commissioned by BBC Radio in 1953: "Laurel and Hardy Go to the Moon," a series of science-fiction comedies. A sample script was written by Tony Hawes and Denis Gifford, and the comedians staged a read-through, which was not recorded. The team was forced to withdraw due to Hardy's declining health, and the project was abandoned.
Final years
Following the making of Atoll K, Laurel and Hardy took some months off to deal with health issues. On their return to the European stage in 1952, they undertook a well-received series of public appearances, performing a short Laurel-written sketch, "A Spot of Trouble". The following year, Laurel wrote a routine entitled "Birds of a Feather". On September 9, 1953, their boat arrived in Cobh in Ireland. Laurel recounted their reception:
The love and affection we found that day at Cobh was simply unbelievable. There were hundreds of boats blowing whistles and mobs and mobs of people screaming on the docks. We just couldn't understand what it was all about. And then something happened that I can never forget. All the church bells in Cobh started to ring out our theme song "Dance of the Cuckoos" and Babe (Oliver Hardy) looked at me and we cried. I'll never forget that day. Never.
On May 17, 1954, Laurel and Hardy made their last live stage performance in Plymouth, UK at the Palace Theatre. On December 1, 1954, they made their only American television appearance when they were surprised and interviewed by Ralph Edwards on his live NBC-TV program This Is Your Life. Lured to the Knickerbocker Hotel under the pretense of a business meeting with producer Bernard Delfont, the doors opened to their suite, #205, flooding the room with light and Edwards' voice. The telecast was preserved on a kinescope and later released on home video. Partly due to the broadcast's positive response, the team began renegotiating with Hal Roach Jr. for a series of color NBC Television specials, to be called Laurel and Hardy's Fabulous Fables. However, the plans had to be shelved as the aging comedians continued to suffer from declining health. In 1955, America's magazine TV Guide ran a color spread on the team with current photos. That year, they made their final public appearance together while taking part in This Is Music Hall, a BBC Television program about the Grand Order of Water Rats, a British variety organization. Laurel and Hardy provided a filmed insert where they reminisced about their friends in British variety. They made their final appearance on camera in 1956 in a private home movie, shot by a family friend at the Reseda, California home of Stan Laurel's daughter, Lois. The three-minute film has no audio.
In 1956, while following his doctor's orders to improve his health due to a heart condition, Hardy lost over 100 pounds (45 kg; 7.1 st), but nonetheless suffered several strokes causing reduced mobility and speech. Despite his long and successful career, Hardy's home was sold to help cover his medical expenses. He died of a stroke on August 7, 1957, and longtime friend Bob Chatterton said Hardy weighed just 138 pounds (63 kg; 9.9 st) at the time of his death. Hardy was laid to rest at Pierce Brothers' Valhalla Memorial Park, North Hollywood. Following Hardy's death, scenes from Laurel and Hardy's early films were seen once again in theaters, featured in Robert Youngson's silent-film compilation The Golden Age of Comedy.
For the remaining eight years of his life, Stan Laurel refused to perform, and declined Stanley Kramer's offer of a cameo in his landmark 1963 film It's a Mad, Mad, Mad, Mad World. In 1960, Laurel was given a special Academy Award for his contributions to film comedy, but was unable to attend the ceremony due to poor health. Actor Danny Kaye accepted the award on his behalf. Despite not appearing on screen after Hardy's death, Laurel did contribute gags to several comedy filmmakers. His favorite TV comedy was Leonard B. Stern's I'm Dickens, He's Fenster, co-starring John Astin and Marty Ingels as carpenters. Laurel enjoyed the Astin-Ingels chemistry and sent two-man gags to Stern.
During this period, most of his communication was in the form of written correspondence, and he insisted on personally answering every fan letter. Late in life, he welcomed visitors from the new generation of comedians and celebrities, including Dick Cavett, Jerry Lewis, Peter Sellers, Marcel Marceau, Johnny Carson, and Dick Van Dyke. Jerry Lewis offered Laurel a job as consultant, but he chose to help only on Lewis's 1960 feature The Bellboy.[citation needed]
Dick Van Dyke was a longtime fan, and based his comedy and dancing styles on Laurel's. When he discovered Laurel's home number in the phone book and called him, Laurel invited him over for the afternoon. Van Dyke hosted a television tribute to Stan Laurel the year he died.
Laurel lived to see the duo's work rediscovered through television and classic film revivals. He died on February 23, 1965, in Santa Monica and is buried at Forest Lawn-Hollywood Hills in Los Angeles, California.
Supporting cast members
Laurel and Hardy's films included a supporting cast of comic actors, some of whom appeared regularly:
Harry Bernard (former vaudeville partner of Charley Chase) played supporting roles as a waiter, bartender, or policeman.
Mae Busch often played the formidable Mrs. Hardy and other characters, particularly sultry femmes fatales.
Charley Chase, the Hal Roach film star and brother of James Parrott, a writer/director of several Laurel and Hardy films, made four appearances.
Dorothy Coburn appeared in nearly a dozen early silent shorts.
Baldwin Cooke (former vaudeville partner of Stan Laurel) played supporting roles as a waiter, colleague, or neighbor.
Richard Cramer appeared as a scowling, menacing villain or opponent.
Peter Cushing, well before becoming a star in Hammer Horror films, played one of the students in A Chump at Oxford.
Bobby Dunn appeared as a cross-eyed bartender and telegram messenger, as well as the genial shoplifter in Tit for Tat.
Eddie Dunn made several appearances, notably as the belligerent taxi driver in Me and My Pal.
James Finlayson, a balding, mustachioed Scotsman known for displays of indignation and squinting, pop-eyed "double takes," made 33 appearances and is perhaps their most celebrated foil.
Anita Garvin appeared in a number of Laurel and Hardy films, often cast as Mrs. Laurel.
Billy Gilbert made many appearances, most notably as bombastic, blustery characters such as those in The Music Box (1932) and Block-Heads.
Charlie Hall, who usually played angry, diminutive adversaries, appeared nearly 50 times.
Jean Harlow had a small role in the silent short Double Whoopee (1929) and two other films in the early part of her career.
Arthur Housman made several appearances as a comic drunk.
Isabelle Keith was the only actress to appear as wife to both Laurel and Hardy (in Perfect Day and Be Big!, respectively).
Edgar Kennedy, master of the "slow burn," often appeared as a cop, a hostile neighbor, or a relative.
Walter Long played grizzled, unshaven, physically threatening villains.
Sam Lufkin appeared several times, usually as a husky authority figure.
Charles Middleton made a handful of appearances, usually as a sourpuss adversary.
James C. Morton appeared as a bartender or exasperated policeman.
Vivien Oakland appeared in several early silent films, and later talkies including Scram! and Way Out West.
Blanche Payson, a former policewoman, was featured in several sound shorts, including Oliver's formidable wife in Helpmates.
Daphne Pollard was featured as Oliver's diminutive but daunting wife.
Viola Richard appeared in several early silent films, most notably as the beautiful cave girl in Flying Elephants (1928).
Charley Rogers, an English actor and gag writer, appeared several times.
Tiny Sandford was a tall, burly, physically imposing character actor who played authority figures, usually policemen.
Thelma Todd appeared several times before her own career as a comic leading lady.
Ben Turpin, the cross-eyed Mack Sennett comedy star, made two memorable appearances.
Ellinor Vanderveer made many appearances as a dowager, high society matron, or posh party guest.
Music
The duo's famous signature tune, known variously as "The Cuckoo Song", "Ku-Ku" or "The Dance of the Cuckoos", was composed by Roach musical director Marvin Hatley as the on-the-hour chime for KFVD, the Roach studio's radio station. Laurel heard the tune on the station and asked Hatley if they could use it as the Laurel and Hardy theme song. The original theme, recorded by two clarinets in 1930, was recorded again with a full orchestra in 1935. Leroy Shield composed the majority of the music used in the Laurel and Hardy short sound films. A compilation of songs from their films, titled Trail of the Lonesome Pine, was released in 1975. The title track was released as a single in the UK and reached #2 in the charts.
Influence and legacy
Laurel and Hardy's influence over a very broad range of comedy and other genres has been considerable. Lou Costello of the famed duo of Abbott and Costello, stated "They were the funniest comedy team in the world." Most critics and film scholars throughout the years have agreed with this assessment; writers, artists, and performers as diverse as Samuel Beckett, Jerry Lewis, Peter Sellers, Marcel Marceau Steve Martin, John Cleese, Harold Pinter, Alec Guinness, J. D. Salinger, René Magritte and Kurt Vonnegut among many others, have acknowledged an artistic debt. Starting in the 1960s, the exposure on television of (especially) their short films has ensured a continued influence on generations of comedians and fans.
Posthumous revivals and popular culture
Since the 1930s, the works of Laurel and Hardy have been released again in numerous theatrical reissues, television revivals (broadcast, especially public television and cable), 16 mm and 8 mm home movies, feature-film compilations and home video. After Stan Laurel's death in 1965, there were two major motion-picture tributes: Laurel and Hardy's Laughing '20s was Robert Youngson's compilation of the team's silent-film highlights, and The Great Race was a large-scale salute to slapstick that director Blake Edwards dedicated to "Mr. Laurel and Mr. Hardy". For many years the duo were impersonated by Jim MacGeorge (as Laurel) and Chuck McCann (as Hardy) in children's TV shows and television commercials for various products.
Numerous colorized versions of Laurel and Hardy features and shorts have been reproduced by several studios. The process was introduced in 1983 by Colorization, Inc. in partnership with Hal Roach Studios, then a Canadian concern licensing its name and films from Hal Roach. Early efforts were the famous Laurel & Hardy films Helpmates, Way Out West, and The Music Box, which were released to television and issued on VHS videocassettes. Most of the Laurel & Hardy sound shorts were ultimately colorized for distribution in Europe; The pixel-based color process and the conversion from the American NTSC system to the European PAL system often affected the sharpness of the image, so since 2011 video distributors have issued the original, more accurately rendered black-and-white editions.
There are three Laurel and Hardy museums. One is in Laurel's birthplace of Ulverston, England and another is in Hardy's birthplace of Harlem, Georgia, United States. The third is located in Solingen, Germany. Maurice Sendak showed three identical Oliver Hardy figures as bakers preparing cakes for the morning in his award-winning 1970 children's book In the Night Kitchen. This is treated as a clear example of "interpretative illustration" wherein the comedians' inclusion harked back to the author's childhood. The Beatles used cut-outs of Stan Laurel and Oliver Hardy in the cutout celebrity crowd for the cover of their 1967 album Sgt. Pepper's Lonely Hearts Club Band. A 2005 poll by fellow comedians and comedy insiders of the top 50 comedians for The Comedian's Comedian, a TV documentary broadcast on UK's Channel 4, voted the duo the seventh-greatest comedy act ever, making them the top double act on the list.
Merchandiser Larry Harmon claimed ownership of Laurel's and Hardy's likenesses and has issued Laurel and Hardy toys and coloring books. He also co-produced a series of Laurel and Hardy cartoons in 1966 with Hanna-Barbera Productions. His animated versions of Laurel and Hardy guest-starred in a 1972 episode of Hanna-Barbera's The New Scooby-Doo Movies. In 1999, Harmon produced a direct-to-video feature live-action comedy entitled The All New Adventures of Laurel & Hardy in For Love or Mummy. Actors Bronson Pinchot and Gailard Sartain were cast playing the lookalike nephews of Laurel and Hardy named Stanley Thinneus Laurel and Oliver Fatteus Hardy.
Currently, the North American rights to a majority of the Laurel & Hardy library are owned by Chicken Soup for the Soul Entertainment, successor-in-interest to the companies that previously held such rights (Cabin Fever, RHI, Hallmark, and Sonar), while the CCA owns international rights, and Larry Harmon's estate owns the likenesses and trademarks to Laurel & Hardy.
The Indian comedy duo Ghory and Dixit was known as the Indian Laurel and Hardy. In 2011 the German/French TV station Arte released in co-production with the German TV station ZDF the 90-minute documentary Laurel & Hardy: Their Lives and Magic. The film, titled in the original German Laurel and Hardy: Die komische Liebesgeschichte von "Dick & Doof", was written and directed by German film-maker Andreas Baum. It includes many movie clips, rare and unpublished photographs, interviews with family, fans, friends, showbiz pals and newly recovered footage. Laurel's daughter Lois Laurel Hawes said of the film: "The best documentary about Laurel and Hardy I have ever seen!". It has also been released as a Director's Cut with a length of 105 minutes, plus 70 minutes of bonus materials on DVD.
Appreciation society
Main article: The Sons of the Desert
The official Laurel and Hardy appreciation society is known as The Sons of the Desert, after a fraternal society in their film of the same name (1933). It was established in New York City in 1965 by Laurel and Hardy biographer John McCabe, with Orson Bean, Al Kilgore, Chuck McCann, and John Municino as founding members, with the sanction of Stan Laurel. Since the group's inception, well over 150 chapters of the organization have formed across North America, Europe, and Australia. An Emmy-winning film documentary about the group, Revenge of the Sons of the Desert, has been released on DVD as part of The Laurel and Hardy Collection, Vol. 1.
Around the world
Laurel and Hardy are popular around the world but are known under different names in various countries and languages.
CountryNickname
Poland"Flip i Flap" (Flip and Flap)
Germany"Dick und Doof" (Fat and Dumb)
Brazil"O Gordo e o Magro" (The Fat One and the Skinny One)
Sweden"Helan och Halvan" (The Whole and the Half)
Norway"Helan og Halvan" (The Whole and the Half)
Spanish-speaking countries"El Gordo y el Flaco" (The Fat One and the Skinny One)
Italy"Stanlio e Ollio" also as "Cric e Croc" up to the 1970s
Hungary"Stan és Pan" (Stan and Pan)
Romania"Stan și Bran" (Stan and Bran)
The Netherlands, Flemish Belgium"Laurel en Hardy", "Stan en Ollie", "De Dikke en de Dunne" (The Fat [One] and the Skinny [One])
Denmark"Gøg og Gokke" (Roughly translates to Wacky and Pompous)
Portugal"O Bucha e o Estica" (The Fat One and the Skinny One)
Croatia, Serbia, Bosnia, North Macedonia, Montenegro"Stanlio i Olio" (Cyrillic: Станлио и Олио)
Slovenia"Stan in Olio"
Greece"Hondros kai Lignos" (Χοντρός και Λιγνός) (Fat and Skinny)
India (Marathi)"जाड्या आणि रड्या" (Fatso and the Crybaby)
India (Punjabi)"Moota Paatla" (Laurel and Hardy) (Fat and Skinny)
India (Telugu)"Lamboo Jamboo" (లంబూ జంబూ) (Laurel and Hardy) (Fat and Skinny)
FinlandOhukainen ja Paksukainen (Thin one and Thick one)
Iceland"Steini og Olli"
Israel"השמן והרזה" (ha-Shamen ve ha-Raze, The Fat and the Skinny)
Vietnam (South)"Mập – Ốm" (The Fat and the Skinny)
Korea (South)"뚱뚱이와 홀쭉이" (The Fat and the Skinny)
Malta"L-Oħxon u l-Irqiq" ("The Fat and the Thin One")
Thailand"อ้วนผอมจอมยุ่ง" ("The Clumsy Fat and Thin")
Biopic
A biographical film titled Stan & Ollie directed by Jon S. Baird and starring Steve Coogan as Stan and John C. Reilly as Oliver was released in 2018 and chronicled the duo's 1953 tour of Great Britain and Ireland. The film received positive reviews from critics, garnering a 94% "Fresh" rating on Rotten Tomatoes. For their performances, Reilly and Coogan were nominated for a Golden Globe and a BAFTA award respectively.
Monster High is an American fashion doll franchise created by Mattel in July, 2010. The characters are inspired by monster movies, sci-fi horror, thriller fiction, and various creatures therefore distinguishing them from most fashion dolls. They were created by Garrett Sander, with illustrations by Kellee Riley.[2]
The Monster High franchise also includes other consumer products such as stationery, bags, key chains, various toys and video games. There are also Monster High TV specials, a web series, a direct to DVD movie, and software. Lisi Harrison is the author of the Monster High books. The characters are depicted as being either related to or as offspring of famous monsters such as Dracula, Frankenstein's Monster, the Mummy, Medusa, the Creature from the Black Lagoon, the Phantom of the Opera, and zombies and more. The characters are usually referred to as ghouls, rather than girls.
The dolls are approximately 27 cm tall. Or about 1 foot tall. Their bodies are made from ABS plastic. Their heads are made from soft PVC. They have various skin tones (blue, green, pink, brown, etc.) Each character has a unique head mold. No Monster High doll has the same shape head. The type of hair the dolls have is saran. The boys hair is either fuzzy or hard colored plastic. Aside from physical attributes, the dolls are quite different in the characterization of their clothes. And they all have their own unique freaky flaw, hair, etc. They might repeat bags and sunglasses. For example, 13 Wishes Howleen has the same bag as the original Clawdeen only that it is a different color. One is gold and another is purple and black. But they are both sisters. Plus, Howleen likes to borrow a lot of Clawdeen's stuff. And Gloom Beach Frankie Stein has the same sunglasses as the Scaris Frankie Stein. One s blue and one is yellow. All of them have various attributes of the monsters they are related to (i.e. fangs, stitches, wolf ears, fins, bandages,snakes, etc.)[3] Although Monster high and Barbie are from the same creator, Mattel, Monster High is starting to become more popular than Barbie.
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Monster High est une franchise américaine de poupées mannequins lancée par Mattel en juillet 2010 aux États-Unis, tirée d'une série de livres du même nom (de Lisi Harrison). Les personnages sont inspirés de personnes assez monstrueuses issues de la littérature fantastique, de la mythologie, ou encore de films cultes. Les Monster High sont toutes des enfants de monstres (Frankie Stein est la fille de Frankenstein, Draculaura est celle de Dracula, Deuce Gorgon est le fils de Méduse...).
La franchise Monster High se décline sur de très nombreux produits comme des vêtements, des bijoux fantaisie et de la papeterie, mais ses principales ventes se font grâce aux poupées mannequins du même nom. Elle s'accompagne également d'épisodes spéciaux pour la télévision et le marché DVD, et d'une web-série.S
Le concept de Monster High met en scène des adolescents tous descendants de créatures plus ou moins célèbres. Certaines poupées sont relookėes.
Les poupées mannequins mesurent une vingtaine de centimètres ; les garçons sont plus grands que les filles, même s'il existe des différences de taille chez certaines poupées (Twyla et Howleen Wolf sont plus petites, Nefera de Nile et Mme. Santête sont plus grandes...). Les corps (qui comptent de nombreuses articulations) sont fabriqués en plastique ABS et les têtes sont en PVC souple. Chaque personnage bénéficie d'un moule différent pour sa tête. Les cheveux sont en saran ou en kanekalon, voire en PVC pour les garçons dont les cheveux sont, pour la plupart des personnages, moulés. Les poupées filles de Monster High peuvent enlever leurs mains et bras mais les garçons ne peuvent enlever que leurs bras. Lagoona Blue, Rochelle Goyle et C.A. Cupid ont des éléments amovibles que les autres poupées n'ont pas (des nageoires pour Lagoona Blue, des ailes pour Rochelle Goyle et C.A. Cupid). Comme les filles ont des chaussures à talons, elles ne peuvent pas bouger leurs pieds, tandis que les garçons ont les pieds articulés.
Chaque personnage est caractérisé par un style vestimentaire et une gamme de couleurs qui se retrouvent dans différentes collections et qui reflètent leur personnalité dans la web-série.
[My Portfotolio] [My Google + ]
thanks to all for visits and faves :)
[My GETTY Images @] [My MOST FAVE on Flickriver] [My RECENT on Fluidr] [My STREAM on Darckr]
German cigarette card by Monopol Film-Bilder, no. 90.
Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.
Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from the impassive to the slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gag man, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.
Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge had divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage, and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.
Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking, and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton had returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.
Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
/// Characterization of the character Harley Quinn accompanying The Joker in the Batman comic.
/// Caracterización del personaje Harley Quinn que acompaña al Guazón dentro del comic Batman.
The Green Snake and the Beautiful Lily (German title: Märchen or Das Märchen) is a fairy tale by Johann Wolfgang von Goethe published in 1795 in Friedrich Schiller's German magazine Die Horen (The Horae). It concludes Goethe's novella rondo Conversations of German Emigrants (1795). Das Märchen is regarded as the founding example of the genre of Kunstmärchen, or artistic fairy tale. The story revolves around the crossing and bridging of a river, which represents the divide between the outer life of the senses and the ideal aspirations of the human being
The tale begins with two will-o'-the-wisps who wake a ferryman and ask to be taken across a river. The ferryman does so, and for payment, they shake gold from themselves into the boat. This alarms the ferryman, for if the gold had gone into the river, it would overflow. He demands as payment: three artichokes, three cabbages, and three onions, and the will-o'-the-wisps may depart only after promising to bring him such. The ferryman takes the gold up to a high place, and deposits it into a rocky cleft, where it is discovered by a green snake who eats the gold, and finds itself luminous. This gives the snake opportunity to study an underground temple where we meet an old man with a lamp which can only give light when another light is present. The snake now investigates the temple, and finds four kings: one gold, one silver, one bronze, and one a mixture of all three.The story then switches over to the wife of the old man, who meets a melancholy prince. He has met a beautiful Lily, but is distressed by the fact that anyone who touches her will die. The snake is able to form a temporary bridge across the river at midday, and in this way, the wife and prince come to the beautiful Lily's garden, where she is mourning her fate. As twilight falls, the prince succumbs to his desire for the Beautiful Lily, rushes towards her, and dies. The green snake encircles the prince, and the old man, his wife, and the will-o'-the-wisps form a procession and cross the river on the back of the snake.Back in the land of the senses, and guided by the old man, the Lily is able to bring the prince back to life — albeit in a dream state — by touching both the snake and the prince. The snake then sacrifices itself, and changes into a pile of precious stones which are thrown into the river. The old man then directs them towards the doors of the temple which are locked. The will-o'-the-wisps help them enter by eating the gold out of the doors. At this point, the temple is magically transported beneath the river, surfacing beneath the ferryman's hut — which turns into a silver altar. The three kings bestow gifts upon the sleeping prince and restore him. The fourth, mixed king collapses as the will-o'-the-wisps lick the veins of gold out of him. We also find that Lily's touch no longer brings death. Thus, the prince is united with the beautiful Lily, and they are married. When they look out from the temple, they see a permanent bridge which spans the river — the result of the snake's sacrifice — "and to the present hour the Bridge is swarming with travellers, and the Temple is the most frequented on the whole Earth".
Analysis; It has been claimed that Das Märchen was born out of Goethe's reading of The Chymical Wedding of Christian Rosenkreutz and that it is full of esoteric symbolism. In 1786, Goethe observed that The Chymical Wedding contains “a pretty fairy story” for which he had no time at the moment.Rudolf Steiner, in his 1918 book Goethe's Standard of the Soul, speaks of it as follows: “On the river stands the Temple in which the marriage of the Young Man with the Lily takes place. The ‘marriage’ with the supersensible, the realisation of the free personality, is possible in a human soul whose forces have been brought into a state of regularity that in comparison with the usual state is a transformation.”[3] This article lead to an invitation to speak to the German Theosophical Society which eventually lead to Steiner becoming its General Secretary.Tom Raines gives the following historical background for “The Green Snake and the Beautiful Lily”:This Fairy Tale was written by Goethe as a response to a work of Schiller’s entitled Über die aesthetische Erziehung des Menschen (Letters on the Aesthetic Education of Man). One of the main thoughts considered in these ‘letters’ centred around the question of human freedom… Schiller saw that a harmonious social life could only be founded on the basis of free human personalities. He saw that there was an "ideal human being" within everyone and the challenge was to bring the outer life experiences into harmony with this "ideal". Then the human being would lead a truly worthy existence.
Schiller was trying to build an inner bridge between the Person in the immediate reality and the 'ideal human being'. He wrote these ‘Letters’ during the time and context of the French Revolution. This revolution was driven by a desire for outer social changes to enable human personalities to become free. But both Schiller and Goethe recognised that freedom cannot be ‘imposed’ from the outside but must arise from within each person. Whilst he had an artistic nature, Schiller was more at home in the realm of philosophic thoughts and although Goethe found much pleasure in these ‘Letters’ of Schiller, he felt that the approach concerning the forces in the soul was too simply stated and, it should be said, working in abstract ideas was not Goethe's way. So he set about writing a Fairy Tale that would show, in imaginative pictures, the way in which a human soul could become whole and free, thereby giving rise to a new and free human community. And this was published in Die Horen in 1795
en.wikipedia.org/wiki/The_Green_Snake_and_the_Beautiful_Lily
The term "will-o'-the-wisp" comes from "wisp", a bundle of sticks or paper sometimes used as a torch, and the name "Will": thus, "Will-of-the-torch". The term jack-o'-lantern "Jack of [the] lantern" has a similar meaning.In the United States, they are often calledThe term "will-o'-the-wisp" comes from "wisp", a bundle of sticks or paper sometimes used as a torch, and the name "Will": thus, "Will-of-the-torch". The term jack-o'-lantern "Jack of [the] lantern" has a similar meaning.In the United States, they are often called "spook-lights", "ghost-lights", or "orbs" by folklorists and paranormal enthusiasts.
Folk belief attributes the phenomenon to fairies or elemental spirits, explicitly in the term "hobby lanterns" found in the 19th century Denham Tracts. Briggs' A Dictionary of Fairies provides an extensive list of other names for the same phenomenon, though the place where they are observed (graveyard, bogs, etc.) influences the naming considerably. When observed on graveyards, they are known as "ghost candles", also a term from the Denham Tracts.The names will-o'-the-wisp and jack-o'-lantern are explained in etiological folk-tales, recorded in many variant forms in Ireland, Scotland, England, Wales, Appalachia, and Newfoundland.[citation needed] In these tales, protagonists named either Will or Jack are doomed to haunt the marshes with a light for some misdeed.One version, from Shropshire, recounted by K. M. Briggs in her book A Dictionary of Fairies, refers to Will the Smith. Will is a wicked blacksmith who is given a second chance by Saint Peter at the gates to Heaven, but leads such a bad life that he ends up being doomed to wander the Earth. The Devil provides him with a single burning coal with which to warm himself, which he then uses to lure foolish travellers into the marshes.An Irish version of the tale has a ne'er-do-well named Drunk Jack or Stingy Jack who makes a deal with the Devil, offering up his soul in exchange for payment of his pub tab. When the Devil comes to collect his due, Jack tricks him by making him climb a tree and then carving a cross underneath, preventing him from climbing down. In exchange for removing the cross, the Devil forgives Jack's debt. However, because no one as bad as Jack would ever be allowed into Heaven, Jack is forced upon his death to travel to Hell and ask for a place there. The Devil denies him entrance in revenge, but, as a boon, grants Jack an ember from the fires of Hell to light his way through the twilight world to which lost souls are forever condemned. Jack places it in a carved turnip to serve as a lantern.[5] Another version of the tale, "Willy the Whisp", is related in Irish Folktales by Henry Glassie. The first modern novel in the Irish language, Séadna by Peadar Ua Laoghaire, is a version of the tale", "ghost-lights", or "orbs" by folklorists and paranormal enthusiasts.Folk belief attributes the phenomenon to fairies or elemental spirits, explicitly in the term "hobby lanterns" found in the 19th century Denham Tracts. Briggs' A Dictionary of Fairies provides an extensive list of other names for the same phenomenon, though the place where they are observed (graveyard, bogs, etc.) influences the naming considerably. When observed on graveyards, they are known as "ghost candles", also a term from the Denham Tracts.The names will-o'-the-wisp and jack-o'-lantern are explained in etiological folk-tales, recorded in many variant forms in Ireland, Scotland, England, Wales, Appalachia, and Newfoundland.[citation needed] In these tales, protagonists named either Will or Jack are doomed to haunt the marshes with a light for some misdeed.One version, from Shropshire, recounted by K. M. Briggs in her book A Dictionary of Fairies, refers to Will the Smith. Will is a wicked blacksmith who is given a second chance by Saint Peter at the gates to Heaven, but leads such a bad life that he ends up being doomed to wander the Earth. The Devil provides him with a single burning coal with which to warm himself, which he then uses to lure foolish travellers into the marshes.An Irish version of the tale has a ne'er-do-well named Drunk Jack or Stingy Jack who makes a deal with the Devil, offering up his soul in exchange for payment of his pub tab. When the Devil comes to collect his due, Jack tricks him by making him climb a tree and then carving a cross underneath, preventing him from climbing down. In exchange for removing the cross, the Devil forgives Jack's debt. However, because no one as bad as Jack would ever be allowed into Heaven, Jack is forced upon his death to travel to Hell and ask for a place there. The Devil denies him entrance in revenge, but, as a boon, grants Jack an ember from the fires of Hell to light his way through the twilight world to which lost souls are forever condemned. Jack places it in a carved turnip to serve as a lantern.[5] Another version of the tale, "Willy the Whisp", is related in Irish Folktales by Henry Glassie. The first modern novel in the Irish language, Séadna by Peadar Ua Laoghaire, is a version of the tale.Small flames was rising from the ground, preferably on swampy and moorish terrain; In the past, the folk faiths combined all kinds of phenomena with these natural phenomena will be fairy tales. In literature, will-o'-the-wisp sometimes has a metaphorical meaning, describing a hope or goal that leads one on but is impossible to reach, or something one finds sinister and confounding.In Book IX of John Milton's Paradise Lost, lines 631-642, Satan is compared to a will-o-the-wisp when he leads Eve to the Tree of Knowledge of good and evil. Samuel Taylor Coleridge's poem The Rime of the Ancient Mariner describes the will-o'-the-wisp.Two Will-o-the-wisps appear in Johann Wolfgang von Goethe's fairy tale The Green Snake and the Beautiful Lily (1795)[43] and his play Faust. Emily Dickinson's "Those — dying then," a poem about the absence of God and the abdication of belief, closes with the lines "Better an ignis fatuus / Than no illume at all —".In Lewis Carroll's The Hunting of the Snark (1876), the term is part of the description of the Snark: "The first is the taste, // Which is meagre and hollow, but crisp: // Like a coat that is rather too tight in the waist, // With a flavour of Will-o’-the-wisp."The will-o'-the-wisp makes an appearance in the first chapter of Bram Stoker's Dracula.Civil War Confederate soldier and author Sam Watkins writes in his war memoir, "Co. Aytch", about witnessing "jack-o-lanterns (ignis fatui)" while standing watch late in the night near Corinth, Mississippi in early October, 1862.Will-o'-the-wisp phenomena have appeared in numerous computer games (such as Castlevania, Runescape, Ultima, EverQuest, the Quest for Glory series, and the Elder Scrolls series) and tabletop games (including Dungeons and Dragons, Magic: the Gathering, and Small World Underground), frequently with reference to folklore of the phenomena misleading or harming travellers. The Final Fantasy series also pays tribute to the tradition of a will-o'-the-wisp being a lantern-carrying individual, with the Tonberry creature. The Will o the Wisp is also a monster in Chrono Cross that either moves away from the character as they approach or follows them when they walk away. It is seen in areas relating to the dead. In the Pokémon game series, the move "Will-O-Wisp" can inflict a burn on the opponent and is often learned by Ghost-types. The character of Wisp from the Animal Crossing series is also named after the Will-o'-the-Wisp, and references the phenomenon by being a ghost. In the Mana series, Wisp is one of the eight Mana spirits, representing the element of light. In Secret of Evermore, a spin-off of the Mana series, Will o' the Wisps are small flame enemies located in a swamp area that move erratically toward the player. In Sonic Colors, there is an alien race known as Wisps that can enter the bodies of other beings in a ghost-like fashion, which may be a reference to the phenomenon.In television, Willo the Wisp appeared as a short cartoon series on BBC TV in the 1980s, voiced by Kenneth Williams."Will O' The Wisp" is also the name of the 13th episode in season one of Disney channel's So Weird in which one of the main characters, Jack, is possessed by a will-o'-the-wisp while visiting the ghost lights festival in Marva, Texas.Will-o'-the-wisps play a prominent role in the Disney/Pixar film Brave. In a break from the usual characterization, these will-o'-the-wisps appear benevolent or at least neutral in nature. They are hinted to be spirits of the dead, who aid the living by leading them towards their destinies.In modern science, it is generally accepted that most ignis fatuus are caused by the oxidation of phosphine (PH3), diphosphane (P2H4), and methane (CH4). These compounds, produced by organic decay, can cause photon emissions. Since phosphine and diphosphane mixtures spontaneously ignite on contact with the oxygen in air, only small quantities of it would be needed to ignite the much more abundant methane to create ephemeral fires.Furthermore, phosphine produces phosphorus pentoxide as a by-product, which forms phosphoric acid upon contact with water vapor. This might explain the "viscous moisture" described by Blesson.One attempt to replicate ignis fatuus under laboratory conditions was in 1980 by British geologist Alan A. Mills of Leicester University. Though he did succeed in creating a cool glowing cloud by mixing crude phosphine and natural gas, the color of the light was green and it produced copious amounts of acrid smoke. This was contrary to most eyewitness accounts of ignis fatuus.[33][34] As an alternative, Mills proposed in 2000 that ignis fatuus may instead be cold flames.[33][35] These are luminescent pre-combustion halos that occur when various compounds are heated to just below ignition point. Cold flames are indeed typically bluish in color and as their name suggests, they generate very little heat. Cold flames occur in a wide variety of compounds, including hydrocarbons (including methane), alcohols, aldehydes, oils, acids, and even waxes. However it is unknown if cold flames occur naturally, though a lot of compounds which exhibit cold flames are the natural byproducts of organic decay.A related hypothesis involves the natural chemiluminescence of phosphine. In 2008, the Italian chemists Luigi Garlaschelli and Paolo Boschetti attempted to recreate Mills' experiments. They successfully created a faint cool light by mixing phosphine with air and nitrogen. Though the glow was still greenish in color, Garlaschelli and Boschetti noted that under low-light conditions, the human eye cannot easily distinguish between colors. Furthermore, by adjusting the concentrations of the gases and the environmental conditions (temperature, humidity, etc.), it was possible to eliminate the smoke and smell, or at least render it to undetectable levels. Garlaschelli and Boschetti also agreed with Mills that cold flames may also be a plausible explanation for other instances of ignis fatuus.In 1993, professors Derr and Persinger proposed that some ignis fatuus may be geologic in origin, piezoelectrically generated under tectonic strain. The strains that move faults would also heat up the rocks, vaporizing the water in them. Rock or soil containing something piezoelectric, like quartz, silicon, or arsenic, may also produce electricity, channeled up to the surface through the soil via a column of vaporized water, there somehow appearing as earth lights. This would explain why the lights appear electrical, erratic, or even intelligent in their behavior..The will-o'-the-wisp phenomena may occur due to the bioluminescence of various forest dwelling micro-organisms and insects. The eerie glow emitted from certain fungal species, such as the honey fungus, during chemical reactions to form white rot could be mistaken for the mysterious will-o'-the-wisp or foxfire lights. There are many other bioluminescent organisms that could create the illusions of fairy lights, such as fireflies. Light reflecting off larger forest dwelling creatures could explain the phenomena of will-o'-the-whips moving and reacting to other lights. The white plumage of Barn owls may reflect enough light from the moon to appear as a will-o'-the-wisp; hence the possibility of the lights moving, reacting to other lights, etc.Ignis fatuus sightings are rarely reported today. The decline is believed to be the result of the draining and reclamation of swamplands in recent centuries, such as the formerly vast Fenlands of eastern England which have now been converted to farmlands.
en.wikipedia.org/wiki/Will-o'-the-wisp
REAONE
Originally from the southern suburbs of Paris, REAONE started drawing at a very young age, but it was in 2003 that he started drawing sprays. He joined the CDB crew in 2007...Tale and exhibition of LAB 14 showed probably process of Aurora consurgens, an alchemical metaphors that relate to human and animal procreation, procedures like calcination and putrefaction and other patterns.sadler0
The eye listens to the green rays which draw its peripheries bright of life, the electric energy resembles this lighting yet only due to a green filter and an under exposure of the edges of the image.[https://www.flickr.com/photos/rsadler]
The eye listens to the green rays which draw its peripheries bright of life, the electric energy resembles this lighting yet only due to a green filter and an under exposure of the edges of the image
The following information about Building 253 is taken from the "Hunters Point Shipyard Historical Radiological Assessment," a 2005 US Navy report that provides an inventory of impacted/contaminated buildings at the former San Francisco Naval Shipyard.
Site Description: Building 253 is a six-story concrete-framed, glass curtain-walled building built between 1944 and 1947. The building has a large gantry for the craning of equipment to the upper stories and a periscope tower extending vertically from the roof. Building 253 is attached to Building 211 The glazing for Building 253 is standard glass.
Former Uses: Radiography Instrument Calibration through; Gauge Shop; Electronics, Optical, and Ordnance Shops; Weapons Shop; Electrical Shop; Equipment from OPERATION CROSSROADS Ships; Maritime Administration Ship Parts Storage (1994); and Probable Location of Radium Paint Activities (Gauge Shop).
Current Uses: Unoccupied.
Radionuclides of Concern: Cs-137, Pu-239, Ra-226, Sr-90, and Th-232.
Previous Radiological Investigations:
2003 Partial building characterization survey.
2002 Phase V investigation. Extensive low-level contamination (Cs-137 and Ra-226) found in and on the building and in the building ventilation system. Remediation completed on roof.
1974 Shipyard closure survey of sixth floor. No detectable activity based on limits for the period.
Contamination Potential: Known-Continued Access.
Día 1 de Julio del 2012
En un rincón escondido de Navajas, En el Salto de la Novia para ser mas precisos.
Ya hacia tiempo que tenia en mente una localización de una vez que pase fruto de la casualidad.
El otro día Gema, una de las compañeras que últimamente me acompañan a estas sesiones puramente artísticas, se le ocurrió una idea que me encantó.
-Por que no hacemos un Ent?.
Y me pareció la oportunidad perfecta para realizar la sesión en este lugar que parece casi mágico.
Como ya hice hincapié con anterioridad, fue en un desolador día de un gran incendio ocurrido a mas de cien kilómetros ... Por eso pido disculpas, los colores de las fotografías de la sección "Preparándose para el acto" son bastante oscuras.
Las finales si que llevan un toque de color añadido, los verdes y amarillos tienen mas frescura. Ya que es un personaje de fantasía,un producto para canalizar la evasión a un mundo mejor. O por lo menos como a mi me gustaría.
Porque tanto Ashary como el gran equipo que acompaña adoramos la naturaleza como elemento vivo.
Equipo compuesto por:
Marcela Ferrer (Modelo)
Saray Cheveux (peluqueria de fantasía)
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University of Barcelona
Thesis • September 2016
Charakterisierung und phylogenetische Muster von statischen Allometrie in der Schädelbasis und aktuellen fossilen Hominiden
Characterization of the patterns of phylogenetic and static allometry in the base of the skull of fossil and current hominoids
Caracterización de los patrones de alometría filogenética y estática en la base del cráneo de hominoideos fósiles y actuales
British postcard by Olympus / London Cardguide Ltd / Cinema House, London. Photos: Koo Stark. Caption: From the Olympus Cameras sponsored exhibition 'Stark Image' at The Gallery Bar, Grosvenor House Hotel, Park Lane June 3rd-20th.
Brooding macho Oliver Reed (1938-1999) was one of England's darker leading men and villainous character actors. He juggled over 60 film roles in 40 years and a full-blooded social life of women, booze, and bar fights. After a start in Hammer films, Reed worked often with acclaimed British directors Ken Russell, Richard Lester, and Michael Winner. His final role was as the old, gruff gladiator trainer in Ridley Scott's Gladiator (2000).
Robert Oliver Reed was born in 1938, in Wimbledon, England. His parents were Peter Reed, a sports journalist, and Marcia Reed née Napier-Andrews. He had two brothers. David Reed became his business manager and his half-brother Simon Reed became his press agent. He was a nephew of film director Sir Carol Reed. And he was a grandson of actor-manager Herbert Beerbohm Tree, who founded the Royal Academy of Dramatic Art (RADA) in 1904. Party animal Reed did not complete high school. He ended up taking on a variety of blue-collar jobs. His first job at the age of 17 was as a bouncer at a Soho nightclub. In 1960, he suddenly burst into films, showing up in the background of the Hammer films The Two Faces of Dr. Jekyll (Terence Fisher, 1960), and Sword of Sherwood Forest (Terence Fisher, 1960), and as a gay ballet dancer in the criminal comedy The League of Gentlemen (Basil Dearden, 1960). His first starring role came with Hammer, as the title character in Curse of the Werewolf (Terence Fisher, 1961). Robert Armstrong at AllMovie: "Years later, he would serve as the narrator on a full Hammer retrospective, putting his sonorous speaking voice to good use and paying homage to his roots. Such early work paved the way for a steady flow of bad-guy roles in horrors, costume dramas, and suspense thrillers. Reed's intense, glowering features could also be manipulated for believable ethnic characterizations." Films such as Science-Fiction horror film The Damned (Joseph Losey, 1962) and Pirates of Blood River (John Gilling, 1962) followed. His first of six collaborations with Michael Winner came with The System/The Girl Getters (1964). The film was seen by Ken Russell who then cast Reed in the title role of The Debussy Film (1965), a TV biopic of Claude Debussy. It was the first time he broke away from villainous roles. According to Wikipedia, Reed later said "Hammer films had given me my start and Michael Winner my bread then Ken Russell came on the screen and gave me my art." Reed co-starred with Rita Tushingham in the Canadian-British co-production, The Trap (Sidney Hayers, 1966). His career stepped up another level when he starred in his second film with Winner, the popular comedy film The Jokers (Michael Winner, 1966), alongside Michael Crawford. His third Winner film was I'll Never Forget What's'isname (Michael Winner, 1967), with Orson Welles. Reed was reunited with Ken Russell for another TV film, Dante's Inferno (1967), playing Dante Gabriel Rossetti. In 1968, he won his first leading role in a universally well-received film, the Oscar-winner Oliver! (Carol Reed, 1968), in which he played murderous thief Bill Sikes. Despite complaints of nepotism, Reed insisted he had to persuade his uncle to cast him, even though his credentials closely matched the needs of the part. Another watershed moment came in 1969 when Ken Russell cast him as one of the leads in his adaptation of D.H. Lawrence's Women in Love (1969). Robert Armstrong at AllMovie: "While the film was a well-received treatise on sexuality and marriage, it achieved some notoriety for featuring the first-ever full-frontal male nudity in an English-language commercial film. Reed and Alan Bates engage in a memorable nude wrestling match that audaciously fleshes out the film's themes. Reportedly, Russell had planned to scrap the scene, worried about censor backlash, until Reed wrestled him into including it, literally pinning him down, in Russell's kitchen. Still, Reed told the Los Angeles Times he had to drink a bottle of vodka before he could relax enough to film the scene."
Oliver Reed and Ken Russell would work together five more times, including The Devils (1971) and Tommy (1975), in which Reed played Frank Hobbs. Reed was also known for portraying musketeer Athos in three of Richard Lester's film versions of Alexandre Dumas' famous tale. Reed appeared in The Three Musketeers (1973) and its sequel, The Four Musketeers (1974), which originally had been planned as one long movie. He revived the role for The Return of the Musketeers (1989). During the filming of the windmill duel scene in the first film, Reed was nearly killed when he was stabbed in the throat. Add in 36 stitches to repair cuts on his face after a bar fight in 1963, and the actor had more than his share of scrapes. Reed peaked in many ways in the mid-1970s and had to settle on genre work for much of his career. Films such as Dr. Heckyl and Mr. Hype (Charles B. Griffith, 1980), Venom (Piers Haggard, 1982), Gor (John Norman, 1987), and Dragonard (Gérard Kikoïne, 1987) became his regular source of paychecks for many years. More interesting films were David Cronenberg's The Brood (1979), Nicolas Roeg's Castaway (1987), or Terry Gilliam's The Adventures of Baron Munchausen (1989). Reed's most familiar role for modern audiences was also his last. The actor appeared in Oscar-winner Gladiator (Ridley Scott, 2000) as Proximo, the amoral merchant who trains the enslaved fighters to kill and be killed. When he died midway through production, Reed unwittingly became part of a groundbreaking three-million-dollar endeavor by director Ridley Scott to digitally re-create his likeness in order to film Proximo's death scene. A three-dimensional image of Reed's face was scanned into computers so it could smile and talk, then digitally grafted onto a body double. In 1999, Oliver Reed died in Valetta, Malta, where Gladiator was being filmed. Robert Armstrong at AllMovie: "the result of a heart attack brought on by one last night of hard-drinking, which included three bottles of downed rum and arm wrestling victories over five sailors." He was survived by his second wife, Josephine Burge. He was the father of Mark Thurloe Reed (1961) with his first wife Kate Byrne and of Sarah Reed (1970) from his 12-year relationship to dancer Jacqueline Daryl.
Sources: Robert Armstrong (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Danger Man
Created by
Ralph Smart
Starring
Patrick McGoohan
Country of origin
United Kingdom
Original language(s)
English
No. of series
4
No. of episodes
86
Running time
24–25 min. (Series 1)
48–49 min. (Series 2–4)
Production company(s)
Incorporated Television Company
Broadcast
Original channel
ITV
Picture format
35 mm film 4:3 B/W
Series 4 in colour
Audio format
Mono
Original run
11 September 1960 – 12 January 1968
Danger Man (titled Secret Agent in the United States, and Destination Danger and John Drake in other non-UK markets) is a British television series which was broadcast between 1960 and 1962, and again between 1964 and 1968. The series featured Patrick McGoohan as secret agent John Drake. Ralph Smart created the programme and wrote many of the scripts. Danger Man was financed by Lew Grade's ITC Entertainment.
Series outline
From the 1st series voice-over:
Every government has its secret service branch. America, CIA; France, Deuxième Bureau; England, MI5. NATO also has its own. A messy job? Well that's when they usually call on me or someone like me. Oh yes, my name is Drake, John Drake.
The line "NATO also has its own" is not always present.
Programme overview
The first series of episodes ran to 24–25 minutes each and portrayed John Drake as working for a Washington, D.C.-based intelligence organization, apparently on behalf of the North Atlantic Treaty Organization, whose assignments frequently took him to Africa, Latin America, and the Far East. In episode 9, "The Sanctuary", Drake declares he is an Irish-American.
He sometimes seemed at odds with his superiors about the ethics of the missions. Many of Drake's cases involved aiding democracy in foreign countries and he was also called upon to solve murders and crimes affecting the interests of either the U.S. or NATO or both.
Beginning with the second series, which aired several years after the first, the episode's length was increased to 48–49 minutes and Drake underwent retconning and became a British agent working for a secret British government agency called M9 (analogous to Secret Intelligence Service), though his Mid-Atlantic English accent persists for the first few episodes in production. Other than the largely nominal change of employer and nationality, Drake's mandate remains the same: "to undertake missions involving national and global security". In keeping with the episodic format of such series in the 1960s, there are no ongoing story arcs and there is no reference made to Drake's NATO adventures in the later M9 episodes.
Pilot episode
The pilot was written by Brian Clemens, who later co-created The Avengers. In an interview Clemens said:
The pilot I wrote was called "View from the Villa" and it was set in Italy, but the production manager set the shoot on location in Portmeirion, which looked like Italy but which was much closer. And obviously the location stuck in Patrick McGoohan's mind, because that's where he shot his television series The Prisoner much later.
The second unit director on the pilot, according to Clemens:
... shot some location and background stuff and sent the dailies back to the editing room at Elstree. Ralph Smart looked at them, hated them, and called up the second unit director and said "Look, these are terrible, you'll never be a film director," and then he fired him. The name of the second unit director? John Schlesinger.
Early history
The series succeeded in Europe, making McGoohan famous. However, when American financing for a second series failed, the program was cancelled.The first season of the series aired on CBS from 5 April to 13 September 1961.[2] A DVD release of the first season by A&E Home Video in 2000, erroneously states on its box that these episodes were never broadcast in the US.
After a two-year hiatus, two things had changed; Danger Man had subsequently been resold all around the world, whilst repeat showings had created a public clamour for new shows. Also, by this time James Bond had become popular, as had ABC's The Avengers. Danger Man's creator, Ralph Smart, re-thought the concept; the second series' (1964) episodes were 49 minutes long and had a new musical theme, "Highwire". Drake gained an English accent and did not clash with his bosses at first. The revived Danger Man was finally broadcast in the U.S., it was now re-titled Secret Agent, and first shown as a CBS summer replacement program, given the theme song "Secret Agent Man", sung by Johnny Rivers, which became a success in its own right. In other parts of the world, the show was titled Destination Danger or John Drake.
Character development
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (October 2009)
Unlike the James Bond films, Danger Man strove for realism, dramatising credible Cold War tensions. In the second series, Drake is an undercover agent of the British external intelligence agency. As in the earlier series, Drake finds himself in danger with not always happy outcomes; sometimes duty forces him to decisions which lead to good people suffering unfair consequences. Drake doesn't always do what his masters tell him.
Drake is rarely armed, though he engaged in fist fights, and the gadgets he uses are credible.
Agent Drake uses his intelligence, charm and quick thinking rather than force. He usually plays a role to infiltrate a situation, for example to scout for a travel agency, naive soldier, embittered ex-convict, brainless playboy, imperious physician, opportunistic journalist, bumbling tourist, cold-blooded mercenary, bland diplomat, smarmy pop disk jockey, precise clerk, compulsive gambler, or impeccable butler.
Unlike James Bond, Drake is often shown re-using gadgets from previous episodes. Among the more frequently seen are a small spy camera hidden in a cigarette lighter and activated by flicking the lighter, a miniature reel-to-reel tape recorder hidden inside the head of an electric shaver or a pack of cigarettes, and a microphone which could be embedded in a wall near the target via a shotgun-like apparatus, that used soda siphon cartridges containing CO2 as the propellant, allowing Drake to eavesdrop on conversations from a safe distance.
As Drake gets involved in a case, things are rarely as they seem. He is not infallible—he gets arrested, he makes mistakes, equipment fails, careful plans do not work; Drake often has to improvise an alternative plan. Sometimes investigation fails and he simply does something provocative to crack open the case. People he trusts can turn out to be untrustworthy or incompetent; he finds unexpected allies.
John Drake, unlike Bond, never romanced any of the women, as McGoohan was determined to create a family-friendly show.[3] Drake uses his immense charm in his undercover work, and women are often very attracted to him, but the viewers are left to assume whatever they want about Drake's personal life. McGoohan denounced the sexual promiscuity of James Bond and The Saint, roles he had rejected, although he had played romantic roles before Danger Man.
The only exceptions to this rule were the two "linked" episodes of the series, "You're Not in Any Trouble, Are You?" and "Are You Going to be More Permanent?", in which Drake encounters two different women - both played by Susan Hampshire - and which contain numerous similarities in dialogue and set-pieces and both end with Drake in a pseudo-romantic circumstance with the Hampshire character.
Drake was also shown falling for the female lead in the episode "The Black Book" though nothing comes of it; this episode is also one of the only scripts to directly address Drake's loneliness in his chosen profession.
John Drake was not blind to the attraction of the opposite sex, often commenting on the prettiness of his latest associate. The implication is that it is impractical for him to launch any liaison. It was also the fact that many times the women in the show turned out to be femmes fatales, and heavily involved in the very plots Drake is fighting.
Although the villains are often killed, Drake himself rarely kills. An examination of all episodes indicates that, in the entire series, he only shoots one person dead, in one of the last half-hour episodes from the 1960 season.
While another shooting occurs in "The Ubiquitous Mr. Lovegrove", it is revealed to be a dream.
Drake's uses of non-firearm deadly force during the series number less than a dozen. Yet The Encyclopedia of 20th-Century American Television by Ron Lackmann incorrectly claims Danger Man was one of the most violent series ever produced. Drake is almost never shown armed with a gun, and the episode "Time to Kill" centres on Drake's hesitancy and initial refusal to take an assassination mission (events transpire to prevent Drake from having to carry the task out).
Co-stars and guest stars
In the second series, Drake unwillingly answers to "Gorton" (Raymond Adamson) his superior at M9[4] and later to "Hobbs" (Peter Madden), a sinister superior officer often seen fiddling with a knife-like letter opener. This interaction with disagreeable London-based superiors was phased out over the course of the 50-minute series, a clever ploy that reduced plot explanations early on to leave more mystery with the viewer. In the first half-hour series he had an equally edgy, but more good-humoured relationship with Richard Wattis, as his superior, "Hardy".
Most episodes had roles for guest stars such as Maurice Denham, Joan Greenwood, John Le Mesurier, Sylvia Syms and Burt Kwouk.
Production history overview
How much of leading character John Drake originated with series creator Ralph Smart and how much with actor Patrick McGoohan is uncertain; McGoohan never spoke about Smart in any detail. They did have face-to-face meetings at the beginning of the project, at which time they fleshed out the character of John Drake.
According to Andrew Pixley's notes to the CD Danger Man Original Soundtrack, Ian Fleming was involved with Ralph Smart to bring James Bond to television. (Casino Royale had been a one-off live TV play in America a few years before). Fleming dropped out and was replaced by Ian Stuart Black, and a new format/character to be called "Lone Wolf" was developed. This evolved into Danger Man. Fleming, meanwhile, assisted in pre-production discussion on the American series, The Man from U.N.C.L.E..
The degree to which McGoohan changed Smart's original ideas is unclear. Smart evidently agreed to any changes and continued to be enthusiastic about his creation.
In the United States, CBS broadcast some of the original format's episodes of the program in 1961 under the Danger Man title as a summer replacement for the Western series Wanted: Dead or Alive. Under the Secret Agent title, the same network aired the entirety of the second and third series in 1965-1966.
Theme
##Series 1 The Danger Man Theme composed by Edwin Astley
##Series 2–4 High Wire composed by Edwin Astley
##Series 2–4 in the US as Secret Agent, "Secret Agent Man" theme composed by P.F. Sloan and Steve Barri, and recorded by Johnny Rivers.
##Incidental music throughout all 4 series by Edwin Astley
The second "Danger Man" theme called "High Wire," developed during series 2-4. The original version features a subdued rhythm section with almost inaudible drums. This was replaced with a revised version with drums and bass pushed to the fore in the mix. The end credits theme tune was set to end in the same manner as the opening theme, ending on the held, questioning, lower "E". The two-note coda was added soon afterwards to make a definite ending. An audio clip from the recording session this comes from can be heard as an extra on the final disk of the DVD set from Network DVD. The revised theme featured this as a normal end to the tune. As series 4 was to be made in colour for the first time, a completely new arrangement was recorded which owed much to the arrangement on Astley's full-length single version of "High Wire" released the previous year (see below). The feature film "Koroshi" was created from the only two episodes made for series 4, "Koroshi" and "Shinda Shima" and the opening music is not found in the series.
Singles
##1961 - Theme from Danger Man, the "Red Price Combo" (main theme used in the 1st Series) - Parlophone 45 R 4789
##1964 - Danger Man "Hire Wire", the "Bob Leaper Orchestra" (alternative main theme, not used in any episodes. Features electric piano) - PYE 7N 15700
##1965 - Danger Man "Hire Wire", the "Edwin Astley Orchestra" (not used in series, arrangement influenced series 4 theme arrangement) - RCA 1492
##1965 - Danger Man "Hire Wire", the "Ivor Slaney Orchestra" (alternative arrangement, not used in any episodes) - HMV POP 1347
Program Ident
The original opening ID changed as the series progressed. The first series had McGoohan leaving a building and getting into a convertible under the opening narration reproduced earlier, and driving off.
The earlier of the two sequences for the hour-long series features a photograph of a benevolently-smiling McGoohan zooms partly out towards the right of the frame, then stops, adding the legend "Patrick McGoohan as". The three-ringed 'target' revolves round in time to the three-note orchestra hits to obscure McGoohan's photo as it reveals the programme logo on a pure black background.
The second version was in two segments. The first segment is filmed, comprising a full-length McGoohan in stark negative, menacingly taking a few paces towards the camera, then stops. In quick succession, the camera zooms-in fast onto his eyes, freeze-frames, then switches from negative to positive. The legend "Patrick McGoohan as" is added. This then switches to a different photo with McGoohan looking left out of picture. The familiar three-ringed 'target' then reveals the programme logo on a pure black background as before. The music was re-recorded for this version of the ident and lasted for the rest of the programme's run.
Later history, Koroshi and transition to The Prisoner
The fourth series consists of only two episodes, "Koroshi" and "Shinda Shima", the only two episodes of Danger Man to be filmed in colour and, as with two-parters from other ITC series such as The Baron and The Saint, these two separate but related episodes were recut together as a feature for cinemas in Europe.[5] Whilst "Koroshi" retains a strong plot-line and sharp characterizations, "Shinda Shima" was a pastiche of contemporary Bond movies. When the episodes were completed, McGoohan announced he was resigning from the series to create, produce, and star in a project titled The Prisoner, with David Tomblin as co-producer and George Markstein as script editor. Markstein was then the Danger Man script consultant. A number of behind-the-scenes personnel on Danger Man were subsequently hired for The Prisoner.
The two colour episodes aired (in black and white) in the UK in the time slot of The Prisoner, which had fallen behind schedule and could not make its airdates. The European cinema film feature version, Koroshi, did not receive theatrical release in the US but instead aired on network television as a TV movie in 1968.
Another, unused, fourth-series script was reworked as an episode of The Champions while, according to The Prisoner: The Official Companion by Robert Fairclough, the Prisoner episode "The Girl Who Was Death" was based upon a two-part Danger Man script that had been planned for the fourth series.
However, in an interview,[7] it is stated that McGoohan did indeed approach Jack Shampan with the idea of a series continuing Danger Man entitled The Prisoner.[clarification needed]
Secret agent John Drake and Prisoner Number Six
Prisoner fans frequently debate whether John Drake of Danger Man and Number Six in The Prisoner are the same person.[8] Like John Drake, Number Six is evidently a secret agent, but one who has resigned from his job. Moreover, in the surreal Prisoner episode "The Girl Who Was Death", Number Six meets "Potter", John Drake's Danger Man contact. Christopher Benjamin portrayed the character in both series. As has been previously stated, "The Girl Who Was Death" was an adaptation of an unused Danger Man script. As well as guest-starring in this show, Paul Eddington played another spy and No.6's former colleague, Cobb, in the opening episode of the latter show.
The first Danger Man series includes four episodes which use footage filmed in the Welsh resort of Portmeirion, which later became the primary shooting location of The Prisoner. This dramatic overlapping is complicated by reference books such as Vincent Terrace's The Complete Encyclopedia of Television Programs 1947–1979 referring to The Prisoner as a Danger Man continuation. Terrace postulates that John Drake's resignation reason is revealed in the "Do Not Forsake Me Oh My Darling" episode, which is a follow-up to a mission assigned to Number Six before he was sent to The Village. Richard Meyers makes the same claim in his 1981 book, TV Detectives. He further states that this connects directly to "an episode of Secret Agent never shown in this country [i.e. the United States] with John Drake investigating the story of a brain transferral device in Europe", but no such episode of Danger Man was ever made. McGoohan stated in a 1985 interview that the two characters were not the same, and that he had originally wanted a different actor to play the role of Number Six.
Pop culture references
Danger Man has remained part of pop culture consciousness. Author Stephen King alludes to John Drake's cool in his novel The Shining. The band Tears for Fears refer to the character in their song "Swords and Knives", and Dead Can Dance titled one of the songs on their Into the Labyrinth album "The Ubiquitous Mr. Lovegrove" after a Danger Man episode, although the content of the song has no apparent relationship to the episode.
The American theme song has appeared in countless movies and TV shows, including during the climax of the first Austin Powers movie, and was covered by Devo.
In 2000, the UPN network aired a short-lived spy series entitled Secret Agent Man. Due to the similarities in titles between this series and the American edition of Danger Man, Secret Agent Man, a series with no relationship to the McGoohan program, is often erroneously referred to as a spin-off or remake of Danger Man.
The British animated series Danger Mouse was largely inspired by Danger Man and is a broad parody of both this series and secret agent films and television in general.
DVD releases
All four series are now available on DVD in Europe, Australasia and North America.
In Britain, Network DVD released a 13-disc "Special Edition" boxed set of the one-hour shows in June 2007. Extra features include the edited-together movie version of "Koroshi" and "Shinda Shima", the US Secret Agent opening and closing titles, image galleries for each episode, and a specially written 170-page book on the making of the one-hour series. Umbrella Entertainment has released the 24-minute series on DVD in Australia; the 49-minute series has been released by Madman.
Network DVD released the 1st (24 min) series in January 2010 on a 6 disc set with a commemorative booklet by Andrew Pixley. The Carlton 6 disc set is out of issue.
In North America, the three series of hour-long episodes were released by A&E Home Video under the title Secret Agent a.k.a. Danger Man in order to acknowledge the American broadcast and syndication title. However the episodes retain their original Danger Man opening credits (including the original theme by the Edwin Astley Orchestra), the first time these have been seen in the U.S., with the US "Secret Agent" credits included as an extra feature. The first series of half-hour episodes was issued by A&E sometime later as Danger Man. A&E subsequently released a single-set "megabox" containing all of the one-hour episodes; a revised megabox, released in 2007, added the half-hour episodes, and was released again in a modified slimline package in 2010.
On December 9, 2014, Timeless Media Group will re-release the entire series on DVD in Region 1 in a 17-disc set entitled Secret Agent (Danger Man)- The Complete Series.[13]
Marathon House 2011
The Washington title sequence of the first Series 24-minute episodes is a composite of the United States Capitol in the background and the Castrol Building, complete with London Bus stop, in the Marylebone Road, London as the foreground. This building is now Marathon House converted from offices to flats in 1998.[14]
In reality, no such building is allowed to exist in Washington, DC, as the Height of Buildings Act of 1910 limits the heights of building (except churches) to 130 feet, thus giving the United States Capitol building, at 289 feet, an unobstructed view from any part of the city (This has led to the popular belief that buildings in Washington D.C. are restricted to the height of the U.S. Capitol building).
Original novels and comic books
First issue of the Gold Key Comics series.
Several original novels based upon Danger Man were published in the UK and US, the majority during 1965 and 1966.
##Target for Tonight – Richard Telfair, 1962 (published in US only)
##Departure Deferred – W. Howard Baker, 1965
##Storm Over Rockall – W. Howard Baker, 1965
##Hell for Tomorrow – Peter Leslie, 1965
##The Exterminator – W.A. Balinger, 1966
##No Way Out – Wilfred McNeilly, 1966
Several of the above novels were translated into French and published in France, where the series was known as Destination Danger. An additional Destination Danger novel by John Long was published in French and not printed in the US or UK.
The adventures of John Drake have also been depicted in comic book form. In 1961, Dell Comics in the US published a one-shot Danger Man comic as part of its long-running Four Color series, based upon the first series format. It depicted Drake as having ginger hair, a trait shared with Patrick McGoohan, but which was unseen as Danger Man had been made only in monochrome at that time. In 1966, Gold Key Comics published two issues of a Secret Agent comic book based upon the series (this series should not be confused with Secret Agent, an unrelated comic book series published by Charlton Comics in 1967, formerly titled Sarge Steel). In Britain, a single Danger Man comic book subtitled "Trouble in Turkey" appeared in the mid-1960s and a number of comic strip adventures appeared in hardback annuals. French publishers also produced several issues of a Destination Danger comic book in the 1960s, although their Drake was blond. Spanish publishers produced a series titled 'Agent Secreto'. The Germans were particularly prolific, using 'John Drake' and a picture of McGoohan, as the cover for hundreds of "krimi" magazines.
Portrait bust of the so-called Plautilla on a marble plinth engraved with the name PLAVTILLA. The dating of the bust and, therefore, the identification of the person portrayed are uncertain. The subject's hairstyle places this work in a Severian context, while the lack of individual characterization contrasts with the artistic canons of that period. The uncertainty about its dating is absolute, and some scholars believe this bust is a pseudo-ancient sculpture.
Source: Guido Mansuelli, “Galleria degli Uffizi .- Le Sculture, Parte 2”
Marble sculpture
Head: 2nd - 3rd century – Bust: modern
Florence, Gallerie degli Uffizi, Inv. 1914, no. 217