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12 by 12 Challenge 10
Don’t see photographs as an end result, rather as a source.
– Anouk Kruithof
Berris has a brain injury which causes some disturbance to his processing of ideas and difficulties with mobility and caring for himself.
My idea is to create a 3D jigsaw from a set of portraits I have taken of him.
Explore 18.12.15
This little guy hit a window at our house last night. He seemed to be stunned so we put him in a safe location in the back yard. He was alert in the morning but couldn't fly. Dan made a little nest and gave him some hummingbird nectar. Dan checked on line and found a local wildlife rehabilitation specialist. We took the hummingbird to her for rehabilitation.
610 Konectbus
SN62AVG
seen on Queens Road, Norwich.
This vehicle wears branding for the Norwich-Watton services 3 and 6, yet is seen here on the P&R. The man on the side appears to have sustained a horrific injury and severed his leg too!
This is a Semipalmated Plover. They had a nest near where I was walking. When they sense danger they fake an injury so prey will be distracted from the nest. Kenai Fjords
Managed some post-injury bests with free weights tonight. A set of bench presses of 185 pounds and a set of barbell curls with 70 pounds. Yeah, those used to be warm up weights but it's a lot of progress since last June.
very disappointing to revisit this flamingo chick the small sore spot on its foot has grown into this giant fly attraction boil/tumor?; sad to see this in the care of the Audubon Zoo, New Orleans.
One of our semi-tame vixens has injured her front left paw and won't put weight on it. No visible injury, so we can only hope it recovers. She visits us every afternoon for treats.
[176/365]
Xray sent back to me.
Now, I remembered all of a sudden my mishap. So, when this was given to me by the radiographer/radiologist she said: “Congratulations! You just fractured your thumb. And you did it pretty well.” Then she smiled, and I was left stunned there for a while. For a second, my whole world stopped and I was grasping what she just told me - and what was that smile was all about (?). Questions like What’s gonna happen to me now?, Would this still come back to normal?, What about my career?, Would I still be able to play my guitar?, What about my photography?, What about my handwriting?, How will I tell this to my parents (Am I gonna die?) and so on were running in my mind. Then, I got a hold of myself and asked her what does she meant by what she just said. She explained things. I left with some more questions.
On the train I saw this man seated in front me. He was blind. He was holding his guiding stick and I think, he became the subject of everyone’s attention. I saw the looks on their faces. Some felt sympathy, others were apathetic and were just staring at him because he’s incapable. Me, I felt sad about him. I felt sympathy. I thought that he was deprived of seeing the wonderful things around him - the colorful world that surrounds him. I felt sad. I pitied him. But you know what? He struck me bigtime. Oh yes, he sure did! It was his smile - his real big smile. I saw him smile when the conductor asked for his ticket and made a small talk with him. I was amazed of how he treats people. He may not be able to see them but he is smiling and all happy. He was like pure of optimism. He may not be able to play guitar, take photographs, or get to see his on handwriting but he is sure one happy and contented man.
Then all of a sudden, I think I knew the whole point of this: why such people co-exist with us in this sometimes-shitty world — to let every people know how God loves each one of us and to appreciate the little things that we have. It all became clear to me — What the heck am I whining about where in fact I’ve only got a fractured finger compared to this man who’s deprived of eyesight? I secretly smiled to myself. He got off the train. I got off the next station. Thanks to him I appreciated more Life. He sure was godsent to usO:-)
Despite the beak injury this magpie appeared to be in fine health. I do hope that is still the case.
An incredibly rare self-portrait, but I felt like I needed to capture this injury, instead of hiding it. Don't worry, I'm 80% better now. It was the result of a stupid fall, and believe it or not, my face was nothing compared to the concussion symptoms. As a neurologist, I treated many patients with head injuries, but experiencing it myself gave me a new appreciation of how freaky it is when your brain doesn't work!
The digital play is my attempt at reflecting the physical and mental "Jekyll and Hyde" way it made me feel (and is hopefully a little more artistic and less graphic.).
HSS
The original injury was the loss of the fine, turn-of-the-century building that almost certainly once stood on this lot.
The Brutalist excrescence that replaced it is an insult to the city´s architectural history. What possessed the architect to do this? How could the city have approved an aggressively disruptive design that undermines the vision that guided the architects who created an Art Nouveau city center after the devastating fire of 1904?
For its own sake and that of visitors, I hope Ålesund has since enacted design standards that would prevent similar disasters in the future.
My darling little rainbow lorikeet, Jess, was sat on shoulder, the dog barked & she freaked out, this is the result
This is what happens when you fall from a snowboard on a dry slope and your little finger bends backwards after getting stuck!!
Day 1 : was able to bend it, a little stiff and tendor but all is well.
Day 2 : not able to bend the finger and swelling has made the skin tight around the whole of the finger, bruise has become a nice purple colour now.
Senator Johnson, what were you thinking? This isn’t an exclamation. I really want to know.
In one of the most recent iterations of tone-deaf statements made by politicians, Republican Senator Ron Johnson of Wisconsin said this on Joe Pag’s conservative radio talk show (emphasis mine):
“Even though those thousands of people that were marching to the Capitol were trying to pressure people like me to vote the way they wanted me to vote, I knew those were people that love this country, that truly respect law enforcement, would never do anything to break the law, and so I wasn’t concerned.”
“Now, had the tables been turned—Joe, this could get me in trouble—had the tables been turned, and President Trump won the election and those were tens of thousands of Black Lives Matter and Antifa protesters, I might have been a little concerned.”
It was both shocking and amazing to hear someone—an elected Senator, no less—say such a thing without realizing the impact of his words. This is the definition of institutional racism: thought patterns so embedded in society, some see nothing wrong in expressing them, let alone thinking them. Did you say them to gain political currency, or do you believe them? As Washington Post columnist E.J. Dionne Jr. recently said, “Republicans and conservatives have used culture wars as a way of encouraging working-class voters to cast their ballots on the basis of social, religious, and racial issues rather than on economic questions.” Your comments, shocking as they are to me, are chum, thrown into political waters to rile up your Republican base. In the feeding frenzy, they ignore the economic precipice they live on and, worse, don’t even realize how unimportant their lives are to the GOP.
The Justice Department’s mounting evidence against those who stormed the Capitol doesn’t correlate with your sentiments. In response to criticism about your statement, you replied, “There were no racial undertones to my comments.” You’re right, Senator. These weren’t undertones; these were overt. Here are some facts that should interest you.
In an interview with 60 Minutes, federal prosecutor and former acting U.S. Attorney for the District of Columbia, Michael R. Sherwin, said they were now in the process of prosecuting over 400 cases involving the January assault on the Capitol. “The bulk of those cases are federal criminal charges and significant felony charges: five, ten, twenty-year penalties…. Of those 400, we have over 100 who have been charged with assaulting federal officers and local police officers. Ten percent of the cases, I’ll call them more complex conspiracy cases—we do have evidence, it’s in the public record—where individual militia groups from different facets, Oath Keepers, Three Percenters, Proud Boys, did have a plan—we don’t know what the full plan is—to come to D.C., organize, breach the Capitol in some manner.” The investigation is only getting started.
Sherwin was an eyewitness to the insurrection. Dressed in his running clothes, he followed protesters from Donald Trump’s rally to the Capitol. “As the morning progressed, I noticed that some people were in tactical gear,” he said. “Those individuals, I noticed, left the speeches early. You could see it was getting more riled up. And it became more aggressive.” Prosecutors have charged many with obstruction of official government proceedings (the Electoral College count). Convictions could result in twenty-year felony sentences. The government has arrested two men for assaulting Capitol police officer Brian D. Sicknick, who later died of his injuries. If his autopsy shows their actions resulted in his death, they will be charged with murder.
Do you think, Senator, these people “truly respect law enforcement [and] would never do anything to break the law,” as you stated?
Covered live on TV, hundreds of thousands of Americans witnessed this breach. Rioters posted their own videos and photographs of their actions. Others proudly texted their involvement. The people you described as loving their country put members of Congress, the military, and police at risk. What’s so loving about that?
Politicians have been spinning their versions of events since the dawn of our country. During both the Reagan and George H. Bush administrations, Lee Atwater’s noxious tactics are the contemporary antecedent for the misleading hyperbole we experience today. Truth became malleable. Atwater’s support for making furloughed felon Willie Horton’s armed robbery and rape charges an issue during the 1988 presidential campaign against Democrat Michael Dukakis was instrumental in Bush overcoming a 17-point deficit to win the presidency. Atwater stated he would “strip the bark off the little bastard” and “make Willie Horton his running mate.” Trump’s “alternative facts” were the culmination of bending the truth for political gain. What’s fascinating is the traction these lies generate.
In 1987, the Federal Communications Commission rescinded the Fairness Doctrine, which required media outlets to present controversial issues fairly and balanced. “The Fairness Doctrine required that those who were talked about be given a chance to respond to the statements made by broadcasters.” The FCC believed this safeguard impinged on a person’s First Amendment rights, and they did away with it. Political discourse has digressed ever since.
“Cancel culture” has become our most recent ad hoc policing system to control the cacophony of voices and opinions on traditional and social media. But it’s often harsh and indiscriminate. A few months back, a Facebook friend wrote about some stress in their life, posting a sizeable animated emoji showing a round yellow face grinding its teeth. I responded to that emoji by saying, “relax” (I know firsthand the pain of bruxism—teeth-gnashing). A few minutes later, a well-known woman writer admonished me for telling any woman to relax. I only knew my friend via Facebook. And her handle was gender-neutral, so I didn’t realize she was a woman. I was going to clarify my response, but when I saw that 27 people had already liked her retort, I thought better of it. I felt ganged up upon and ridiculed unfairly. A simple question, “What did you mean?” would have cleared everything up quickly. Instead, I deleted my comment. But the feeling of being misunderstood without recourse stayed with me the rest of the day. Seeking context is a rare commodity. So that’s why I’m asking you, Senator, despite the facts, why did you say what you said?
Ultimately, it’s the responsibility of your Wisconsin constituents to judge your words and deeds. But that doesn’t mean the rest of us will stand by when you pass your judgments. They’re deadly.
And, yes, Senator Johnson, you are a racist.
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dont wage war on yourself.
Self-harm or deliberate self-harm includes self-injury and self-poisoning and is defined as the intentional, direct injuring of body tissue without suicidal intent. The most common form of self-harm is skin cutting but self-harm also covers a wide range of behaviours including burning, scratching, banging or hitting body parts, interfering with wound healing, hair pulling (trichotillomania) and the ingestion of toxic substances or objects. Behaviours associated with substance abuse and eating disorders are usually not considered self-harm because the resulting tissue damage is ordinarily an unintentional side effect. However, the boundaries are not always clear-cut and in some cases behaviours that usually fall outside the boundaries of self-harm may indeed represent self-harm if performed with explicit intent to cause tissue damage. Although suicide is not the intention of self-harm, the relationship between self-harm and suicide is complex, as self-harming behaviour may be potentially life-threatening.
Football is a contact sport. Injuries occur often but recovery is usually quick. As we can see; people around this fallen player are not alarmed by this incident. He was soon up and played on...
She fell off the swing set and landed on her face today. Mouth full of blood and a wiggling tooth. She's mad it didn't fall out because now the tooth fairy won't come. Brave girl.
British postcard in the Picturegoer Series, London, no. W 758. Photo: R.K.O. Radio.
American film star Robert Mitchum (1917–1997) is one of the icons of Hollywood thanks to his roles as tough guys, loners and drifters in many War films, Westerns and such classic Film Noirs as Out of the Past (1947) and His Kind of Woman (1952). His facade of cool, sleepy-eyed indifference proved highly attractive to both men and women. Mitchum portrayed two of the scariest screen villains ever: the psychotic evangelist Reverend Harry Powell in Night of the Hunter (1955) and cruel rapist Max Cady in the original Cape Fear (1962). During his notable 55-year acting career, he appeared in more than 125 films.
Robert Charles Durman Mitchum was born in 1917 in Bridgeport, Connecticut into a Methodist family. His parents were James Mitchum, a railroad worker of Irish descent, and Anne Mitchum, the daughter of a Norwegian ship captain. He had an elder sister, Annette (known as actress Julie Mitchum). In 1919, James Mitchum was crushed to death in a railyard accident, when his son was less than two years old. Anne remarried to a former Royal Naval Reserve officer, Major Hugh Cunningham Morris. Robert grew up as a trouble-making, wayward boy and was sent to live with his grandparents when he was 12 years old. There he was expelled from his middle school for scuffling with a principal. A year later, in 1930, he moved in with his older sister, in New York's Hell's Kitchen. After being expelled from Haaren High School, he left his sister and travelled throughout the country on railroad cars, taking a number of jobs including professional boxing. At age 14 in Savannah, Georgia, he was arrested for vagrancy and put on a local chain gang. By Mitchum's own account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met the girl he would marry, Dorothy Spence. In 1936, he went back on the road, eventually riding the rails to California. In Long Beach, he worked as a ghost-writer for astrologer Carroll Righter. His sister Julie convinced him to join the local theatre guild with her. In his years with the Players Guild of Long Beach, he made a living as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. In 1940, he returned East to marry Dorothy Spence, taking her back to California. He remained a footloose character until the birth of their first child, James, nicknamed Josh (two more children followed, Chris and Petrine). Mitchum then got a steady job as a machine operator with the Lockheed Aircraft Corporation. A nervous breakdown (which resulted in temporary blindness), apparently from job-related stress, led Mitchum to look for work as an actor or extra in films. An agent got him an interview with the producer of the series of B-Westerns starring William Boyd as flawless good guy Hopalong Cassidy. Mitchum's broad build, deep voice and insolent expression made him a perfect villain in several films in the series during 1942 and 1943. He found further work as an extra and supporting actor in numerous productions for various studios. After playing a heroic co-pilot in Thirty Seconds Over Tokyo (Mervyn LeRoy 1943), Mitchum signed a seven-year contract with RKO Radio Pictures. He found himself groomed for B-Western stardom in a series of Zane Grey adaptations.
Following the moderately successful Western Nevada, Robert Mitchum was lent from RKO to United Artists for The Story of G.I. Joe (William Wellman, 1945). In the film, he portrayed war-weary officer Bill Walker, who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (Burgess Meredith), became an instant critical and commercial success. Shortly after making the film, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for Best Supporting Actor. He finished the year off with the Western West of the Pecos and a story of returning Marine veterans, Till the End of Time. The genre that came to define Mitchum's career and screen persona was Film Noir. His unique blend of strength, slow-burning sexuality and devil-may-care attitude helped to make him the personification of the Noir hero. His first foray into the genre was a supporting role opposite Kim Hunter in the B-movie When Strangers Marry (William Castle, 1944), as a woman's former lover who may or may not have killed her new husband. Undercurrent (Vincente Minnelli, 1946) featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). The Locket (John Brahm, 1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Pursued (Raoul Walsh, 1947) combined Western and Noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (Edward Dmytryk, 1947) featured Mitchum as a member of a group of soldiers, one of whom kills a Jewish man in an act of anti-Jewish hatred. It featured themes of anti-Semitism and the failings of military training. The film earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (Jacques Tourneur, 1947). Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer), comes back to haunt him. In 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail, Mitchum spent 43 days at a Castaic, California, prison farm, with Life photographers right there taking photos of him mopping up in his prison uniform. The arrest became the inspiration for the exploitation film She Shoulda Said No! (Sam Newfield, 1949), which starred Leeds. Mitchum claimed he was framed and in 1951 his case was overturned and his record cleared. However, the case enhanced his image as a rebel. The films released immediately after his arrest were box-office hits. The Western Rachel and the Stranger (Norman Foster, 1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden, while he appeared in the film adaptation of John Steinbeck's novella The Red Pony (Lewis Milestone, 1949) as a trusted cowhand to a ranching family. He returned to true Film Noir in The Big Steal (Don Siegel, 1949), where he again joined Jane Greer.
Robert Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded millionaire Claude Rains in Where Danger Lives (John Farrow, 1950). The Racket (John Cromwell, Nicholas Ray, 1951) was a Noir remake of the early crime drama of the same name and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film Macao (1952) had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. They co-starred again in the steamy crime comedy-drama His Kind of Woman (John Farrow, 1952). Craig Butler at AllMovie: “Mitchum, by the way, is perfectly cast here, using his laconic, interior style to very good effect. Even Jane Russell, attired in outfits that emphasize her cleavage at every opportunity, turns in a more than decent performance. Woman is weird but wonderful.” Otto Preminger's Angel Face (1953) was the first of three collaborations between Mitchum and British actress Jean Simmons, in which she plays an insane heiress who plans to use young ambulance driver Mitchum to kill for her. Mitchum was expelled from Blood Alley (1955), purportedly due to his conduct, especially his reportedly having thrown the film's transportation manager into San Francisco Bay. Producer John Wayne took over the role himself. Following the Marilyn Monroe Western River of No Return (Otto Preminger, 1954), he appeared in Charles Laughton's only film as director, The Night of the Hunter (1955). Adapted by James Agee from a novel by Davis Grubb, the thriller starred Mitchum as a terrifying killer who had the words Love and Hate tattooed on his hands and who poses as a preacher to find money hidden in his cellmate's home. Hal Erickson at AllMovie: “Combining stark realism with Germanic expressionism, the movie is a brilliant good-and-evil parable, with ‘good’ represented by a couple of farm kids and a pious old lady, and ‘evil’ literally in the hands of a posturing psychopath.” Mitchum’s performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger (1955), was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra. In 1955 Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists though only four films were produced. The first film was Bandido (Richard Fleischer, 1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (Sheldon Reynolds, 1956), Mitchum starred in the first of three films with Deborah Kerr. The war drama Heaven Knows, Mr. Allison (John Huston, 1957), starred Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), being his sole companion. In this character-study, they struggle to resist the elements and the invading Japanese army. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the WWII submarine classic The Enemy Below (Dick Powell, 1957), Mitchum gave a strong performance as U.S. Naval Lieutenant Commander Murrell, the captain of a U.S. Navy destroyer. He matches wits with a German U-boat captain Curd Jürgens, who starred with Mitchum again in The Longest Day (Ken Annakin, Andrew Marton, Bernhard Wicki, 1962). Thunder Road (Arthur Ripley, 1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee. Mitchum not only starred in the film, but also produced it, co-wrote the screenplay, and allegedly directed much of the film himself. He returned to Mexico for The Wonderful Country (Robert Parrish, 1959) and Ireland for A Terrible Beauty/The Night Fighters (Tay Garnett, 1960) for the last of his DRM Productions.
Robert Mitchum and Deborah Kerr reunited for The Sundowners (Fred Zinnemann, 1960), where they played husband and wife struggling in Depression-era Australia. Opposite Mitchum, Kerr was nominated for yet another Academy Award for Best Actress, while the film was nominated for a total of five Oscars. Robert Mitchum was awarded that year's National Board of Review award for Best Actor for his performance. The award also recognised his superior performance in the Western drama Home from the Hill (Vincente Minnelli, 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the comedy The Grass Is Greener (Stanley Donen, 1960). Mitchum's performance as the menacingly vengeful rapist Max Cady who terrorizes lawyer Gregory Peck and his family in Cape Fear (J. Lee Thompson, 1962) brought him even more attention and furthered his renown for playing cool, predatory characters. The 1960s were marked by a number of lesser films and missed opportunities. Among the films Mitchum passed on during the decade were John Huston's The Misfits, the Academy Award–winning Patton, and Dirty Harry. The most notable of his films in the decade included the war epics The Longest Day (John Huston, 1962) and Anzio (Edward Dmytryk, 1968), the Shirley MacLaine comedy-musical What a Way to Go! (J. Lee Thompson, 1964), and the Western El Dorado (Howard Hawks, 1967), a remake of Rio Bravo (Howard Hawks, 1959), in which Mitchum took over Dean Martin's role of a drunken sheriff who helps John Wayne defend a town against unscrupulous cattlemen. He then teamed with Martin for the Western 5 Card Stud (Henry Hathaway, 1968), playing a homicidal preacher. One of the lesser-known aspects of Mitchum's career was his forays into music, both as singer and composer. Mitchum's deep, commanding, yet lively voice was often used instead of that of a professional singer when his character sang in his films. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso — is like so ... in March 1957. A year later, he recorded a song he had written for Thunder Road, titled The Ballad of Thunder Road. The country-style song became a modest hit. Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. Little Old Wine Drinker Me, the first single, was a top-10 hit at country radio, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, You Deserve Each Other, also charted on the Billboard Country Singles chart. He also sang the title song to the Western Young Billy Young (Burt Kennedy, 1969).
Robert Mitchum seriously considered retiring from acting in 1968 due to concerns over the quality of his recent films. After a year's absence, during which he spent much of the time driving around America visiting old friends and staying in motels, he was lured back to star in Ryan's Daughter (David Lean, 1970). He made a departure from his typical screen persona with his role as Charles Shaughnessy, a mild-mannered schoolmaster in World War I-era Ireland. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicised as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his performance in Patton. The 1970s featured Mitchum in several well-received crime dramas. He was a low-rent Boston crook who finds himself on the wrong end of the mob's attentions in The Friends of Eddie Coyle (Peter Yates, 1973). He played a retired detective sent to Japan to rescue a client's daughter from gangsters in The Yakuza (Sydney Pollack, 1974), which transplanted the typical Film Noir story arc to the Japanese underworld. He also appeared in Midway (Jack Smight, 1976) about an epic 1942 World War II battle, and opposite Robert De Niro in The Last Tycoon (Elia Kazan, 1976). Mitchum's stint as Raymond Chandler's noble private eye Philip Marlowe in Farewell, My Lovely (Dick Richards, 1975) was sufficiently well received by audiences and critics for him to reprise the role in The Big Sleep (Michael Winner, 1978). His last interesting role in this late-career revival came with the film version of Jason Miller's play That Championship Season (Jason Miller, 1982), with Mitchum as the coach of a quartet of former high school basketball teammates who struggle to adjust to middle age and maturity. He expanded to TV work with the big-budget miniseries The Winds of War (Dan Curtis, 1983) as navy man Victor ‘Pug’ Henry, whose family is deeply involved in the events leading up to America's involvement in the war. He also played George Hazard's father-in-law on the Civil War miniseries North and South (Richard T. Heffron, 1985). He followed it with the sequel War and Remembrance (Dan Curtis, 1988). Mitchum replaced old friend John Huston in his son Danny's largely ignored comedy Mr. North (Danny Huston, 1988). He also was in Bill Murray's comedy film, Scrooged (Richard Donner, 1988). In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures and the Cecil B. DeMille Award from the Golden Globe Awards in 1992. Mitchum continued to act in films until the mid-1990s. He appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear (1991). He also gave a lively performance as a robber baron of sorts who drives Johnny Depp's character into the wilderness in Jim Jarmusch's eccentric Western, Dead Man (1995). His last film appearance was a small but pivotal role in the television biopic, James Dean: Race with Destiny (Mardi Rustam, 1997), playing Giant director George Stevens opposite Casper Van Dien as Dean. His last starring role was in the Norwegian film Pakten/Waiting for Sunset (Leidulv Risan, 1995) with Cliff Robertson and Erland Josephson. A lifelong heavy smoker, Mitchum died in 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. Mitchum was 79. He was survived by his wife of 57 years, Dorothy Mitchum and actor sons, James Mitchum, Christopher Mitchum, and writer-daughter, Petrine Day Mitchum. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. His ashes were scattered by wife Dorothy and longtime friend Jane Russell.
Sources: Sandra Brennan (AllMovie), Hal Erickson (AllMovie)<,Craig Butler (AllMovie), Jim Beaver (IMDb), William Bjornstad (Find A Grave), The New York Times, TCM, Wikipedia, and IMDb.
Aboard USATC Class S160 No 6046. Gauge on left is steam chest pressure (showing 100 lb); on the right the duplex vacuum gauge. The loco is air-braked but, like a classic BR diesel, can operate vacuum-braked trains; the air brake gauges are out of sight beneath the front cab window.
US-style pull-out regulator with rachet by my forearm - the rounded shiny thing to the right is padding to stop you doing yourself a serious head injury. The two valves visible beneath my arm are the large and small ejectors respectively. Reverser wheel and scale visible beneath them.
The valve visible to next to the reverser wheel is for the steam sanders. Then two brake valves: straight air brake for loco only; beneath that the M8 air brake valve that applies to the train and the loco - as on a diesel, dropping the air in the train pipe drops the vac and applies the brakes on the coaches.
To the right of the picture, the fireman is adjusting the blower. Bottom right is the vacuum chamber-side release valve.
Chinnor & Princes Risborough Railway.
lyquidpurple.deviantart.com/art/Self-Injury-Awareness-360...
"There is something beautiful about all scars of whatever nature. A scar means the hurt is over, the wound is closed and healed, done with."
We can't remain silent any longer.
Approximately 1% of the United States population uses physical
self-injury as a way of dealing with overwhelming feelings
or situations, often using it to speak when no words will come.
In response to society's mistaken ideas about self-harm,
the American Self-Harm Information Clearinghouse was created
to educate and inform medical and mental health professionals,
the media, and the general public, sorting myth from fact
and explaining what is known about self-harm.