View allAll Photos Tagged stutter
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)
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.
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.
A Giant Barred Frog, Mixophyes iteratus, from the Watagans National Park, New South Wales, Australia.
This is a relatively endangered frog which prefers larger, slow-flowing, rivers and streams in rainforest.
The population of this species in the Watagans is near southern limit for the distribution of this species (which currently occurs south at least to the Colo River in New South Wales). Several years ago, in the Watagans, after the impact of chytrid fungus, the species was very rare in this area. Nowadays however it is very common and is found right throughout the rainforest and wet sclerophyll forest sections of the Watagans National Park.
DJ STV SLV (The Hood Internet): Luces y Mentiras
Joe: Stutter
Cheryl Cole: 3 Words (Feat. Will.I.Am)
Frou Frou: Let Go
Skee-Lo: I Wish
Corinne Bailey Rae: Paris Nights/New York Mornings
Lady GaGa: Love Game
Jay-Z: I Know (Feat. Pharrell Williams)
Justin Bieber: Baby
Taylor Swift: Fearless
Wiley: Never Be Your Woman (Feat. Emilie Sande)
Regina Spektor: Us
John Mayer: I Don't Trust Myself With Loving You (From WTLI)
Sade: Lovers Rock
Glee: Defying Gravity
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 . :)
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.
Accomplishments/Success/Victories (Not in chronological order)
•*Many Hours Of Classroom Teaching benefiting many students
•Large Portfolio Of Design Projects
•*Many Pen And Ink Sketches And Collected And Exhibited In Art Galleries
•Learning To Free Hand Draw
•Learning To Draft Well
•*Designing and Building
•*Hanging Drapes In So Many Houses In New York City
•Overcoming Stuttering
•Knowing Ted and Rhoda Brown the Radio Announcer Team in New York and Assisting Decorating Their Homes in Harrison, Westchester New York.
•*Being Audio Video Monitor And Stage Director In Junior High
•*Marching In The Columbus Day Parade In The High School Band
•*Being Elected Class Bank Representative
•Learning How To Read
•Being Taught How To Tie My Shoe Laces By A Blind Girl
•Receiving A Set Of Electric Trains From My Father
•Collecting Phonograph Records To Play On Phonograph Bought For Me By My Father
•Winning the Best Design Job upon Graduation from Pratt Inst.
•Being Tall Enough To Discourage Bully From Attacking Me
•Being Accepted As A Student By Pratt Institute
•Being Accepted As A Student By Yale University
•Completing All Math And Structural Design Courses
•Driving A Car By Myself
•Riding A Bike, Skating, And Skiing
•Going To Europe For The First Time
•Entering Rome By Rail
•Moving To Holland Ave Away From Simpson Street To “Real House”
•Building And Using My First Interior Play House
•Designing And Building My First Stage
•Designing And Installing Wrought Iron In My Room
•*Seeing My Designs For Lobbies Being Built
•*My First House Design For Frank Houser
•*Seeing My First Big Design Projects Being Built For James Talcott And The Bank Of Israel
•*My First Radio Broadcast At Pratt Institute
•*My First And Last Theatre Performance As An Actor At Pratt
•My Beach Pavilion Design Model Being Exhibited At Pratt
•*Being Asked By Earth Day Producers To Manage Production Of Both Earth Day Events In New York City And Helping John Mc Connel Get U Thant’s Signature To Proclaim Earth Day As An International Holiday And Appearing As Spokesman For The Project On All Three Media Networks, Magazines, News Papers And Professional Journals.
•Learning How To Swim At The YMCA
•Being Really Goods Friends With Senior Professional, Writers, Such As Gerald Popiel, Paul Weiss, Yvonne Illich, Otto Hula, Ara Ignatius, Friederich Kiesler, Forrest Wilson, Max Waldman, And Vincent Scully
•Having Been Taught By Famous Professionals Such As Phillip Johnson, Louis Kahn, Charles Moore, Paul Rudolph, Peter Millard, Sibyl Maholy Nage, Henry (Hank) Pfisterer, Buckminister Fuller, Mies Van Der Rohe, James Polchek, And Gerald Luss,
•Having Worked For Edward Durrell Stone And Morris Lapidus
•Having Professional Affiliations with World Famous Architects Such As Phillip Johnson, Paul Rudolf, Charles Moore, Gordon Bunshaft, Gio Ponte, Palo Soleri, Victor Lundy, and Friederich Kiesler.
•*Having Designed Many Builddings On The Campus Of The State University Of New York (SUNY) In Albany
•*Designed Exhibitions For The Bigelow Carpet Company
•*Having Been Invited To Teach the Climatology and Bio Climatic Design Courses Created by Victor Olgay Immediately Following His Untimely Death.
•Understanding Of the Key Principles of Design, Planning, Programming for Cities, Buildings, Furniture, Fashion, Music, Etc.
•*Design And Build Shop In Condado, Puerto Rico
•*Complete Island Wide Plan Of Public Libraries Under Direct Contract To The Department Of Education Of Puerto Rico And Dr Rafael Corrada
•*Design and Complete Grace English Lutheran Church Restoration in Santurce Puerto Rico after the Death of Its Pastor and Our Dear Friend, Gerald Bergen.
•*Research Pollution And Environmental Innovations In Germany Published By Architectural Record As “Pollution Architecture”
•*Founding Laboratories for Metaphoric Environments, Designing and Complete Building of Loft on 318 East 68 Street. Living And Working In The Loft Including Writing Prospectus And Many Program Proposals.
•*Designing Tennessee Indigenous Housing and Public Buildings for Construction on English Mountain and Sugar Tree Tennessee. And Belize, Honduras.
•Apply Successfully A Job Search Campaign Method From A Book Discovered By Christina
•*Gulf Oil Corporation Employs Me to Author Its Pollicies and Procedures for Building, Non-Oil Production, Pollicies and Procedures. John Wiley And Sons Later Contracted With Me To Publish This As Book Called ”Project Manuel Standards” (PMS)
•*Manage All Aspects Of The Design Build Process To Design And Construct Gulf Oil Corporation Computer, Office, Laboratory And Chemical Site Support Facilities As Designated Owner’s Representative For Gulf’s Special Projects Covering Houston, Victoria, Midland, And Odessa.
•Become Deciples And Active Yoga Members Doing Exercises And Changing Diet
•Stop Smoking After Three Week Of Abstinence On Paradise Island In The Caribbean
•Invited To B E Junior Partner Of Long Established A&E Firm (SRG)In Puerto Rico
•Successfully negotiate to minimize changes to my company’s (SRG) Design and Systems for the El Mundo Office Tower in San Juan Puerto Rico
•For The First Time Speak Publicly at San Juan’s Toast Master Club, thanks to the encouragement of Herb Warfel.
•*For Serge Chermayeff, Complete Sketches Diagramming Thought For His Study Of Complementarities For Cities And Campus Planning
•For Frederick Kiesler, Complete Construction Of A Model Of A Temple In Israel
•*Be Invited By Charles More To Create And Carry Out Lecture Series Authored By Me Called: ”Architecture The Making Of Metaphors” With Speakers Such As Turan Onat, Christopher Tunnard, Vincent Scully, Forrest Wilson, William J Gordon, Kent Bloomer, Charles More, It Was A T This Series That Robert Venturi Aired His Famous Treatise On Las Vegas.
The Proceedings Were Transcribed for Publication in Perspecta and was partially published In Main Currents in Modern Thought.
•*Monographs on Metaphors Published in Lebanon, Turkey, England, Finland, Saudi Arabia, And USA.
•Ordained As Minister Of The Gospel; First By Gospel Crusade Under Gerald Dirstine And Then By The Assemblies Of God Locally By Pastor Dan Betzer.
•*In Saudi Arabia Design Factories, Schools And Offices And Write Standard Building Codes And Engineering Procedures For The Arabian American Oil Company; For The Presidency Of Youth Welfare Over See The Construction Of A Sports Park; For The Ministry Of The Interior, Eleven Hosing Projects, For A Private Operations And Maintenance Company And Another Conglomerate All Business Development And Marketing Of Construction; For A Private Consulting Company Critique Design competitions For Banks And Ministerial Projects; For A&E Company Design And Set Up Reference Library; And For King Faisel University Teach Architecture For Five Years.
•*Found ICI University And Plant Many Underground Church Groups, Which Is Still Today In Operation.
•*For The Frizzell Architectural Design Company In Fort Myers Manage The Construction Of Three twenty five million dollar High Schools
•*For An Interior Design Company In Fort Myers Design Houses, Lobbies, And Assist Set Up Library Of Architectural And Contemporary Furniture.
•*Teach Interior Design At Edison Community College
•*Examine Plans for Residential Building Permits for the Lee County Development Services.
•*Invited To Lecture and Teach Building Construction, Architecture and Interior Design at Parsons School Of Design, Pratt Institute, University Of Houston, Ohio University, And University Of Petroleum and Minerals. Appointed Associate Professor By Texas A&M University
•*FM Broadcasting Announcing And All Commercial, Station Break, Voice Over Work For WlAE; Fm 93.7 Hartford, Connecticut; Owned By Paul Di Savino (WPAT; Paterson). Hold Third Class Broad Cast License.
•NCARB and License to Practice Architecture Awarded in 1971 In New York after Completing NCARB Exam in Puerto Rico.
"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
Ex Hong Kong (China Motor Bus) Leyland / Dennis Condor at Market and Stutter in San Francisco working for Big Bus Tours.
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.
I'm excited to tell you about my first blog give away-ever!
Megan at Studio M.M.E. Stutterings is kindly hosting the give away on her blog. Please show your support and enter in for a chance to win one of my 5"x7" pen and ink fine art prints!
for more info and to enter in for your chance to win go here: studiomme.blogspot.com/2009/07/blog-post.html
RECORDED BY A.R.G.U.S. SECURITY CAMERAS
...The psychologist's office...
Psychologist Doctor Mark Jefferson speaks into his phone recording the 3rd psychological interview of a set 5...
"A.R.G.U.S. patient interview number 3, patient name: Slade Wilson. The patient is being tested once more for psychological issues before he is passed for project X task force...shall we begin?"
"..." Slade does not reply
"okay then, lets's start with some questions you refused to answer last time. first, what started you on your path?" The doctor asks.
"You have the files do you not? You tell me."
"The point of this interview is to get your perspective on the situations." The doctor says.
"I was in the military, I moved up quickly in rank and then was given some special training, I was then chosen for a experiment that made me stronger, faster...smarter. So I thought I could use my powers for more. That's my story." Slade explains.
"Good, good. How did you feel about your...assassinations? Who w-were your targets?"
"Stuttering Mr. Jefferson? Are you scared!?" Slade taunts.
*Clears throat* "What do you mean?" The doctor mutters.
Slade leans forward and whispers "You know what I mean..."
The doctor stares into Slade's eye, shocked. "Who...w-who hired you!?"
Slade stares back and smirks knowing that this will haunt him for months, maybe years to come.
"I-I...I have to go...interview over!" The doctor walks quickly out of the room dropping his pen unawarily. The guard is ready to put Slade back in his cell. He unlocks the cuffs on the chair and moves one of the pairs locking his hands together behind his back.
"Okay Slade let's go." The guard orders.
"Just a second...I need to stretch."
"Fine just make it quick."
Slade reaches his arms up and then bends down, the guard peeks out the door to check the halls, Slade then bends his knees over his cuffs and grabs the pen lying on the floor. He clicks the pen forcing the point out, just then the guard turns around...
Please comment if you favourite! :)
NEXT: Break out!?
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.
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.
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.
Yes, Nat, another virus.
It’s 5 in the morning now, and I had to get up. I was not enjoying the racking. Yes, I appear to have a cold, or flu, virus. It’s been a very uncomfortable few days, and nights. It does throw you up against those ideas around vulnerability and that other plague we are all currently enjoying. I have always loved that expression, that idea of ‘enjoying’ mortality, or one’s own protestations around that spectre of looming darkness. I can tell it’s going to be one of those ‘Gothic’ mornings.
I have been thinking, as of recent anyway, as to how I wanted to start getting up at 5 in the morning to use those early hours as writing time. It is that time, usually from 5 till 7 am, when I usually toss and turn, having these conversations in my head anyway. Perhaps this time could be used, and let’s face it, I suspect we all have become hugely aware lately how fleeting time is, relative to one’s allotted amount of that selfsame commodity. But back to ‘enjoying’ being at ‘death’s door, that early morning sliver of black humour; It puts me in mind of Dame Edna Everage, or rather of her much put-upon husband, Norm, whom she once claimed was “enjoying ill-health in an iron-lung”. I always loved this description, and it has more or less stuck with me for, almost, 50 years. I see now, through a little research as to when her book, the ‘limp edition’, was published. It was actually 1976, and I was 22. I was called upon to walk down a phalanx of ushers, at the National Theatre, and present her, the Dame, with a bouquet of gladioli, or ‘glads’ as she called them. She was having a book signing there, in the Lyttleton foyer, of her ‘Dame Edna's Coffee Table Book: Limp Edition’. My fellow ushers, forming this aforementioned phalanx, created an archway of upraised ‘glads’ through which I had to float to present ‘her divinity’ with said bouquet. Apparently, I was presentable enough, in those days, to be chosen for such an honoured responsibility. Dame Edna was graciousness herself, or her version of graciousness at least. She made some flirtatious off-colour joke about ginger freckled sylphs, and that was it. We all laughed.
So, in short, I have been enjoying ill health for the last week and have not been ‘presentable’ at all. That the ailment had most of the symptoms of that other dreaded universal lurgy which is now introducing us all to the idea of our own mortality, was disconcerting. Obviously, the idea that you could catch a cold or an early ‘flu’, during a pandemic, is a queer idea, to say the least. The route of infection would appear to be the same, and we have been bombarded with the idea that ‘Covid’ is much more highly infectious, more communicable even, than the other two, all three being airborne.
Anyway, we both have had it, and it has been very uncomfortable, this bad cold. The strange thing is that we both religiously still wear masks to the supermarket. We are also the only people who bother with this here anymore, nobody else does. The Dutch refuse to wear masks. In fact, the RIVM, the Dutch equivalent of the CDC, have consistently insisted that masks are of little or no use, and only mandated them for a short time, in closed spaces, in December. This mandate only lasted 4 or 5 months and was then rescinded. The Dutch would seem to be going, hell-for-leather, for ‘herd immunity’. Otherwise, we see virtually nobody, and you know I like this. It’s somewhat of a surprise to me that I have become so anti-social, but I do think it is closer to the stuttering shy child that I was, and the idea that the intervening 50 or so years might have been evidence more of a forced sociability would seem to be ‘true’.
In all honesty, I like this new solitude.
My phone is usually set to silent, and all notifications are off, so that if I get the occasional ‘WhatsApp’ message, I might not see it for a day or two. I know this defeats that ‘instant message’ idea, but so be it. However, or so it would seem, I still have this hunger to communicate. You can see that quite clearly here. I take such pleasure in letter writing. But now I am beginning to see that it is not just ‘communicating’, it is something else.
You know that I have been looking at ‘Clarissa’ and ‘The Sluts’. When I ordered them, I imagined I would lean towards the ‘modern’, that idea of what communication had become, the ‘instant message’, and the website reviews, that made up ‘The Sluts’. There is an aspect of wanting to be of one’s time, to somehow keep up. Sitting here, wheezing, this now seems like a very silly idea indeed. ‘Clarissa’ wins hands down in this ‘battle of letters’. I don’t like the other book. I don’t like saying this as I don’t want to review someone else’s writing, but it doesn’t appeal to me at all. It’s the characters more than anything else; I just don’t like them. It may be wonderfully written but I don’t like the people written about, even though they might be described as my ‘tribe'. Perhaps, I am just becoming a prude in my advanced years.
‘Clarissa’ has had me thinking too as to how easy it might be to underestimate the reader’s capacity to focus and absorb. It’s astonishing that it was published around 1740, with over 1,500 pages, and was a best-seller.
Either way, I feel that I have opened up every possibility regarding how I might pull this together. There are, of course, no rules. At the age of 67, I am more drawn to ‘Clarissa’ than ‘The Sluts’, but that’s after 50 year or of being a ‘card-carrying’ slut, so that the slut will have to out, but perhaps under the guidance of my inner ‘Clarissa’. This both intrigues and titillates me, especially in this age of conscious ‘slut shaming’ and the need to avoid doing so. It does take us by a certain circumlocution to that other idea I am interested in, that idea of ‘Free Will’ and ‘Freedom of Choice’, that double-headed chimera. I do love that notion of ‘suddenly’ being released from that mad man between your legs, that gonad monster, that hormone soup tureen. Of course, it’s not really sudden, it’s a gradual unravelling, that letting go. But it happens and it’s glorious. That it occurs in tandem with the withering away of the self is an irony, but I hold it to be totally acceptable and not limiting at all. It opens up other vistas previously unconsidered. The thing is that you don’t know it until you get here.
So, I guess that I won’t be writing for youth. But then we, you and I, are the burgeoning demographic, so with a little foresight, I can see that there is no need to appease any particular group. Most of what I will use was originally presented in the form of e-mails, I have also used some ‘immediate messages’, and even Skype messages. This makes me ‘modern’, that’s unavoidable, we sit where we sit. Our memories are now stored on Hard-Drives, making it less necessary to ‘remember’. We have Wiki, and the whole of the information superhighway (that sounds quaintly old-fashioned already), and instant access to photographs of wherever and whenever, to stimulate our descriptions. This cornucopia has never existed before.
Initially there are three important women in this communication: Sorcha, Rack and you, Nat, short for Natalie naturally, or is it Natica? Either way they are three women who have never actually met each other, and probably never will.
Rack: So interesting that you were rebirthed by women, in part.
Ruin: Just give me 4 years to sort this out (now there’s unbridled optimism speaking). Completely (agree), to that idea of being re-birthed by women.
I remain, your Ruin, ‘Mother’s Ruin’, that Hogarthian despoiler of the 'innocent', heading towards a type of queer redemption, or not.
The Postcard
A Shurey's postcard, on the back of which is printed:
'This beautiful Series of Fine Art Post Cards
is supplied free exclusively by Shurey's
Publications, comprising "Smart Novels",
"Yes or No", and "Dainty Novels".
The publications are obtainable throughout
Great Britain, the Colonies and Foreign
Countries'.
The claim of world-wide availability seems somewhat misplaced - can you imagine walking into a shop in, e.g. Port Saïd or Manila in the early 1900's and asking for a copy of 'Yes or No'?
Does anyone out there know what the ominous-looking box is for? If so, please let us know.
The Card was posted in Luton on Thursday the 16th. June 1910 to:
Miss Boston,
Brightwell,
Morden,
Surrey.
The message on the divided back was as follows:
"The box came quite safely,
Dad fetched it on Saturday.
I should not get a pin Dear
as they are not worn now.
You are behind the times.
Leave it until you come
home, also your hat unless
you are hard up.
Dad, Mum and I went up to
the Hoo on Tuesday - we did
enjoy ourselves.
We will write a letter next
week.
Much love,
H."
Jack Sheppard
Jack Sheppard, also known as 'Honest Jack', who was born on the 4th. March 1702, was a notorious English thief and prison escapee of early 18th. century London.
Born into a poor family, he was apprenticed as a carpenter, but took to theft and burglary in 1723, with little more than a year of his training to complete.
He was arrested and imprisoned five times in 1724, but escaped four times from prison, making him a notorious public figure, and wildly popular with the poorer classes.
Ultimately, he was caught, convicted, and hanged at Tyburn, ending his brief criminal career after less than two years.
The inability of the notorious "Thief-Taker General" Jonathan Wild to control Sheppard, and injuries suffered by Wild at the hands of Sheppard's colleague Joseph "Blueskin" Blake led to Wild's downfall.
Sheppard was as renowned for his attempts to escape from prison as he was for his crimes. An autobiographical "Narrative", thought to have been ghostwritten by Daniel Defoe, was sold at his execution, quickly followed by popular plays.
The character of Macheath in John Gay's The Beggar's Opera (1728) was based on Sheppard, keeping him in the limelight for over 100 years.
He returned to public consciousness around 1840, when William Harrison Ainsworth wrote a novel entitled Jack Sheppard, with illustrations by George Cruikshank. The popularity of his tale, and the fear that others would be drawn to emulate his behaviour, led the authorities to refuse to license any plays in London with "Jack Sheppard" in the title for forty years.
Jack Sheppard - The Early Years
Sheppard was born in White's Row, in London's Spitalfields. He was baptised on the 5th. March, the day after he was born, at St Dunstan's, Stepney, suggesting a fear of infant mortality by his parents, perhaps because the newborn was weak or sickly.
His parents named him after an older brother, John, who had died before his birth. In life however, he was better known as Jack, or even "Gentleman Jack" or "Jack the Lad".
Jack had a second brother, Thomas, and a younger sister, Mary. Their father, a carpenter, died while Sheppard was young, and his sister died two years later.
Unable to support her family without her husband's income, Jack's mother sent him to Mr Garrett's School, a workhouse near St Helen's Bishopsgate, when he was six years old.
Jack was sent out as a parish apprentice to a cane-chair maker, taking a settlement of 20 shillings, but his new master soon died. He was sent out to a second cane-chair maker, but Sheppard was treated badly.
Finally, when Sheppard was 10, he went to work as a shop-boy for a wool draper who had a shop on the Strand. The draper was called William Kneebone. (... the origin of 'The knee bone's connected to the thigh bone'? ... Maybe not ...)
Sheppard's mother had been working for Kneebone since her husband's death. Kneebone taught Sheppard to read and write, and apprenticed him to a carpenter appropriately named Owen Wood, in Wych Street, off Drury Lane in Covent Garden. Sheppard signed his seven-year indenture on the 2nd. April 1717.
By 1722, Jack Sheppard was showing great promise as a carpenter. Aged 20, he was a small man, only 5'4" (1.63 m) and lightly built, but deceptively strong. He had a pale face with large, dark eyes, a wide mouth and a quick smile. Despite a slight stutter, his wit made him popular in the taverns of Drury Lane. He served five unblemished years of his apprenticeship, but then began to be led into crime.
Jack Sheppard's Criminal Career
Joseph Hayne, a button-moulder who owned a shop nearby, also ran a tavern named the Black Lion off Drury Lane, which he encouraged the local apprentices to frequent.
The Black Lion was visited by criminals such as Joseph "Blueskin" Blake, Sheppard's future partner in crime, and self-proclaimed "Thief-Taker General" Jonathan Wild, secretly the linchpin of a criminal empire across London and later Sheppard's implacable enemy.
According to Sheppard's autobiography, he had been an innocent until going to Hayne's tavern, but there began an attachment to strong drink and the affections of Elizabeth Lyon, a prostitute also known as Edgeworth Bess from her place of birth at Edgeworth in Middlesex.
In his History, Defoe records that:
"Bess was a main lodestone
in attracting of him up to this
Eminence of Guilt."
Such, Sheppard claimed, was the source of his later ruin. Peter Linebaugh offers a more romantic view:
"Sheppard's sudden transformation
was a liberation from the dull drudgery
of indentured labour.
He progressed from pious servitude to
self-confident rebellion and levelling."
Jack Sheppard threw himself into a hedonistic whirl of drinking and whoring. Inevitably, his carpentry suffered, and he became disobedient to his master.
With Edgeworth Bess's encouragement, Sheppard took to crime in order to augment his legitimate wages. His first recorded theft was in Spring 1723, when he engaged in petty shoplifting, stealing two silver spoons while on an errand for his master to the Rummer Tavern in Charing Cross.
Sheppard's misdeeds initially went undetected, and he moved on to larger crimes, often stealing goods from the houses where he was working.
Finally, he quit the employ of his master on the 2nd. August 1723, with less than two years of his apprenticeship left, although he continued to work as a journeyman carpenter. He progressed to burglary, falling in with criminals in Jonathan Wild's gang.
He moved to Fulham, living as husband and wife with Edgeworth Bess at Parsons Green, before moving to Piccadilly. When Bess was arrested and imprisoned at St. Giles's Roundhouse, the beadle, a Mr Brown, refused to let Sheppard visit, so he broke in and took her away.
Two Arrests and Two Escapes
Sheppard was first arrested after a burglary he committed with his brother, Tom, and his mistress, Bess, in Clare Market on the 5th. February 1724.
Tom, also a carpenter, had already been convicted once for stealing tools from his master the previous autumn and burned in the hand. Tom was arrested again on the 24th. April 1724. Afraid that he would be hanged this time, Tom informed on Jack, and a warrant was issued for Jack's arrest.
Jonathan Wild was aware of Sheppard's thefts, as Sheppard had fenced some stolen goods through one of Wild's men, William Field.
Wild asked another of his men, James Sykes (known as "Hell and Fury") to challenge Sheppard to a game of skittles at Redgate's public house near Seven Dials. Sykes betrayed Sheppard to a Mr Price, a constable from the parish of St. Giles, to gather the usual £40 reward for giving information leading to the conviction of a felon.
The magistrate, Justice Parry, had Sheppard imprisoned overnight on the top floor of St Giles's Roundhouse pending further questioning, but Sheppard escaped within three hours by breaking through the timber ceiling and lowering himself to the ground with a rope fashioned from bedclothes.
Still wearing irons, Sheppard coolly joined the crowd that had been attracted by the sounds of his breaking out. He distracted their attention by pointing to the shadows on the roof and shouting that he could see the escapee, and then swiftly departed.
On the 19th. May 1724, Sheppard was arrested for a second time, caught in the act of picking a pocket in Leicester Fields (near present-day Leicester Square). He was detained overnight in St Ann's Roundhouse in Soho and visited there the next day by Bess; however she was recognised as his wife, and locked in a cell with him.
They appeared before Justice Walters, who sent them to the New Prison in Clerkenwell, but they escaped from their cell within a matter of days. By the 25th. May, they had filed through their manacles. They removed a bar from the window and used their knotted bed-clothes to descend to ground level.
Finding themselves in the yard of the neighbouring Bridewell, they clambered over the 22-foot-high (6.7 m) prison gate to freedom. This feat was widely publicised, not least because Sheppard was only a small man, and Bess was a large, buxom woman.
Jack Sheppard's Third Arrest, Trial, and Third Escape
Sheppard's thieving abilities were admired by Jonathan Wild, who demanded that Sheppard surrender his stolen goods for Wild to fence, and so take the greater profits, but Sheppard refused.
Instead Jack began to work with Joseph "Blueskin" Blake, and they burgled Sheppard's former master, William Kneebone, on the 12th. July 1724. However Wild could not permit Sheppard to continue outside his control, and began to seek Sheppard's arrest.
Unfortunately for Sheppard, his fence, William Field, was one of Wild's men. After Sheppard had a brief foray with Blueskin as highwaymen on the Hampstead Road on the 19th. and 20th. July, Field informed on Sheppard to Wild.
Wild believed that Bess would know Sheppard's whereabouts, so he plied her with drinks at a brandy shop near Temple Bar until she betrayed him. Sheppard was arrested for a third time at Blueskin's mother's brandy shop in Rosemary Lane, east of the Tower of London on the 23rd. July by Wild's henchman, Quilt Arnold.
Sheppard was imprisoned in Newgate Prison pending his trial at the next Assize. He was prosecuted on three charges of theft at the Old Bailey, but was acquitted on the first two due to lack of evidence.
Kneebone, Wild and Field gave evidence against him on the third charge, the burglary of Kneebone's house. He was convicted on the 12th. August, the case "being plainly prov'd", and sentenced to death.
However, on the 31st. August, the very day when the death warrant arrived from the court in Windsor setting the 4th. September as the date for his execution, Sheppard escaped.
Having loosened an iron bar in a window used when talking to visitors, he was visited by Bess and Poll Maggott, who distracted the guards while he removed the bar. His slight build enabled him to climb through the resulting gap in the grille, and he was smuggled out of Newgate in women's clothing that his visitors had brought him.
He took a coach to Blackfriars Stairs, then a boat up the River Thames to the horse ferry in Westminster, near the warehouse where he hid his stolen goods, and made good his escape.
Jack Sheppard's Fourth Arrest and Final Escape
By this point, Sheppard was a hero to a segment of the population, being a cockney, non-violent, handsome and seemingly able to escape punishment for his crimes at will.
He spent a few days out of London, visiting a friend's family in Chipping Warden in Northamptonshire, but was soon back in town. He evaded capture by Wild and his men, but was arrested again on the 9th. September by a posse from Newgate as he hid out on Finchley Common, and was returned to the condemned cell at Newgate.
Jack's fame had increased with each escape, and he was visited in prison by the great, the good and the curious. His plans to escape in September were thwarted twice when the guards found files and other tools in his cell.
Jack was accordingly transferred to a strong-room in Newgate known as the "Castle", clapped in leg irons, and chained to two metal staples in the floor to prevent further escape attempts.
After demonstrating to his gaolers that these measures were insufficient, by showing them how he could use a small nail to unlock the horse padlock at will, he was bound more tightly and handcuffed. In his History, Defoe reports that Sheppard made light of his predicament, joking that:
"I am the Sheppard, and all the Gaolers
in the Town are my Flock, and I cannot
stir into the Country, but they are all at
my Heels Laughing after me".
Meanwhile, "Blueskin" Blake was arrested by Wild and his men on the 9th. October, and Tom, Jack's brother, was transported for robbery on the 10th. October 1724.
New court sessions began on the 14th. October, and Blueskin was tried on the 15th. October, with Field and Wild again giving evidence. Their accounts were not consistent with the evidence that they gave at Sheppard's trial, but Blueskin was convicted anyway.
Enraged, Blueskin attacked Wild in the courtroom, slashing his throat with a pocket-knife and causing an uproar. Wild was lucky to survive, and his grip over his criminal empire started to slip while he recuperated.
Taking advantage of the disturbance, which spread to Newgate Prison next door and continued into the night, Sheppard escaped for the fourth time. He unlocked his handcuffs and removed the chains.
Still encumbered by his leg irons, he attempted to climb up the chimney, but his path was blocked by an iron bar set into the brickwork. He removed the bar, and used it to break through the ceiling into the "Red Room" above the "Castle", a room which had last been used some seven years before to confine aristocratic Jacobite prisoners after the Battle of Preston.
Still wearing his leg irons as night fell, he then broke through six barred doors into the prison chapel, then to the roof of Newgate, 60 feet (20 m) above the ground. He went back down to his cell to get a blanket, then back to the roof of the prison, and used the blanket to reach the roof of an adjacent house, owned by William Bird, a turner.
He broke into Bird's house, and went down the stairs and out into the street at around midnight without disturbing the occupants. Escaping through the streets to the north and west, Sheppard hid in a cowshed in Tottenham (near modern Tottenham Court Road).
Spotted by the cowshed's owner, Sheppard told him that he had escaped from Bridewell Prison, having been imprisoned there for failing to support a (nonexistent) bastard son. Jack's leg irons remained in place for several days until he persuaded a passing shoemaker to accept the considerable sum of 20 shillings to bring a blacksmith's tools and help him remove them, telling him the same tale.
His manacles and leg irons were later recovered in the rooms of Kate Cook, one of Sheppard's mistresses. This latest escape astonished everyone. Daniel Defoe, working as a journalist, wrote an account for John Applebee, The History of the Remarkable Life of John Sheppard. In his History, Defoe reports the belief in Newgate that the Devil came in person to assist Sheppard's escape.
The Final Capture of Jack Sheppard
Sheppard's final period of liberty lasted just two weeks. He disguised himself as a beggar and returned to the city. He broke into Rawlins brothers' pawnbroker's shop in Drury Lane on the night of the 29th. October 1724, taking a black silk suit, a silver sword, rings, watches, a wig, and other items.
He dressed himself as a dandy gentleman, and used the proceeds to spend a day and the following evening on the tiles with two mistresses. He was arrested a final time in the early morning of the 1st. November, blind drunk:
"In a handsome Suit of Black, with a
Diamond Ring and a carnelian ring
on his Finger, and a fine Light Tye
Peruke".
This time, Sheppard was placed in the Middle Stone Room, in the centre of Newgate next to the "Castle", where he could be observed at all times. He was also loaded with 300 pounds of iron weights. He was so celebrated that the gaolers charged high society visitors four shillings to see him:
"The Concourse of People of tolerable
Fashion to see him was exceeding Great,
he was always Chearful and Pleasant to a
Degree, as turning almost everything as
was said onto a Jest and Banter."
To a Reverend Wagstaffe who visited him, he said, according to Defoe:
"One file's worth all the Bibles
in the World".
The King's painter James Thornhill painted his portrait.
Several prominent people sent a petition to King George I, begging for his sentence of death to be commuted to transportation.
Sheppard came before Mr Justice Powis in the Court of King's Bench at Westminster Hall on the 10th. November. He was offered the chance to have his sentence reduced by informing on his associates, but he scorned the offer, and the death sentence was confirmed. The next day, Blueskin was hanged, and Sheppard was moved to the condemned cell.
The Execution of Jack Sheppard
The following Monday, 16th. November, Sheppard was taken to the gallows at Tyburn to be hanged. He had planned one more escape, but his pen-knife, intended to cut the ropes binding him on the way to the gallows, was found by a prison warder shortly before he left Newgate for the last time.
A joyous procession passed through the streets of London, with Sheppard's cart drawn along Holborn and Oxford Street accompanied by a mounted City Marshal and liveried Javelin Men.
The occasion was as much as anything a celebration of Sheppard's life, attended by crowds of up to 200,000 (one third of London's population). The procession halted at the City of Oxford tavern on Oxford Street, where Sheppard drank a pint of sack.
A carnival atmosphere pervaded Tyburn, where his "official" autobiography, published by Applebee and probably ghostwritten by Defoe, was on sale. Sheppard handed a paper to someone as he mounted the scaffold, perhaps as a symbolic endorsement of the account in the "Narrative".
Jack's slight build had aided his previous prison escapes, but it condemned him to a slow death by strangulation from the hangman's noose. After hanging for the prescribed 15 minutes, his body was cut down.
The crowd pressed forward to stop his body from being removed, fearing dissection; their actions inadvertently prevented Sheppard's friends from implementing a plan to take his body to a doctor in an attempt to revive him. His badly mauled remains were recovered later, and buried in the churchyard of St. Martin-in-the-Fields that evening.
Jack Sheppard's Legacy
There was a spectacular public reaction to Sheppard's deeds. He was even cited (favourably) as an example in newspapers, pamphlets, broadsheets, and ballads which were all devoted to his amazing exploits, and his story was adapted for the stage almost immediately.
Harlequin Sheppard, a pantomime by John Thurmond (subtitled "A Night Scene in Grotesque Characters"), opened at the Theatre Royal, Drury Lane, on the 28th. November, only two weeks after Sheppard's hanging.
In a famous contemporary sermon, a London preacher drew on Sheppard's popular escapes as a way of holding his congregation's attention:
"Let me exhort ye, then, to open the locks
of your hearts with the nail of repentance!
Burst asunder the fetters of your beloved
lusts! - mount the chimney of hope! - take
from thence the bar of good resolution! -
break through the stone wall of despair!"
The account of his life remained well-known through the Newgate Calendar, and a three-act farce was published but never produced. However when mixed with songs, it became The Quaker's Opera, later performed at Bartholomew Fair.
An imagined dialogue between Jack Sheppard and Julius Caesar was published in the British Journal on the 4th. December 1724, in which Sheppard favourably compares his virtues and exploits to those of Caesar.
The most prominent play based on Sheppard's life is John Gay's The Beggar's Opera (1728). Sheppard was the inspiration for the figure of Macheath; his nemesis, Peachum, is based on Jonathan Wild. The play was spectacularly popular, restoring the fortune that Gay had lost in the South Sea Bubble, and was produced regularly for over 100 years.
An unperformed but published play The Prison-Breaker was turned into The Quaker's Opera (in imitation of The Beggar's Opera) and performed at Bartholomew Fair in 1725 and 1728. Two centuries later The Beggar's Opera was the basis for The Threepenny Opera of Bertolt Brecht and Kurt Weill (1928).
Sheppard's tale may have been an inspiration for William Hogarth's 1747 series of 12 engravings, Industry and Idleness. These show the descent of an apprentice, Tom Idle, into crime and eventually to the gallows, beside the rise of his fellow apprentice, Francis Goodchild. Goodchild marries his master's daughter and takes over his business, becoming wealthy as a result, eventually emulating Dick Whittington to become Lord Mayor of London.
A melodrama, Jack Sheppard, The Housebreaker, or London in 1724, by W. T. Moncrieff was published in 1825.
More successful was William Harrison Ainsworth's third novel, entitled Jack Sheppard, which was originally published in Bentley's Miscellany from January 1839 with illustrations by George Cruikshank, overlapping with the final episodes of Charles Dickens' Oliver Twist.
An archetypal Newgate novel, it generally remains close to the facts of Sheppard's life, but portrays him as a swashbuckling hero. Like Hogarth's prints, the novel pairs the descent of the "idle" apprentice into crime with the rise of a typical melodramatic character, Thames Darrell, a foundling of aristocratic birth who defeats his evil uncle to recover his fortune.
Cruikshank's images perfectly complemented Ainsworth's tale - Thackeray wrote that:
"Mr Cruickshank really created the tale,
and Mr Ainsworth, as it were, only put
words to it."
The novel quickly became very popular: it was published in book form later that year, before the serialised version was completed, and even outsold early editions of Oliver Twist. Ainsworth's novel was adapted into a successful play by John Buckstone in October 1839 at the Adelphi Theatre.
Indeed, it seems likely that Cruikshank's illustrations were deliberately created in a form that would be easy to repeat as tableaux on stage. The play has been described as:
"The exemplary climax of the
pictorial novel dramatized
pictorially".
Jack Sheppard's story generated a form of cultural mania, embellished by pamphlets, prints, cartoons, plays and souvenirs, not repeated until George du Maurier's Trilby in 1895.
By early 1840, a cant song from Buckstone's play, "Nix My Dolly, Pals, Fake Away" was reported to be "deafening us in the streets". Public alarm at the possibility that young people would emulate Sheppard's behaviour led the Lord Chamberlain to ban, at least in London, the licensing of any plays with "Jack Sheppard" in the title for forty years.
The fear may not have been entirely unfounded: Courvousier, the valet of Lord William Russell, said in one of his several confessions that the book had inspired him to murder his master.
Frank and Jesse James wrote letters to the Kansas City Star signed "Jack Sheppard".
Burlesques of the story were written after the ban was lifted, including a popular Gaiety Theatre, London, piece called Little Jack Sheppard (1886) by Henry Pottinger Stephens and William Yardley, which starred Nellie Farren as Jack.
The Sheppard story has been revived three times on film in the 20th century: The Hairbreadth Escape of Jack Sheppard (1900), Jack Sheppard (1923), and Where's Jack? (1969), a British costume drama directed by James Clavell with Tommy Steele in the title role.
Jake Arnott features him in his 2017 novel The Fatal Tree.
In 1971 the British pop group Chicory Tip paid tribute to Sheppard in "Don't Hang Jack", the B-side to "I Love Onions". The song, apparently sung from the viewpoint of a witness in the courtroom, describes Jack's daring exploits as a thief, and futilely begs the judge to spare Sheppard because he was loved by the women of the town, and idolised by the lads who "made him their king."
In Jordy Rosenberg's 2018 novel Confessions of the Fox, a 21st-century academic discovers a manuscript containing Sheppard's "confessions", which tell the story of his childhood and his love affair with Edgeworth Bess, and make the unlikely revelation that he was a transgender man.
Charles Mackay in Memoirs of Extraordinary Popular Delusions and the Madness of Crowds wrote:
"Whether it be that the multitude, feeling the
pangs of poverty, sympathise with the daring
and ingenious depredators who take away
the rich man's superfluity, or whether it be the
interest that mankind in general feel for the
records of perilous adventure, it is certain that
the populace of all countries look with admiration
upon great and successful thieves."
A Hungarian Cloudburst
So what else happened on the day that the card was posted?
Well, on the 16th. June 1910, a cloudburst in Hungary added to existing flood waters, killing 800 people in villages in the Kronstadt district, another 180 in Temesvar and 100 in Moldava.
Arizona and New Mexico
Also on that day, the United States Senate unanimously passed a bill extending statehood to the territories of Arizona and New Mexico.
Admission as a state still required adopting a proposed state constitution, subject then to the approval of Congress and the President, as well as other procedures.
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
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
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)
Enniscorthy edged by battling Bangor by Roger Corbett
Bangor produced an excellent performance against a strong Enniscorthy side to once again come from behind and secure a semi-final place by 14-10.
In contrast to last week, the weather and pitch conditions at Upritchard Park were good. However, Bangor’s preparations got off to a bad start when centre Mike Aspley aggravated an injury in the pre-match warm-up and was unable to play. A quick re-shuffle saw Chris Morgan come in from full back as his replacement, and Adam McCusker taking up the full back role. For Enniscorthy’s part, they came to this fixture on the back of a good run of results in the Leinster League Division 1A, and sitting in second place in that table.
A mistake by Bangor right from the referee’s whistle at kick-off looked to have handed the visitors an opportunity to take the initiative. However, having won the ball back, McCusker put a superb kick deep into the Enniscorthy twenty two that left the defence no option but to put it into touch. The Bangor line-out was taken cleanly by Curtis Stewart, and a maul was formed that surged towards the Enniscorthy line before Jamie Clegg dropped with the ball and scored the game’s first try after just 4 minutes. Mark Widdowson made the conversion, and the score was 7-0.
Within 3 minutes the lead could have been extended when Enniscorthy were penalised for a high tackle. However, this time Widdowson’s kick drifted wide of the posts.
If Bangor thought things were going their way, this soon changed as Enniscorthy gathered themselves and started to gain confidence through a lengthy period of possession, aided in some part by Bangor’s readiness to kick when in possession themselves. The Enniscorthy attack was now causing Bangor headaches, with the result that the penalty count started to rise. Eventually these repeated infringements around the breakdown led to a yellow card being shown to James Henly. Enniscorthy saw this as their opportunity to capitalise, and laid siege to Bangor’s line. Bangor doggedly held their line despite conceding further penalties, and having to defend the resulting line-out and drive combination by Enniscorthy. As Henly’s 10 minute period in the sin bin came to an end, Bangor had somehow managed to hold off the Enniscorthy attack, and had actually managed to turn over the ball, giving them a chance to clear their lines and gather their breath. However, in a bizarre series of events, Ricky Armstrong’s clearance kick was charged down and bounced back towards the Bangor line, only to be gratefully accepted by one of the big Enniscorthy forwards who was still getting to his feet from the preceding ruck. With barely two steps to the line, he touched down for the try, leaving the Bangor players confused and dejected after working so hard to prevent the score. The conversion was missed, keeping Bangor narrowly ahead by 7-5, after 23 minutes.
For most of the remainder of the first half, Enniscorthy kept play in Bangor’s half. Bangor looked dangerous on the counter attack, with some good runs by the wingers Davy Charles and Mark Widdowson. For Enniscorthy’s part, they had several good scoring opportunities but either knocked-on or missed a pass at the crucial moments. A half time score of 7-5 would have been gladly taken by Bangor but, as 40 minutes approached, a lapse in concentration while in their own twenty two, led to a missed tackle which was clinically exploited by Enniscorthy, allowing them to run in for their second try which, although unconverted, gave the lead by 7-10 as the sides turned around.
As has been the case in many other games, Bangor’s second half performance moved up a gear, and it was now the visitor’s line that was coming under attack. Within the first 10 minutes, Bangor looked to be in a good scoring position, but the Enniscorthy defence was equal to Bangor’s first half display. Although unable to break through at this time, Bangor were now looking more confident as the initial Enniscorthy charge appeared to be stuttering. This certainly looked the case when, after 25 minutes had elapsed, the Enniscorthy kicker elected to go for the posts from close to the half way line – a strange decision given the relatively poor conversion attempts earlier. Once again the kick was missed, but Bangor had at least been pushed back into their own half.
As the game entered the final 5 minutes, it was beginning to look like Enniscorthy would hold firm and take the win. However, in a repeat of the exemplary performance displayed at Clonmel in the previous round, Bangor simply lifted their game again and mounted a surge against their tiring opponents. With just 2 minutes of normal time remaining, Jamie Ball gathered the ball at the half way line, and then passed it to Clegg on his left. Leading by example, Clegg went straight, taking the ball past the 10 metre line and drawing the approaching Enniscorthy defender. A well-timed pass to his left was equally well-received by Widdowson on the wing, who rounded his opposite number and sprinted for the line. With little space to work with and the full-back still to beat, Widdowson produced the speed and footwork necessary to take him over the line, to the left of the posts. He then managed to add the icing on the cake with another well-struck conversion which put Bangor ahead by 14-10.
The moments immediately after scoring are particularly dangerous, and with Enniscorthy now throwing everything they had, the remaining couple of minutes were incredibly tense – for both sets of supporters. To Enniscorthy’s credit, they skilfully kept recycling the ball – almost like sevens rugby – bringing the game back into Bangor’s twenty two. But in the end, it was just too much, with Bangor eventually managing to turn the ball over and close out the game, bringing despair and delight in equal measure on the faces of the opposing players.
To the Bangor supporters who had been unable to travel to the game at Clonmel, and who had not fully appreciated the performance there, this brought everything that had been said into focus, and with it the realisation that Bangor now have the ability to go all the way in this competition. With Ulster rivals Clogher Valley and CIYMS, and Leinster high-fliers Dundalk now joining Bangor in the semi-finals, the next hurdle will be equally challenging, but having beaten two of the strongest junior sides in Ireland, confidence is high and everything is now to play for.
Bangor side: J Leary, A Jackson, P Whyte, G Irvine, J Henly, R Latimer, J Clegg (c), C Stewart, R Armstrong, J Morgan, M Widdowson, C Morgan, M Weir, D Charles, A McCusker
Subs: O McIlmurry, F Black, M Crockford, J Ball, M Thompson
Bangor scores: J Clegg (1T), M Widdowson (1T, 2C)
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?.