View allAll Photos Tagged stutter
Obama takes to the podium with a smile.
With the whirlwind of 1.8 million people stretching as far as the eye can see.
The Obama-rama
Red-naped Sapsuckers are industrious woodpeckers with a taste for sugar. They drill neat little rows of holes in aspen, birch, and willow to lap up the sugary sap that flows out. The presence of sap wells is a good indication that they are around, but so are their harsh wailing cries and stuttered drumming.
Operations have just resumed at Newell & Wright"s additional base at Tinsley Yard, after a stuttering start due to local site conditions and flooding on the network.
2 reach stackers wade through the slurry, whilst unloading the 4E00 from London Gateway, brought in by 66708 "Jayne".
I am not use to dictation so I have a tendency to occasionally stutter or speak a little faster then I mean to. If I was taking face to face I would definitely be doing a better job at speaking.
Russian postcard by Goznak, Moscow, Series no. 9, no. A 15639, 1928. The card was issued in an edition of 10.000 copies. The price was 10 Kop.
Anatoli Ktorov (1898-1980) was a brilliant Soviet and Russian film and stage actor who stuttered in real life but was perfectly eloquent in acting roles. He had a career spanning from silent films, Yakov Protazanov, to the Oscar-winning epic Voyna i mir / War and Peace (1965-1967). He became a People's Artist of the USSR in 1963.
Anatoli Ktorov (Russian: Анатолий Кторов) was born Anatoli Petrovich Viktorov in 1898 in Moscow. His grandfather was a successful merchant, and his father, named Pyotr Viktorov, was an industrial engineer. His mother was a pianist and singer. Young Ktorov was brought up in an artistic environment of Moscow's cultural milieu. He attended Classical Gymnasium in Moscow and was fond of acting in school drama class. In 1916, at age 18, Ktorov became a student at the Acting School of Fyodor Komissarzhevsky, a stern acting coach who was critical of Ktorov's stuttering. But Ktorov, who was a shy person in real life, demonstrated his remarkable persistence and determination. He practised his lines several hundred times. In 1917, Ktorov made his stage acting debut at the Komissarzhevsky Theatre. Ktorov never stuttered on-stage. However, director Komissarzhevsky did not believe in Ktorov, and his career seemed to be limited to cameo roles. Ktorov's fate was changed by Illarion Pevtsov, who believed in Ktorov's talent and took him as a protégé. In 1919, Pevtsov introduced Ktorov to Vera Popova, an established actress and experienced acting coach. She also recognised Ktorov's talent and took him under her wing. Eventually, Popova became Ktorov's partner on stage and in life.
From 1920 to 1933, Anatoli Ktorov was a permanent member of the troupe at the Korsh Theatre in Moscow. There, he played leading roles in classic dramas and comedies, as well as in contemporary plays, with Vera Popova as his permanent stage partner. In 1925, Ktorov shot to fame with a leading role opposite Igor Ilyinsky in the silent film comedy Zakroyshchik iz Torzhka/The Tailor from Torzhok (1925) by director Yakov Protazanov. He also gave an impressive performance in Protazanov's comedy Prazdnik svyatogo Yorgena/St. Jorgen's Day (Yakov Protazanov, 1930) starring Igor Ilyinsky. The highlight of Ktorov's career was his brilliant performance as Paratov in the classic film Bespridannitsa/Without a Dowry (Yakov Protazanov, 1936), starring Nina Alisova. It was based on Alexander Ostrovsky's play 'Without a Dowry' (1878). However, Soviet directors did not want to cast him after these films, and Anatoli Ktorov did not have any film work for 25 years. Ktorov's aristocratic looks and noble manners were not in demand in the Soviet Union, while most Soviet films were dominated by political propaganda under the dictatorship of Joseph Stalin. From 1933 to 1980, Ktorov was a permanent member of the troupe at Moscow Art Theatre. Anatoli Ktorov was designated People's Artist of the USSR (1963), was awarded the Stalin Prize (1952) and received numerous decorations for his contribution to the art of film and theatre. His last film roles are considered to be his best works. He was Prince Bolkonsky in Voyna i mir/War and Peace (Sergei Bondarchuk, 1967), and then he played the King in Posol Sovetskogo Soyuza/The Ambassador of the Soviet Union (Georgy Natanson, 1969). Anatoli Ktorov died of natural causes in 1980 in Moscow and was laid to rest in Vvedenskoye Cemetery in Moscow, Russia.
Sources: Steve Shelokhonov (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Stand there, baulked and dumb, stuttering and stammering, hissed and hooted, stand and strive, until, at last, rage draws out of thee that dream-power which every night shows thee is thine own; a power transcending all limit and privacy, and by virtue of which a man is the conductor of the whole river of electricity.
Ralph Waldo Emerson, "The Poet"
I shot the photos that make up this multi-exposure, this week, while walking in one of my usual gorgeous places. When I put this image in my set, Gesture Poems, I realized I had shot almost the exact same angle last winter in the same place. The sky, the lighting, everything was the same yet somehow the time that has passed between shootings, has changed it all for me.
Reconstructing that room above the shop, coaxing out 'memory aids' in the telling of a story of a possible transformation. The shop was called the 'Bon Bon', and stuttering Ruin's nickname was Ruin Bon-Bon.
The building is gone now, replaced by a fun palace called 'Playtime'. There is a certain poetry there.
There are no other records of the place, other than this photo of Ruin's sister (on the right) with her youngest brother, in need of a nappy change. The other girl, a long dead friend of Ruin's sister, can bask in the limitless anonymity generously provided by infrathin.
Infinity is funny like that.
What's real is real (see below). What is reconstructed is obvious. It's a way forward in a backwards direction, photoshopped (and A.I.'d) to within an inch of its life.
There was another smaller window above the door (St. Patricks), the doorway is 'real', but only one window is of interest to me, or to Ruin rather.
I like the geometric imposition, triangles and rectangles imposed on what was fundamentally chaotic, like some dilapidated preordained order, making it somewhat closer even to what it actually was, this dingy window framing abuse and possible healing.
Ruin could feel that possibility deep in the pit of his stomach, unsurprisingly more or less exactly where he remembered the initial intrusion of the abuse to have lodged, when he was a boy.
"The male’s breeding song is a jumble of clear notes mixed in with wheezes, trills, and stutters, lasting up to 10 seconds. Males incorporate snippets of the songs of many other species, including Ash-throated Flycatchers, Verdins, Curve-billed Thrashers, American Kestrels, Western Scrub-Jays, and many more." Allaboutbirds
Every night Ibrahim, our dromedari driver would hobble the legs of his animals, to keep them from straying too far from camp. Since it was mating season, that didn't do all that much to deter these gentlemen from making a break for it in search of females. They really hustled, albeit with a pretty silly, stuttering walk.
Woahhhhh Im done... i can't believe I finished this in one day. Wooohoo. Hahaha. I hope this takes me to the top 2. I saw Anna's entry and it was Amazing. I loved it. Well I love this pic nao... cause Baja looks soo glam as a girl from the time period they had to portray jus look at her.. Soo sexxay and seductive... Purrr. hahaa. She looks purty tho. The guys were hard to do. LOL. And I finally found what I wanted for them. Im sorry for the crappy shadows. I suck haha. Well i really like the pose alone, she looks sooo stunning ahaha.
Well I have been uninspired with sims lately, not only cause school is kickin me in the butt. But because I am also having different family problems on my fathers side of the family. And it's just troubling me. Actually while I did this I honestly took a few glances at some of @tsushi's pics. Cause she really inspires me, and gurl if it wasn';t for ur flickr I woulda been quit haha.
Well Baja didn't get into Poise. Grrr. But she is a replacement. And I have been Rping with her and hound's Sebastian. And they is in love. I think ahaha. She got her first kiss from him and she is head over heels, but its lieks a soap opera. Vivians girl wants to eat Baja omggg I cant bear the site haha. but Brandy is gorgeous. If Baja does make it into the house there will be cat fights against them two haha. Well I hope u like.
And click on this link to view the large one is jagunda huge lmaooo.
It's real big. haha thanks for commenting on my pics u guys> U all make me happy. And wish me luck . :)
When I shoot with my LX100 set on iA (fully automatic) I often get some Stuttering at the outside of the image. It looks like a double exposure that is off just a bit. This happened when I shot this one, so I worked in Snapseed, PhotoToaster and TitleFX to make it “arty,” and to save the shot.
Ex Hong Kong (China Motor Bus) Leyland / Dennis Condor at Market and Stutter in San Francisco working for Big Bus Tours.
JIROE / ROIDS / AROE.
BRIGHTON KEEPS CREATING IT..
Although we love graffiti very very much we often approach painting with the tongue firmly in the cheek. you won't see too many gothic horror themes or similar moody subjects. For no good reason we thought it might be nice to paint the atari animated, visual stuttering mantronix sampled channel 4 tv anchor.
We'll up a proper picture tomorrow.
British postcard in the Picturegoer series, London, no 707 H. Photo: Universal.
British actor Boris Karloff (1887-1969) is one of the true icons of the Horror cinema. He portrayed Frankenstein's monster in Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939), which resulted in his immense popularity. In the following decades, he worked in countless Horror films, but also in other genres, both in Europe and Hollywood.
Boris Karloff was born William Henry Pratt in 1887 in London, England. Pratt himself stated that he was born in Dulwich, which is nearby in London. His parents were Edward John Pratt, Jr. and his third wife Eliza Sarah Millard. ‘Billy’ never knew his father. Edward Pratt had worked for the Indian Salt Revenue Service and had virtually abandoned his family in far-off England. Edward died when his son was still an infant and so Billy was raised by his mother. He was the youngest of nine children, and following his mother's death was brought up by his elder brothers and sisters. As a child, Billy performed each Christmas in plays staged by St. Mary Magdalene's Church. His first role was that of The Demon King in the pantomime Cinderella. Billy was bow-legged, had a lisp, and stuttered. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry. After his education at private schools, he attended King's College London where he took studies aimed at a career with the British Government's Consular Service. However, in 1909, the 22-year-old left university without graduating and sailed from Liverpool to Canada, where he worked as a farm labourer and did various odd itinerant jobs. In Canada, he began appearing in theatrical performances and chose the stage name Boris Karloff. Later, he claimed he chose ‘Boris’ because it sounded foreign and exotic, and that ‘Karloff’ was a family name. However, his daughter Sara Karloff publicly denied any knowledge of Slavic forebears, Karloff or otherwise. One reason for the name change was to prevent embarrassment to his family. He did not reunite with his family until he returned to Britain to make The Ghoul (T. Hayes Hunter, 1933), opposite Cedric Hardwicke. Karloff was distraught that his family would disapprove of his new, macabre claim to world fame. Instead, his brothers jostled for position around him and happily posed for publicity photographs. In 1911, Karloff joined the Jeanne Russell Company and later joined the Harry St. Clair Co. which performed in Minot, North Dakota, for a year in an opera house above a hardware store. While trying to establish his acting career, Karloff had to perform years of difficult manual labour in Canada and the U.S. to make ends meet. He was left with back problems from which he suffered for the rest of his life. In 1917, he arrived in Hollywood, where he went on to make dozens of silent films. Some of his first roles were in film serials, such as The Masked Rider (Aubrey M. Kennedy, 1919), in Chapter 2 of which he can be glimpsed onscreen for the first time, and The Hope Diamond Mystery (Stuart Paton, 1920). In these early roles, he was often cast as an exotic Arabian or Indian villain. Other silent films were The Deadlier Sex (Robert Thornby, 1920) with Blanche Sweet, Omar the Tentmaker (James Young, 1922), Dynamite Dan (Bruce Mitchell, 1924) and Tarzan and the Golden Lion (J.P. McGowan, 1927) in which James Pierce played Tarzan. In 1926 Karloff found a provocative role in The Bells (James Young, 1926), in which he played a sinister hypnotist opposite Lionel Barrymore. He worked with Barrymore again in his first sound film, the thriller The Unholy Night (Lionel Barrymore, 1929).
A key film which brought Boris Karloff recognition was The Criminal Code (Howard Hawks, 1931), a prison drama in which he reprised a dramatic part he had played on stage. With his characteristic short-cropped hair and menacing features, Karloff was a frightening sight to behold. Opposite Edward G. Robinson, Karloff played a key supporting part as an unethical newspaper reporter in Five Star Final (Mervyn LeRoy, 1931), a film about tabloid journalism which was nominated for the Oscar for Best Picture. Karloff's role as Frankenstein's monster in Frankenstein (James Whale, 1931), based on the classic Mary Shelley book, propelled him to stardom. Wikipedia: “The bulky costume with four-inch platform boots made it an arduous role but the costume and extensive makeup produced the classic image. The costume was a job in itself for Karloff with the shoes weighing 11 pounds (5 kg) each.” The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?." The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. Universal Studios was quick to acquire ownership of the copyright to the makeup format for the Frankenstein monster that Jack P. Pierce had designed. A year later, Karloff played another iconic character, Imhotep in The Mummy (Karl Freund, 1932). The Old Dark House (James Whale, 1932) with Charles Laughton, and the starring role in MGM’s The Mask of Fu Manchu (Charles Brabin, 1932) quickly followed. Steve Vertlieb at The Thunder Child: “Wonderfully kinky, the film co-starred young Myrna Loy as the intoxicating, yet sadistic Fah Lo See, Fu Manchu's sexually perverse daughter. Filmed before Hollywood's infamous production code, the film joyously escaped the later scrutiny of The Hayes Office, and remains a fascinating example of pre-code extravagance.” These films all confirmed Karloff's new-found stardom. Horror had become his primary genre, and he gave a string of lauded performances in 1930s Universal Horror films. Karloff reprised the role of Frankenstein's monster in two other films, the sensational Bride of Frankenstein (James Whale, 1935) and the less thrilling Son of Frankenstein (Rowland V. Lee, 1939), the latter also featuring Bela Lugosi. Steve Vertlieb about Bride of Frankenstein: “Whale delivered perhaps the greatest horror film of the decade and easily the most critically acclaimed rendition of Mary Shelley's novel ever released. The Bride of Frankenstein remains a work of sheer genius, a brilliantly conceived and realized take on loneliness, vanity, and madness. The cast of British character actors is simply superb.” While the long, creative partnership between Karloff and Lugosi never led to a close friendship, it produced some of the actors' most revered and enduring productions, beginning with The Black Cat (Edgar G. Ullmer, 1934). Follow-ups included The Raven (Lew Landers, 1935), the rarely seen, imaginative science fiction melodrama The Invisible Ray (Lambert Hillyer, 1936), and The Body Snatcher (Robert Wise, 1945). Karloff played a wide variety of roles in other genres besides Horror. He was memorably gunned down in a bowling alley in Howard Hawks' classic Scarface (1932) starring Paul Muni.. He played a religious First World War soldier in John Ford’s epic The Lost Patrol (1934) opposite Victor McLaglen. Between 1938 and 1940, Karloff starred in five films for Monogram Pictures, including Mr. Wong, Detective (William Nigh, 1938). During this period, he also starred with Basil Rathbone in Tower of London (Rowland V. Lee, 1939) as the murderous henchman of King Richard III, and with Margaret Lindsay in British Intelligence (Terry O. Morse, 1940). In 1944, he underwent a spinal operation to relieve his chronic arthritic condition.
Boris Karloff revisited the Frankenstein mythos in several later films, taking the starring role of the villainous Dr. Niemann in House of Frankenstein (Erle C. Kenton, 1944), in which the monster was played by Glenn Strange. He reprised the role of the ‘mad scientist’ in Frankenstein 1970 (Howard W. Koch, 1958) as Baron Victor von Frankenstein II, the grandson of the original creator. The finale reveals that the crippled Baron has given his face (i.e., Karloff's) to the monster. From 1945 to 1946, Boris Karloff appeared in three films for RKO produced by Val Lewton: Isle of the Dead (Mark Robson, 1945), The Body Snatcher (Robert Wise, 1945), and Bedlam (Mark Robson, 1946). Karloff had left Universal because he thought the Frankenstein franchise had run its course. Karloff was a frequent guest on radio programs. In 1949, he was the host and star of the radio and television anthology series Starring Boris Karloff. In 1950, he had his own weekly children's radio show in New York. He played children's music, told stories and riddles, and attracted many adult listeners as well. An enthusiastic performer, he returned to the Broadway stage in the original production of Arsenic and Old Lace (1941), in which he played a homicidal gangster enraged to be frequently mistaken for Karloff. In 1962, he reprised the role on television with Tony Randall and Tom Bosley. He also appeared as Captain Hook in the play Peter Pan with Jean Arthur. In 1955, he returned to the Broadway stage to portray the sympathetic Bishop Cauchon in Jean Anouilh's The Lark. Karloff regarded the production as the highlight of his long career. Julie Harris was his co-star as Joan of Arc in the celebrated play, recreated for live television in 1957 with Karloff, Harris and much of the original New York company intact. For his role, Karloff was nominated for a Tony Award. Karloff donned the monster make-up for the last time for a Halloween episode of the TV series Route 66 (1962), which also featured Peter Lorre and Lon Chaney, Jr. In the 1960s, Karloff appeared in several films for American International Pictures, including The Comedy of Terrors (Jacques Tourneur, 1963) with Vincent Price and Peter Lorre, The Raven (Roger Corman, 1963), The Terror (Roger Corman, 1963) with Jack Nicholson, and Die, Monster, Die! (Daniel Haller, 1965). Another project for American International release was the frightening Italian horror classic, I tre volti della paura/Black Sabbath (Mario Bava, 1963), in which Karloff played a vampire with bone-chilling intensity. He also starred in British cult director Michael Reeves's second feature film, The Sorcerers (1966). He gained new popularity among the young generation when he narrated the animated TV film Dr. Seuss' How the Grinch Stole Christmas (Chuck Jones, Ben Washam. 1966), and provided the voice of the Grinch. Karloff later received a Grammy Award for Best Recording For Children after the story was released as a record. Then he starred as a retired horror film actor in Targets (Peter Bogdanovich, 1968), Steve Vertlieb: “Targets was a profoundly disturbing study of a young sniper holding a small Midwestern community, deep in the bible belt, terrifyingly at bay. The celebrated subplot concerned the philosophical dilemma of creating fanciful horrors on the screen, while the graphic, troubling reality was eclipsing the superficiality so tiredly repeated by Hollywood. Karloff co-starred, essentially as himself, an aged horror star named Byron Orlok, who wants simply to retire from the imagined horrors of a faded genre, only to come shockingly to grips with the depravity and genuine terror found on America's streets. Bogdanovich's first film as a director won praise from critics and audiences throughout the world community, and won its elder star the best, most respectful notices of his later career.”. In 1968, he played occult expert Professor Marsh in the British production Curse of the Crimson Altar (Vernon Sewell, 1968), which was the last Karloff film to be released during his lifetime. He ended his career by appearing in four low-budget Mexican horror films, which were released posthumously. While shooting his final films, Karloff suffered from emphysema. Only half of one lung was still functioning and he required oxygen between takes. he contracted bronchitis in 1968 and was hospitalized. In early 1969, he died of pneumonia at the King Edward VII Hospital, Midhurst, in Sussex, at the age of 81. Boris Karloff married five times and had one child, daughter Sara Karloff, by his fourth wife.
Sources: Steve Vertlieb (The Thunder Child), Wikipedia, and IMDb.
Stutter Rap (No Sleep til Bedtime), was a parody on Gangster Rap (No Sleet til Brooklyn), by the Beastie Boys. Morris Minor and the Majors, fronted by comedian Tony Hawks took the song to number 4 in 1988.
Ok, the record is naff, but the cover is the reason for this posting, a superb red 1950 moggie convertible, RVW 178, a car that is still around.
and ChaCha had captured it in the suit.
Love those liver spots, Marcel, not quite freckles but a good simulacrum. I still love when grown men stutter, it makes me feel protective towards them, like I want to tell them it is OK, they will be fine.
It gives me a little heartache, but not of the bad kind.
I guess it's called 'fellow-feeling', or something like that.
I particularly love when we make mistakes and realise it, almost simultaneously.
The window's open, it's the heart of the summer More people comin' lookin' for the number Mary Ellen sees them she has a little stutter, she yells
TERRA / Heft-Reihe
Reuben Robert Merliss / Kampfroboter
(The Stutterer)
cover: Karl Stephan
Moewig-Verlag
(München / Deutschland; 1960)
ex libris MTP
the library project is a project creating a subtle dialogue about the issue of giving,lending and taking.as most of my pieces have a lifespan of a stutter in the street (either because of collectors or weather or the street cleaners), i thought i would try to embrace it and play around with the circumstances. before placing the pieces on the surface, i wrote(for the first edition, but later came up with alternate sentences) "i let you borrow my heart for a while,let others borrow it as well", and then placed the piece over the writing,covering it.
the pieces in this series are applied with double sided tape (which can be easily removed) with some unpeeled scraps of tape on the cardboard left for the borrower to replace anwhere.i think its great if someone wants to take it home, but it raises the conflict of the fact that its in the street for the art to be shared with the people using it.therfore, whoever dispatches the piece can replace it in it original location, or even better, a new location,making him/her part of the arts existence and making it even more part of the collective reality than it was before.
(best viewed large)
These two were waiting on the edge of the village for a lift into town. Fortunately, we had some spare seats and were able to help. Stutter Village, Tibet
NEW YORK, NEW YORK - JULY 11: Eric Dinallo, Emily Blunt and Lucy Fato attend the 2022 Freeing Voices, Changing Lives Gala at Guastavino's on July 11, 2022 in New York City. (Photo by Dimitrios Kambouris/Getty Images for American Institute for Stuttering)
I've burnt the blank page
until my stuttering stalls
and I've been talking to myself since the fall
I can hear strangers speak
from the door in the hall
and we both live on the other side of the wall
the men that I hear
they just want to make love
and the women, they make nothing at all
we don't speak face to face
because we're too into out of place
if my ears are ringing, then I'll heed the call
all my words are bound and backward
and all my tales are tall
I'm embarrassed that my syllables are small
only when I'm all surrounded
and surrendered to the silence
will the white noise leave me in a lull
I've burnt the blank page
until my stuttering stalls
and I've been talking to myself since the fall...
© Steve Skafte
A part of Vegetation series
I love how this set turned out. It is exactly how I wanted it to look. All the elements came together: good lighting, wide open space, and a willing beautiful subject. It was so much fun!
Special thanks to: Stephanie Kim and Susan Park
For this photo I've used:
Canon Elan II w/50mm 1.8, Expired Kodak 400 Film, Epson V330 scanner and Photoshop CS3
In a mouse model of stuttering (lower panel), there are fewer astrocytes, shown in green, compared to controls (upper panel) in the corpus callosum, the area of the brain that enables the left and right hemispheres to communicate.
Researchers believe that stuttering — a potentially lifelong and debilitating speech disorder — stems from problems with the circuits in the brain that control speech, but precisely how and where these problems occur is unknown. Using a mouse model of stuttering, scientists report that a loss of cells in the brain called astrocytes are associated with stuttering. The mice had been engineered with a human gene mutation previously linked to stuttering. The study, which appeared online in the Proceedings of the National Academy of Sciences, offers insights into the neurological deficits associated with stuttering.
Read more:
www.nih.gov/news-events/news-releases/nih-study-mice-iden...
Credit: Tae-Un Han, Ph.D., National Institute on Deafness and Communication Disorders, NIH
Title: The Case Of The Stuttering Bishop.
Author: Erle Stanley Gardner.
Publisher: Pocket Books.
Date: 1943.
Artist:
Spotted Sandpiper (Actitis macularius) Bertram Creek Regional Park, Kelowna (soty15)
(From Cornell's All About Birds):
"The dapper Spotted Sandpiper makes a great ambassador for the notoriously difficult-to-identify shorebirds. They occur all across North America, they are distinctive in both looks and actions, and they're handsome. They also have intriguing social lives in which females take the lead and males raise the young. With their richly spotted breeding plumage, teetering gait, stuttering wingbeats, and showy courtship dances, this bird is among the most notable and memorable shorebirds in North America.
Spotted Sandpipers are the most widespread sandpiper in North America, and they are common near most kinds of freshwater, including rivers and streams, as well as near the sea coast. Their range includes water bodies in otherwise arid parts of the continent, and it extends into the mountains, where they may occur upwards of 14,000 feet above sea level. Breeding territories generally need to have a shoreline, a semiopen area where the nest will be, and patches of dense vegetation for sheltering the chicks. Spotted Sandpipers spend the winter along the coasts of North America or on beaches, mangroves, rainforest, and cloud forest up to 6,000 feet elevation in Central and South America.
Cool Facts
• The Spotted Sandpiper is the most widespread breeding sandpiper in North America.
• Female Spotted Sandpipers sometimes practice an unusual breeding strategy called polyandry, where a female mates with up to four males, each of which then cares for a clutch of eggs. One female in Minnesota laid five clutches for three males in a month and a half. This odd arrangement does not happen everywhere and often they are monogamous, with the female pitching in to help a little.
• The female Spotted Sandpiper is the one who establishes and defends the territory. She arrives at the breeding grounds earlier than the male. In other species of migratory birds, where the male establishes the territory, he arrives earlier.
• The male takes the primary role in parental care, incubating the eggs and taking care of the young. One female may lay eggs for up to four different males at a time.
• Despite the gender roles, male Spotted Sandpipers have 10 times the testosterone that females have. However, that’s only in absolute terms. During the breeding season, females see a sevenfold increase in their testosterone levels, perhaps accounting for their aggression and the overall role reversal between male and female.
• The female may store sperm for up to one month. The eggs she lays for one male may be fathered by a different male in a previous mating.
• Its characteristic teetering motion has earned the Spotted Sandpiper many nicknames. Among them are teeter-peep, teeter-bob, jerk or perk bird, teeter-snipe, and tip-tail.
• The function of the teetering motion typical of this species has not been determined. Chicks teeter nearly as soon as they hatch from the egg. The teetering gets faster when the bird is nervous, but stops when the bird is alarmed, aggressive, or courting."
For more information about this image and how it is made please visit the page for its set Did I Stutter?.
"Porky stutters through the Elvis Presley classic, while a small crowd listens and giggles.
Porky's romantic line in the middle of the song is the icing on the Christmas cake.
The song was never a track on a Warner Brothers Looney Tunes Christmas album, with an official Porky Pig voice actor.
It has been attributed to several comedians over the years, since pretty much anybody who can do voices can do a Porky Pig impression. (That should be a job requirement.)
The song was done by voice actor Denny Brownlee on the John Boy and Billy radio show that aired for years in Birmingham on WZRR 99.5 FM. It's on the "John Boy & Billy Christmas Album," downloadable on iTunes.
The "official" artist is "Seymore Swine and the Squealers," after Warner Bros. threatened a legal smack down."
The stuttering is from my frozen fingers. it's about 5 below now, about an hour after I took the photo. Fumbling around in the dark with bare fingers on tripod, exposed metal and camera controls just about did me in. It was sort of silly anyhow. I only had an 80-200 zoom, not long enough to do a really detailed closeup of the Moon. Rather than do something half-assed at the long end of the range, I zoomed back to 80mm and went for an impressionistic image of the moon in the trees with stars, cranking up the ISO to add a bit of pointillistic noise for atmosphere. I'm not sure it works, but for me it's a visual reminder of a really beautiful moment. After partially defrosting my fingers, T and I went back out in the icy darkness, no longer messing around with hardware, but just looking up at the cold, clear panorama of a magical winter sky with our own eyes.
The Dodo is a fictional character appearing in Alice's Adventures in Wonderland by Lewis Carroll. Carroll, who's real surname was Dodgson had a stutter and very frequently pronounced his name "Do-do-dodgson".
West coast of Ireland on Achill Island taken last September. A slow stutter speed with a yellow filter on Fuji Acros 100 developed in Rodinal Hasselblad and 60mm lens.
NEW YORK, NEW YORK - JUNE 12: <> attends the American Institute For Stuttering 17th Annual Gala Hosted By Emily Blunt on June 12, 2023 in New York City. (Photo by Bryan Bedder/Getty Images for American Institute for Stuttering)
Available now @ Exposeur
Main Store - slurl.com/secondlife/Reek/178/209/23
Marketplace - marketplace.secondlife.com/stores/16816
Stuttering Barred Frog (Mixophyes balbus), Mid-north Coast, New South Wales.
It was very dry in the forest this time of the year and one of the creeks had no water except for a small pool with tadpoles of this species. I spotted this juvenile sitting a few metres away in the leaf litter where it had begun to develop the characteristic blue upper-eye of the adult.
[14:49] Caty Weezles: The sights of the man she loathed right now had her running ... away. She ducked into the first opening she saw and cowered there for a moment. Peering through the gates on occassion. Back to Elise.
[14:51] Elise Capalini sits in the graveyard quiet when everyone has gone, near the fresh grave that Eamon dug for the birds. One crow. a baby from the looks of it, flies down from the masoleum's roof, to sit on the grave and nose at the dirt. She watches the bird and thinks of the Mass that just was. She wonders if they will ever have a normal one again. She looks up when she hears movement, and catches sight of Caty, who appears to be running from someone. "Caty...are you all right?" she asks. She stands slowly, but doesn't yet approach.
[14:54] Caty Weezles: The familiar voice through the air had her turning, she shook then and backed into the wall, chocolate eyes looking to Elise as a threat too. There over her shoulder was a small bag. It didn't look full by any means. And under her arm she carried a small treasure chest music box. It chimed as she thudded against the concrete. "Go.. go..." She actually stuttered.
[14:57] Elise Capalini watches Caty turn and hears the faint music from her bag when she rocks against the wall. "Are -you- going?" she asks her. Judging by the running and the bag, she wonders if the girl is running away from home. She takes a couple steps forward, though slowly, and keeps her hands visible, not wanting to frighten the girl any more than she already is.
[15:00] Caty Weezles spread one arm across the wall, feeling it for length and how far she could creep before turning and bolting. Terror filled her eyes, the music chiming in now and then. The music was wound too tight, for too long, too many times and was now offkey of the normal soothing music it once played. She shook her head some, her voice croaked, "You go 'way. Cats are bad."
[15:02] Elise Capalini stays where she is and doesn't come any closer. She hates hearing those words from Caty; they feel like a physical blow. She sinks back to the ground, her shoulders slumped. "Why are cats bad, Caty?" she asks softly. "The gate there is open--if you need to run..." She doesn't want the girl to run, but understands well the need to, the need to know escape was an option.
[15:06] Caty Weezles: Tears already threatened to spill down her cheeks. She was ready to go wherever it was they were going to. She thought she was leaving somewhere, "You shooted my Daddy. Daddy says cats are bad! You have to go to jail and Mister Eamon too!" She shouted across the way. It was a choking shout, the kind where you can't catch your breath to get the words out in one stream. "God shouldn't miss next time!"
[15:09] Elise Capalini's throat tightens at the sound of Caty's voice. Oh she'd sounded like that a time or two herself. She blinks, unshed tears stinging her own eye. "I shot your daddy," she says and nods. "Because he was shooting at Eamon--because..." She draws in a breath and closes her eye for a moment. When she looks at Caty again, she says, "You're angry because we hurt someone you love. We acted the way we did because...we were hurt, too."
[15:13] Caty Weezles shook her head frantically as those tears dripped. She sniffed heavily and shot her arm out pointing and accusing, "You made blood! BLOOD! Blood makes people go away, you tried to make my daddy go away! Mister Eamon tried to make my daddy go away! God taked my mommy and I has to keep my daddy! YOU DONT GET TO TAKE MY DADDY! GOD CANT HAVE HIM TOO!" She screamed and shook. Clutching the music box as tightly as she could. It's sour notes somehow lifting high and matching the tension.
[15:16] Elise Capalini finds herself nodding, at everything Caty says. "Blood does make people go away," she says, lifting a hand to wipe the spilled tears from her cheek, "My daddy went away in blood." That night cuts across her vision and she takes a shuddering breath. "Caty, I'm so sorry...so sorry." Her voice breaks and she finds herself crying freely now, letting herself feel the fear from last week, showing Caty how it touched her too.
[15:19] Caty Weezles sucked in a hitched breath. Simply asking in that same choked voice, "Why Miss Elise? Why do you want to make my daddy go away from me?" Her nose stuffed, she wiped at it with the back of her hand.
[15:23] Elise Capalini lifts her head and wipes her cheek again. She presses her mouth into a thin line and exhales a shaky breath. "Not from you, Caty, never from you." Was Forge truly her father? She still couldn't fathom it, but -Caty- believed he was and that was all she needed to know. "He hurt...he was hurting someone I love," she whispers.
[15:24] Janeiro Renard walked slowly long the road infront of the cemetary, blue smoke wreathed around his head. He paused, spotting Caty through the bars of the wrought iron gate, and then spotted Elise, crying? His face remained impassive. Well. There was a lot to cry about these days.
[15:26] Caty Weezles: How many times had she heard this, and she repeated it. Lifting her chin to suck in a deep breath. She'd release the wall then and eyes turned narrow on Elise, "That makes it okay? To hurt cause you hurt?" How many times had her mother told her? "Not okay. Not OKAY! That's my daddy."
[15:29] Elise Capalini draws in another uneven breath and releases it slow. She nods at Caty, catching sight of Jan beyond her, wreathed in smoke like he's just stepped out of the underworld. "You're right, Caty--it's not right. I screwed up." She eyes the little girl, her own tears starting to subside. "I did something bad. What should my punishment be?"
[15:30] Janeiro Renard heard the girl's voice, and frowned deeply, as he began to trudge forward down the road. Punishment, he mused. Trying to do the right thing in this city is punishment enough.
[15:33] Caty Weezles blinked. Swollen eyes were red and looked as if she carried the weight of the world on her shoulders just then. Staring at Elise's form. She
settled some, her voice softened from the scream and accusatory tone, "You..." Sniff, "You has to go to jail. You and Mister Eamon has to go to jail cause you're bad. You shooted him. You made Mister Andrei go to sleep and not wake up." Confused still. "You has to say sorry to people you hurts."
[15:37] Elise Capalini folds her hands into her lap, but breathes easier when Caty's tone softens. "If someone hurts someone else...they have to say sorry?" she asks, trying to make sure she understands what Caty is saying. "The police are investigating the shooting, Caty, but they haven't come to arrest anyone yet."
[15:42] Caty Weezles: "But you shooted him. I sawed it. And Mister Lazyrus too cause he hurted me," She took a step forward. Staring down the form that was Elise, not wavering but she was tired. So tired of having to explain the world to adults. They were supposed to -know-. "You has to go there now cause you made him mad and made him bleed." She nodded though, "Yes, you have to say sorry. And you has to say that you won't do it again and /means/ it." Shoulders slumped and she ran fingers over the music box.
[15:45] Elise Capalini nods at Caty, wiping at her own cheek to dry more tears. She sniffles a little, very tired herself. "Does that mean your daddy has to say sorry, too? Lying is something people need to say sorry for too, right, Caty? Will he say sorry to me and Eamon?"
[15:48] Caty Weezles shoved at her face matching Elise' actions. Heel of her palm dragging across freckles, "Lying is little. Shooting is big." She canted her head, "Daddy doesn't lie to me. Daddy tells me whats right. Tinkerbell too. She was right too!"
[15:53] Elise Capalini watches Caty and exhales; she knows there will be no budging her mind on the matter of Forge and his honesty. "Everyone can only tell you what -they- think is right, and everyone will have a different opinion." She wondered if the girl would understand that. She dries her hand on her skirt , fingers tight in the fabric. "I have your picture, Caty." She would draw out the folded piece of paper and show it to her. "I found it in the pews."
[15:58] Caty Weezles: She would approach, hefting the bag onto her shoulder and clutching the music box. It still wasn't heavy. Something she could carry easily on a normal day. Today was in no way normal now. Everything since last week had tossed normalcy out the window for her. She peered down onto the page and shook her head when she looked onto the angel, "God taked her and Tinkerbell is going to be my mommy now and we has to go away again. Cause of blood. Cause of blood we all has to go away again. Caty didn't trip this time." She was okay with the fact that she didn't cause it. "Mister Eamon and Miss Elise made the blood. Mister Eamon and Miss Elise made us go 'way." Those brown eyes looked to Elise' and searched. She had stopped calling Eamon Father in the past week, she had stopped believing in many things. God's love - gone. Vanished with the sound of the gunshot. Her innocence, part of it, went too.
[16:04] Elise Capalini spreads out the drawing on the walk beside them, very careful of how she moves when Caty comes closer. Caty didn't trip this time, she thinks, and looks up at the little girl, wondering exactly what that means. "If Eamon and I go to jail, and you and daddy and Tinkerbell go away...that will make things better?" she asks. She looks into Caty's chocolate eyes, wondering how to bridge this chasm between them. "Caty...I'm sorry." Her voice is very soft, and sincere. The depth of what she's done to this girl hits her then, like a punch. "I mean it. I'm sorry for hurting you last Sunday. I never meant to do that."
[16:10] Caty Weezles: "No!" She stared at the picture for another moment, "You and Mister Eamon has to go to jail and WE stay then. That's how it works." She shuffled back again. Further away. A leary look given to Elise, "Maybe sometimes sorry isn't good enough. Maybe sometimes ..." She started to choke again, mouth opened and closed gasping for air, "It hurts so bad and it hurted." She shoved again at her cheek, "Your daddy went away. You know don't make blood. It hurts." Fingers found the key to the music box and she twisted it.
[16:15] Elise Capalini says softly, "Oh," and starts to fold the picture back up. She watches the paper, rather than Caty, feeling there is nothing to be said. Forge's hold on her is absolute. She wants to comfort the girl, hug her and calm her, but knows that touching her would be entirely the wrong thing. "The police will decide if we go to jail," she eventually says, the paper moving with a soft whisper against the stone. Her black nails gleam as she smooths a fold down. "Blood does hurt...sometimes it doesn't make sense, either."
[16:20] Caty Weezles: The bag shifted with her thumbs, she felt like she won something in some way. She was right. Blood hurt and Elise knew it. A huff of air blown out into a long stream and she started to back away. Her eyes were intense, pupils dialated and fixed on her. Reflecting emotions that they were both feeling in some way - somehow they shared the hurt from different sides. She tucked her chin to her chest, softly spoke, "You made Caty go away."
[16:25] Elise Capalini makes a final fold in the paper, and the paper slices into her finger. Blood wells bright against her pale flesh, and then soaks quickly into the paper itself. She winces at the sting of it, closing her hand into her skirt to stop the blood. She nods at Caty as the girl backs away. "I made Caty go away," she whispers, and bows her head, unable to look at the girl. "But Caty...not -all- cats are bad...don't think that. They're not." Her voice is choked with tears; there's little more she can say.
[16:30] Caty Weezles: She stared at folds of a memory as the blood laced Elise's white hand, one last word, "Elise has to go away now. Blood stains. And Elise goes away." Was only slightly above a whisper as she backed away. Far from the scenes others had seen her make about people bleeding. Right now, Elise -could- bleed ... it was okay.
[16:34] Elise Capalini swallows hard. "Elise goes away," she murmurs. She frowns and looks up, eye locking on Caty. She stands up and takes a step backward. "Goodbye, Caty." She doesn't pick up the paper; she leaves it on the walk as she heads back toward the church. Though not inside...she doesn't want to be inside just now.