View allAll Photos Tagged stutter
Suki: *nods* "To some little Scottish chippy."
Chloe *visibly upset* "B-b-but, I d-d-didn't know he w-w-was--"
Suki (calmly): "Slow down, Chlo. You're stutter's showing. Take a deep breath and start again."
Chloe: *inhales deeply and says slowly* "I didn't know he was dating anyone serious."
Suki: "You and me both. Apparently, she's Yuri and Kumi's cousin on their dad's side. That's how he met her, hanging out at their place."
Chloe: "Oh."
Suki: "I called Yuri after Z told me the news, and she said the marriage was a shock to them all. I plan to call Kums later and get her side of it. She's less tactful, thus there will be more dirt."
Chloe: "Oh."
Suki: "I can't believe he did this! Last I checked, marriage was the farthest thing from his mind. I wonder what this Emma is like..."
Chloe: *rubs eyes*
Suki (intently): "She better pray to the surf gods I like her. That's all I'm sayin'--"
Chloe: *sobs*
Suki (surprised): "Chlo, hon, don't cry! I'm sure it'll be fine. I was just b***hin' a little. Zin usually knows what he's doin'."
Chloe: "N-n-not t-t-that."
Suki: *searches bag for Kleenex* "Then, tell me what's wrong."
Chloe: *shakes head and sobs harder*
Fashion Credits
Chloe
Re-root by valmaxi (love)
Bikini Top: Mattel - Beach Baby Marissa
Bikini Bottom: Momoko - Beach Rodeo
Sunglasses: MGA - America's Next Top Model
Necklace and Bracelets: Me
Suki
Bikini: Auntie Betty, a.k.a. watbetty
Shirt: Mattel - CaliGirl Barbie
Skirt: Momoko - Wild 'n' Sexy Tune
Bag: Cangaway (Etsy)
Earrings and Bracelets: Me
Sketches by: Alex May / DARYL_GAMMA / Davide Della Casa / Dorkbot London / Jonny Stutters / Sally Northmore / Sophie McDonald
Original music by: Jonny Stutters, edited by Davide Della Casa
You can play/modify these sketches online at: www.sketchpatch.net
REVIEW FROM SIMON LEWIS WWW.TERRASCOPE.CO.UK
Greece is perhaps not the first place you would
associate with instrumental garage surf punk but the
invisible surfers aim to change that with their
collection of high-energy stompers. Played with
confidence and precision each song is a perfectly
formed tribute to the twangy guitar sounds of Dick
Dale, and the sun, surf and easy living mystique of
mid-sixties California. With a tight rhythm section
anchoring the tunes, the guitar is allowed to roam
freely creating an effective and original whole.
Special mention must go to the amazing version of
Runaway which is fantastic and is guaranteed to make
you move.(Andreas Zorbas higher_ups@yahoo.gr )
THE REVIEW FROM WWW.DEVOSHENROLL.FR.TC
It is in 1996, in Athens, after the Split of their
former(ancient)
group "
the blue jeans " that Alex Berekos (guitar), Johnny
Ted ( basses) and
Giorgos Fokas ( battery(Fokas ( drum kit)) decide to
go(take) up the
Punk
combo surfing INVISIBLE SURFERS. (Much more Surfing
which Punk I find)
In 1997, they take(bring) out a mini cd of 7 minutes "
it won t last
forever
" with some present bases in albums as well as a piece
more rock 'n'
roll!!
They then turned(shot) during some time(weather) with
groups such "Dead
Moon"; "Cramps";
Then it is only 5 years later, in 2002, that they
take(bring) out
finally
their album " dogs killa cat " in association with
Hith-Hyke Record!!
This
album is totally instrumental, indeed surfing and
quite nevertheless
they
say themselves " garage punk surfing with some sound
effects of the
other
planets " but me A demo also went out in 2004
In brief a good group Surfing, rather basic(basal),
but with well
mastered
fragments, we see that they have some
experience(experiment) in the
domain.
It is a pity there is vocal or no faster songs!!
THE LANCE MONTHLY REVIEW APRIL 2005
the Invisible Surfers "Dogs Killa Cat" (Hitch-Hyke
Records)Te
They have the grooves down pat, but still operate in
a realm of their own.
For a few years now, The Invisible Surfers have been
thrilling crowds with the kind of surf rock
instrumentals that never grow old. And in view of
their first album, "Dogs Killa Cat," they bring their
live expertise right into the studio. Generated by raw
and uninhibited energy, the Athens, Greece band sports
a sound that is loose, flexible and visceral.
Dazzling all the way through, "Dogs Killa Cat" swerves
and curves with interesting motions. Toxic yet catchy
tones pierce cuts such as "Poison Pussy,"
"Machination" and "The Hunter." Stuttering guitar
riffs, complemented by chugging bass work and stirring
drums are what The Invisible Surfers peddle. One can
imagine the band's instrumentals spinning in the
background of a grainy black-and-white monster flick
from days gone by. Every single track on "Dogs Killa
Cat" exposes how sincerely devoted The Invisible
Surfers are to the style of music they perform. They
have the grooves down pat, but still operate
in a realm of their own. h
PIPELINE MAGAZINE [ REVIEW DEMO INVISIBLE SURFERS]
THE INVISIBLE SURFERS HAIL FROM ATHENS,CREECE WHERE
THEY FORMED IN 1996 FOLLOWING THE DISSOLUTION OF THE
BLUE GEANS.IN 1997 THEY RELEASED THEIR FIRST SINGLE
WITH THREE UPHAET INSTUMENTAL TRACKS.IN 2002 THEY
RELAESED THEIR FIRST ALBUM,DOGS KILLA CAT ON
HITCH-HYKE RECORDS,WHICHDREW MUSICAL ELEMENTS FROM
TRADITIONAL GREEK STYLE,SCI-FI,SPAGHETTI AND
GARAGE.THEY NOW HAVE A 13 TRACK DEMO READY FOR THEIR
NEXT ALBUM WHICH THEY ARE LOOKING TO PLACE WITH A
LABEL OUTSIDE OF THEIR HOMELAND. STRONG GUITAR
THREE-PIECE VERSIONS OF DUCKPOIND [AS SURFIN'LAKE]
RUNAWAY
THE WEDGE AND SQUAUD CAR [AS THUNDER RIDE]ARE JOINED
BY NINE UPTEMPO ORIGINALS WITH INFLUENCES FROM
DUANE EDDY THROUGH TO PUNK.
[ CONTACT ANDREAS ZORBAS HIGHER_UPS@YAHOO.GR]
ALAN TAYLOR PIPELINE MAGAZINE
review from void&action japan
THE INVISIBLE SURFERS / DOGS KILLA CAT / CD /
HITCH-HYKE (2002)
ήηΝAMVΝAelΜT[tEpNECXgEohB»Μpπ©ΉΘʼgζθB1996NΙ¬΅ANΙVOπo΅½ΖΝʼ¦A2002NΙζⱬ¯½t@[XgEAo±ΜCDBήηΜoCIOtB[ΙζκΞAMVΕΝΘ©Θ©κ½η΅ʼB»ΜΜΝΖΰ©Aξ{ΙΐΕADΆIΘtπθIn³ΉΔʼιΖ±λΘΗΝAm©Ιξρί½ΜAJβϊ{ΜohΙΝΰΝβ^ΜoΘʼv~eBΕpζcΘ£ΝΖΘΑΔlηΜ¨ΙcιΙαʼΘʼBJ@[ΜXg[gΘIπΰ
άθΙfp·¬ιA»κΰήηΜOgΜohΌu[W[YΖΘκΞAΰΆεΰΎ¦ΘʼΎλB/
²ʽl Masato Sato
THE REVIEW IS FROM SAVAGE MAGAZINE
THE INVISIBLE SURFERS
Dogs Killa Cat CD
Greek surf.. New surf done the tradidional way is not
really my cup of tea. There are a few bands out there
that do it okay but I dont go out buying surf records
anymore. That was ten years ago (about).. This is
pretty heavy surf and for hardcore surf fans only.
(Thomas)
No label
www.garage rock radio.com review
The Invisible Surfers from Greece are a cool surf
instrumental band. Their recent effort, "Dogs Killa
Cat" features 14 authentic 60s-tinged guitar surf
tunes. Production is very good and there is much good
guitarwork. Tempos range from psyche-trippy to
standard 60s surf pop to speed metal (track 9 borrows
from Motorhead's "Ace of Spades"). Surf and Garage are
first cousins in the Rock family. If you like surf,
check out the great guitarwork on this CD! For more
info on this band, please write to Andreas Zorbas.
REWIEW FROM THE www.digginfordirt.com
The Invisible Surfers - Dogs Killa Cat/Demo
Written by Paul4dirt
Tuesday, 08 February 2005
Two cdr-discs by a Greek surf band. The Dogs Killa Cat
one being by far the best of the two. The demo has
more predictable songs on it and the dogs killa cat cd
has some great swingin' songs like nr. 5 'Restlesness'
and nr. 9 'The Hunter'. If you're a fan of surf music
be sure to check this here band out. I mean, it's not
VERY often the Greeks bring us some decent surfin
music, or is it?
review from bob ignizio WWW.UTTERTRASH.NET
The Invisible Surfers Demo (currently unreleased)
Although the post-Pulp Fiction boom in surf music
has largely died down, theres still a few bands out
there playing the style. Hailing from Athens, Greece,
The Invisible Surfers are one such band. Theyve
definitely got the chops, and if you like a purist
approach to this style, you cant do much better.
This is pretty much the classic Dick Dale/Ventures
sound with a bit of garage rock grit and intensity.
Unfortunately, theres not much to differentiate this
band from a hundred others doing the same thing.
Without a distinctive sound, that leaves only the
tunes themselves to set this band apart. While
theres no bad tracks on this demo, theres no
Miserlou or Walk, Dont Run, either. The
instrumental version of Del Shannons Runaway is the
only thing that even comes close. Its enjoyable
background music, but doesnt really stick with me.
(Bob Ignizio)
TSUNAMI SOUL
Hi Andreas,
I got the cds on Saturday and I like them a lot! I
wanted to wait until
I had listened to them a few times before sending you
my comments. I
think that these demos are all really good.
"Cobra Snake Neck Tie" is a good example of the
Invisible Surfers'
great rhythm. This song also has some cool changes.
"Burned Brain" displays
the adventurous guitar that is in all of these songs.
"Eyes Like The
Deep Blue Sea," which is another great song that I've
been enjoying,
shows that the Invisible Surfers have reverance for
the more "traditional"
style of instrumentals, like those of Duane Eddy and
Link Wray. Still,
this song is as unique as all of the Invisible
Surfers' songs! "O.D.
From Love" is another song with a strong and solid
rhythm. A very cool
song. I think that the fast, foot-tapping melody in
"Stabs 'N' Hugs" is
excellent and "Total Satisfied" is also very exciting.
I like this song
a lot. "Hellfire Whips" has a great melody line. The
Invisible Surfers
do a nice job on this song. The last "Untitled" song
is another
foot-stomping song. I really like the fast guitar
picking in this song. This
song deserves a title!
All of the Invisible Surfers' original demo songs on
this CD are very
good. They incorporate dynamic changes and they are
all very
adventurous. The covers ("Surfin' Lake," "Runaway,"
"The Wedge," and "Thunder
Ride") are also done well. I especially like the great
chords and excellent
guitar playing in "Runaway" and "The Wedge."
Thanks also for sending me a copy of "Dogs Killa Cat."
These songs are
all amazing! What a great CD. I'll be playing the
Invisible Surfers'
songs on my Tsunami Soul radio show and helping to
spread the word about
this great band. I know that my show's listeners will
appreciate the
Invisible Surfers as much as I do.
Thanks again, Andreas. I hope to hear lots of good
things about (and
from!) the Invisible Surfers.
All the best,
Tom
Tsunami Soul
WOBC 91.5 FM
wobc.org (Thursdays, 6:00-8:00 p.m. EST)
www.oberlin.edu/staff/thinders/
THE INVISIBLE SURFERS - "TOO MANY TALK"
What can a surf-/trash fan expect in times where
instant, electronic chartmusic is nummero uno ?!? No
idea ?
There could only one possible answer...raw, powerful
surf instrumentals for sure !
"No one plays it !" some would yell. But hey, wait a
minute and take a sharp look at the horizon. Can`t you
feel that strong choppy instrumental breaze, coming up
from the golden coast of greece ?
That are the sounds of "THE INVISIBLE SURFERS"
considered to be some of the wild! est rock`n`roll
instrumentals played in the new millenium ! The
formula for the "Surfers" style seems to be simple...a
fast played and rough soundin surf guitar, a bone dry
rhythm section and the seventh sense for an earcatchin
melody. But only Alex, Johnny and Giorgos can mix
these ingredients the right way. The results are
always top notch instrumentals ala "INVISIBLE
SURFERS". A good example for the SURFERS recipe is
that nifty tune called "Too many talk". It`s a
statement for the high art of entertaining rock`n`roll
instrumentals and better...it`s not just an appetizer,
it`s an beef tea for every one who`s addicted to the
power of cool instro tunes nowadays !
So, don`t waste your time listening to all that chart
music crap, better move over to the Surfers sound,
okay ? okay !
JAMAS !
-- > get 100 % cheap o instromania !
Welcome to HangNine - the Instrumental, Surf and
Garage WebZine
From now on, the main page at HangNine will feature
recent reviews and anything else current that takes
our fancy. Reviews will eventually be added to our
extensive archive.
First, though, a short explanation of our new rating
system:
AFBOM - A guitarist friend, frequently asked, "What
did you think of the band?" felt it best to avoid
answers of the, "Not much, to be honest," variety and
always picked on something positive to say. This might
have been, "Great chorus to the last song," "Loved the
guitar sound in that first number," or even, "The
drummer's trousers are really cool." Favourite of the
lot, though, was, "Fine bunch of musicians," which
became something of a catchphrase round our way.
NBAA - Not bad at all.
PDG - Pretty damned good.
AB - Absolutely brilliant.
AFB - Better even than absolutely brilliant.
The Invisible Surfers
Who are they? Surf-punk instrumental band from Athens,
in sunny Greece. The Invisible Surfers speicalise in a
highly effective, high-octane brand of rocking
instrumental surf. This untitled demo features some 28
numbers spread over two cdr's (rather attractive, 7
inch single style cdr's, by the way); a blend of
originals and covers, including some which you might
expect to find played by a band of this ilk (Rumble,
The Wedge, Jack The Ripper) and some which you might
not (Swan Lake and Del Shannon's Runaway).
Unfortunately, it's not possible to name any of the
originals featured here, since there is no track
listing.
What's good? The playing, which is really lively on
all numbers. The whole demo has a pretty much live
feel and, if this is anything to go by, you can be
damn sure that The Invisible Surfers are a great live
act. Maybe they'll make it to the UK for HangNine to
check out.
Great choice of tunes to cover.
Some very good original tunes too.
What's bad? 28 numbers spread over around 95 minutes
is quite a lot of material to include in a demo!
Some numbers feature digital glitches and dropouts,
while one is unplayable, due to really unpleasant
digital distortion. This is obviously a potential
problem with self-manufactured cdr's; you really do
have to check them, which can be a real drag.
No track listing.
HangNine Rating: PDG - you can email manager Andreas
for further details
review from roctomber fanzine;
Invisible Surfers ( Unlike most
boring, clichΓ© surf music, this band stands out because , while
staying
true to the beach, they also draw from indie rock, jazz and ethnic folk
music. Of course, the latter may not be a stretch, they say Dick
Daleβs
Middle-Eastern roots helped contribute to the sounds of early surf.
These Invisibles may not be much to see, but they are really something
to hear
review from rock&roll prugatory
Invisible Surfers
2 CD-Rs
Higher_ups@yahoo.gr
I am not sure what the two CD-Rs I received by this Greek band represent. I think some of it is off past releases, and some is not-yet-released material. At any rate, it is pretty decent instrumental surf music worthy of mention. The recordings range in quality, and a couple songs had major glitches. Im guessing a lot of these songs are originals, while the covers that I recognized ranged from predictable (but enjoyable), to somewhat less expected. The execution is quite good, and the moods range from heavy and dark to bright and breezy. While they dont quite stand apart from the pack, they are certainly towards the front. Ill be interested to see where they go from here. BL
Taken from right-to-left, as I was sitting on the north side of the train, headed west.
I really like what happened when I set the camera on my phone to 'panorama' and then held it stationary against the window of the train: (from an email I wrote) "The camera accrues the image unevenly: it's looking for motion but its internal gyroscope ("accelerometer") is confused. If things aren't changing much in the foreground, the picture 'piles up' and the horizon stutters, but water or trees close-by trigger a richer capture
This was just after sunrise. Fall colours here, and lots of standing water."
The Compur shutter from Rolleiflex Old Standard No. 403037. With the circular black facia ring removed step (84) and the control plate ring removed step (87) we reach the insides of the shutter where all the action takes place. This shutter was 'stuttering' on the slow speeds particularly 1 sec & 1/2 sec. The cause of this is a dirty shutter speed escapement mechanism: my finger points to this speed escapement mechanism and this mechanism can be considered to be the 'heart' of a Compur shutter. This piece of clockwork controls every one of the different speeds (except the shortest one and B & T) Clean it by brushing some lighter fluid petrol very lightly across it and into it with a fine brush then blow out the solvent with a jet of air from a rubber lens blower bulb. This generally is all that is required to get it running sweet again. The main problem with all these leaf shutters is that dirt and or dried down grease has got into the clockwork to stop it working. These mechanisms are extremely reliable and quite robust. Very rarely do they fail completely or break down in my experience. IF THE SHUTTER BLADES WON'T OPEN AT ALL when you release the shutter (and it just goes 'click') it's very likely grease or dirt has dried on the shutter blades and is sticking them together.Again try cleaning them with a hydrocarbon solvent such as cigarette lighter fluid petrol applied on a cotton bud or fine brush. Work the mechanism (read the WARNING BELOW first) and clean the blades with cotton buds. Let the solvent dry out completely (the blades won't open and close if they are wet with solvent). The solvent will hold the wet blades together until it dries out. [To understand this get two pieces of wet glass such as two microscope slides then put the wet pieces together and you'll find they slide over each other only with difficulty and pulling them apart is very difficult because of surface tension (caused by hydrogen bonding in the water molecules)] BIG WARNING DON'T COCK THE SHUTTER AND TRY TO FIRE IT UNTIL THE CONTROL PLATE IS BACK ON : see step (89).
NEW YORK, NEW YORK - JULY 11: (L-R) Tina Brown and Emily Blunt attend the 2022 Freeing Voices, Changing Lives Gala at Guastavino's on July 11, 2022 in New York City. (Photo by Jamie McCarthy/Getty Images for American Institute for Stuttering)
from The Prodigal: 10
The ground dove stuttered for a few steps then flew
up from his path to settle in the sun-browned
branches that were now barely twigs; in drought it coos
with its relentless valve, a tiring sound,
not like the sweet exchanges of turtles in the Song
of Solomon, or the flutes of Venus in frescoes
though all the mounds in the dove-calling drought
the hills and gulches all briary and ochre
and the small dervishes that swivelled in the dust
were like an umber study for a fresco
of The Prodigal Son, this scorched, barren acre.
He had the smell of cities in his clothes,
the steam and soot of trains of Fascist stations
and their resounding vaults, he had the memory of rain
carried in his head, the rain on Pescara's beach
with the pastel hotels, and instead of the doves
the air-show with the jets soaring and swooping
over the Fair, the smell off that beach
came back on the rock-road where the turtle lifted
its mating music into the dry acacias,
and mixed with the smell off the galloping sea-flock,
each odour distinct, of sheep trampling their pens
as if their fear had caught the wolf-scent.
The rock-brown dove had fluttered from that fear
that what he loved and knew once as a boy
would panic and forget him from the change
of character that the grunting swine could smell.
A sow and her litter. Acknowledged prodigal.
Grey sunrise through a sky of frosted glass,
the great trees sodden, the paths below them pooled,
the headlands veiled and muslin-thin, no birds,
and pale green combers cresting through the drizzle;
a change of climate, the clouding of the self
in a sudden culture but one more confident
in its glazed equestrian statues in wet parks,
its railway stations echoing like the combers
in the ground-shaken caves under the cliff;
gathering, cresting then dissolving shallows
as light steps quietly into the house.
Light that inaudibly fits in the house
as a book on a bookshelf with its spines of tombs
and names, mouths slightly parted, eager to speak
wherever their station now. Every library
is a cemetery in sunlight. Sometimes, a shaft . . .
Across the dry hillock, leaves chasing dead leaves
in resurrecting gusts, or in the ochre quiet
leaves too many to rake on the road's margins,
too loaded to lift themselves, they lapsed singly
or in a yellow chute from the cedar, burnt branches;
lyres of desiccation choked the dry gutters
everywhere in the country, La Feuillée, Monchy,
by the caked track to Saltibus, over D'ennery.
Drought. Song of the wireless harp of the frangipani
that still makes a tangled music out of silence.
II
Now to cherish the depredations of April
even on the threshold of March, its sunlit eve—
the gommier maudit unshouldering its leaves,
barrow after loaded barrow, the leaves fading, yellow,
burnt grass and the tigerish shadows on the hillside,
and the azure a trowelled blue, and blue hill-smoke,
parched shortcuts and rust, cattle anchored in shadows
and groaning like winches, the didactic drought
against the hot sea that teaches what? Thirst
for the grace that springs in grooves of oblivious dust.
A fine haze screens the headland, the drizzle drifts.
Is every noun: breakwater, headland, haze,
seen through a gauze of English, a bright scrim,
a mesh in which light now defines the wires
and not its natural language? Were your life and work
simply a good translation? Would headland,
haze and the spray-wracked breakwater
pronounce their own names differently?
And have I looked at life, in other words,
through some inoperable cataract?
"What language do you speak in your own country?"
Every noun has its echo, a noun is a noise,
as every stone in the expanding sunlight
finds an exact translation in its shadow,
and it may be that you were halved by language
as definitively as the meridian
of Greenwich or by Pope Alexander's line,
but what makes this, if this is all it is,
more than just bearable, in fact, exultation
is the stone that is looked at, and the manchineels,
bitter, poisonous yellow berries, treacherous apples
that look like Eden's on the tree of knowledge
when the first noun was picked and named and eaten
and the shadow of knowledge defined every edge
originating language and then difference,
and subtlety, the snake and contradiction
and the sudden Babel of the manchineel.
III
The blank page grows a visionary wood.
A parallel section, no, in fact a whole province
of far, of foreign, of self-translating leaves
stands on the place where it has always stood
the right-hand margin of the page
loud, soft but voluble in their original language,
an orchestrating lexicon, veined manuscripts
going far back in time and deep in roots
and echoing in the tunnel of the right ear
with echoes: oak-echo, beech-echo, linden-echo,
and beech and birds a half-ancestral forest
whose metre was an ocean's and whose break,
parting declared the white-lined conjugation
of combers' centuries. This ocean, English and this forest weald,
this clattering natterer "burn," this distance, mist,
kept its high columns marching as my pen moves
towards that gap of light that comes upon
the bright salt arc of a bare unprinted beach
or where the piper leaves a print, its claws,
dim, imperceptible as an ancient rune—
that is the landscape, that, the stand of forest
made up of all these leaves and lines that
still rasp with delight with rhyme and incantation
pages of shade turning into translation.
And my left hand another vegetation
but not their opposite or their enemy,
palms and wild fern and praising them, the sea,
sea-almond, grape and vine and agave
that the wind's finger folded carefully
drawing its thumb to mark the dog-eared wave
across the dry hill, leaves chasing leaves
in a shiny, scurrying wind, and, in the brown quiet,
leaves, unraked, tiling the road's margins,
so loaded they don't lift, they lapse singly, yellow,
or chute from the cedars. Lyres of desiccation
in March's autumn, filling the dry gutters,
everywhere in the country, La Feuillée, Monchy,
except for the wireless harp of the frangipani
that still makes its music out of extreme stillness.
In my own botanic origins, frangere panem
to break bread, flower-flour in its white lilies,
except that in rare blossom I now remember
the flower is pink. It doesn't matter.
Since whatever hue it is, its wafer it serves that need,
petal on the sky's open palate at early mass
every morning but here most on this Sunday
with its Lenten drought, the heart-coloured flowers then
the caterpillars determinedly devour,
on a Sunday when a sadness still eats at the parallel
petals of my beaten heart, and the white pews of the sea,
the waves coming in aisles, my longing
for the communion of breakfast, the leafless,
flower-less but crusted bark of the frangipani,
frangere panem, the pain that I break and eat
flower and flour, pain and pain,
bright Easter coming, like the seas white communion.
IV
In the country of the ochre afternoon
it is always still and hot, the dry leaves stirring
infrequently sometimes with the rattling pods
of what they call "women's tongues," in
the afternoon country the far hills are very quiet
and heat-hazed, but mostly in the middle
of the country of the afternoon I see the brown heat
of the skin of my first love, so still, so perfect,
so unaltered, and I see how she walked
with her sunburnt hands against the still sea-almonds,
to a remembered cove, where she stood on the small dock—
that was when I thought we were immortal
and that love would be folded doves and folded oars
and water lapping against eroding stone
in the ochre country of the afternoon.
Derek Walcott
NEW YORK, NEW YORK - JULY 11: Dr. Heather Grossman and Emily Blunt 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)
From stuttering to therapy for stroke survivors, the WSU Speech and Language Clinics provide speech-language services for community members of all ages.
Learn more: www.clas.wayne.edu/CSD/Wayne-State-Speech-and-Language-Ce...
NEW YORK, NEW YORK - JULY 11: (L-R) Mark O’Malia, Mark O’Malia, Kristel Kubart and Emily Blunt appear onstage at the 2022 Freeing Voices, Changing Lives Gala at Guastavino's on July 11, 2022 in New York City. (Photo by Jamie McCarthy/Getty Images for American Institute for Stuttering)
This video was shot hand held with an iPhone SE II, while also shooting with my DSLR using a remote stutter release, you can hear the camera motor drive in the soundtrack. You could say that I had my hands full.
LIVING DIVINITY – AnanthaRaman’s Talk
Talk given by Prof Anantharaman in Swami's Presence on 19th October 2004
Respected elders, brothers and sisters and my young friends.
During a very significant speech in 1981, Swami spoke about the 'eight flowers of worship'. Out of these He said that Ahimsa, non-violence, is the most important. Swami's concept of Ahimsa is far beyond the connotations of not causing physical harm. His concept of Ahimsa is not causing harm in word, thought and deed!
I would like to commence today with an offering of such a flower at the Feet of our Lord.
Albert Einstein, the famous physicist, was once asked whether it is possible for him to explain Divinity in scientific terms. He said that it is conceivable but it would make no sense; it would be like explaining Beethoven's Ninth Symphony in the form of an air pressure curve. We have the same kind of a problem in speaking about Bhagavan's Divinity. The Living Divinity cannot be explained in metaphors or examples; the limited cannot comprehend the unlimited; no form can contain it; the wayward cannot measure the stable; or the now measure the ever. We can only repeat the words of Sir Isaac Newton who said after enunciating the principle of gravity "I feel like a little boy playing with the pebbles on the seashore while the ocean of Truth lay all undiscovered before me".
Bhagavantham tells the story of how in the early years Swami once materialised a beautiful sapphire and stuck it on the statue of Shirdi Sai next to him. Bhagavantham was not only a staunch devotee but also a renowned scientist. The scientist in him wondered how the sapphire stood there without any ostensible means of support defying all laws of gravity. He started chuckling to himself, "Here I am accepting the principle miracle of the creation of a sapphire and I am questioning the secondary miracle of the sapphire defying the laws of gravity. Surely one who creates matter can also transcend the laws of matter."
A Malaysian devotee once told me the story of how 20 miles from Prashanti Nilayam his car stopped for want of gas. This was his first visit to Prashanti Nilayam and it was late evening. He was naturally concerned; he prayed to Swami, "Swami, make this car move forward to Prashanti Nilayam this evening." He prayed, asked the driver to start, and the engine stuttered and they started moving to Prashanti Nilayam. Next day the grateful devotee told Swami at Darshan time, "Swami thank you for the Grace of moving this car to Prashanti Nilayam without gas." Swami looked at him and said, "But that was not your only problem." Puzzled he went back, filled gas in the car, started the engine and turned the wheel. The wheel just locked and a mechanic was brought who found out that there was a broken tie-rod end. There was no way this car could have travelled 20 miles with or without gas. How many of us have travelled in cars with our broken tie-rod ends fixed unbeknown to us by this cosmic welder.
On this forum, several devotees in the last few days have shared their experiences of Swami. Each one of us have received this benediction from Swami if only we know where to look for it. Some of these we know; many like the Malaysian devotee we do not know at all. Howard Murphet, whose books have brought more foreign devotees to Swami than any other writer, calls all these 'parables in action'.
Whenever Swami materialises something, blows into something and creates something else or cures an affliction, He is in fact demonstrating these 'parables in action'. Their purpose is not to make us richer, or to cure an affliction but to demonstrate to us and instruct us in the science of being and in the art of living through the demonstration of His Omniwill.
I would like to share with you one such parable, one of many that I was privileged to have. I would like to share with you not the experience but the education behind the experience - it was like learning at the Feet of Divinity.
As an international corporate citizen, I had moved from country to country and finally moved from continent to continent. As the story I am about to tell has a lot of political implications, I seek your indulgence not to name the country where this took place as some of the people involved are still alive today. This country was a totalitarian military state and had had 3 major coups. There were 3 ethnic groups in the country - Muslims with political clout; Christians with economic strength; and tribal leaders who had their own axe to grind. Because of recent struggles there was a distrust of foreigners, particularly Asians. There was no constitution in this country and there was complete anarchy. I had heard of friends who had been taken away in the middle of the night and were never heard of since. There were summary executions - this was the order of the day. You could see bodies tied to automobile tyres and set fire to at the end of the streets; the stench of burning flesh and vulcanised rubber quite often rent the air. This was the background of the country where we wanted to introduce Swami's concept of Education in Human Values. We organised a conference of secondary school teachers and in order to give a big PR event to this incident, I was given the responsibility of inviting the wife of the president of this country to inaugurate the session and preside over the first day. I went and met the president's wife, she listened patiently and ultimately said that her office would get back to us as to whether she can preside or not.
A couple of days later, as I was driving to work I found that there was a big black limousine that was following me. I was concerned because this country had a fearsome secret service system. I made some enquiries with a contact that I had in the government and I learned that an enquiry had been ordered against me. As there was a lot of religious strife in the area in which we were living probably meeting the president's wife the previous week had triggered off a suspicion that our's is might be a religious institution and therefore needs to be followed. In the meantime the wife of the president had declined our invitation. My contact in the government confirmed my suspicion that I was in fact the target of an investigation and said that people were being taken away in the middle of the night never to come back; he strongly advised and cautioned me that I must quietly leave the country. The Indian Ambassador who I consulted one day before the event confirmed this and also strongly advised me to leave the country. I was very concerned and left for home a day before the function.
The day of the conference had come; in order to protect my identity they did not announce my name - they announced me as a spokesperson. My job was to talk about EHV and introduce the speaker of the day who was Victor Kanu. But in view of the religious sensitivity I was advised that I should make no mention of Sai or of the institutions which He heads. With great trepidation I climbed the stage; as I went up I found the same secret service agents who had followed me sitting in the first row - my steps faltered. I started with a silent prayer to Swami, but very soon I threw caution to the winds. Instead of talking about EHV, I spoke about the Author of EHV; I spoke about Swami; I spoke about SanathanaDharma; I spoke about Hinduism; I spoke about everything I was advised about not to speak. I had decided that if I was to go down I would go down with the Name of the Lord on my lips.
The talk was over and I went back home. Thoughts of being picked up and being incarcerated were very much in my mind. I was at home and the phone rang at 9.05 that night. I was certain that it was someone trying to tip me off to leave the country - but it was a friend of mine. He asked me whether I was watching the television. I said, "Why would I watch the television - I am waiting to be picked up!" The television in this country was totally controlled by the government. 9pm was prime time when every single set would be turned on. I turned on the television - I could not believe my eyes. There was full coverage of the morning's programme; my whole speech was telecast; my name and occupation were mentioned; my anonymity was over. Not only that but there was a full presentation of that morning's function; nothing about EHV, but all about Swami, His Teachings, and Hinduism. Swami was presented as an Eastern Messiah. All this happened in a country that was very much opposed to religious activities. It was mind-boggling. I did not know what was happening. The entire prime time news was only about this morning's presentation and covered all that I was advised not to speak about.
Next morning my contact in the government telephoned me. He said something strange is happening here. There was a handwritten ledger on the report that said I must be investigated and this ledger was serially numbered. When he went to that ledger that morning he found that the particular instruction that said I must be investigated was completely missing, but the ledger number continuity was maintained! There was no way that anyone could have torn the paper; only this particular instruction had completely vanished.
And there was more; within a week the Secretary of Education in the country called me and asked me whether I could give a write-up on EHV so that it could be introduced to the country's secondary schools.
More wonders; the Teachers Union, normally a very militant body, invited me to talk to them and they set up a conference which became the focus for introducing EHV at secondary school level in that country. This was the first country outside India to have formally accredited EHV in the secondary school system.
What was happening here? This was not mere materialisation or curing an affliction. This is something that broke barriers. This is something that completely changed the ethos. This is something that created a new order of things. What was Swami trying to convey here? He was only trying to convey that His work will always be done and that His Will will always be supreme. As He said three days ago
"Why does the sun rise; why do the stars hide their splendour in the day and show themselves in the night? Who ordered air to be around us all time; why do these streams roar and gurgle? I created the world with one word at My pleasure; I made mountains rise and with one word I placed knowledge upon mankind."
Sir Arthur Eddington the famous physicist said that the world is a wave of thought. Every law of nature, every action and reaction, every parable and happening that you hear in these forums is a witness to the vital vibration of His Divinity in the gross, subtle and causal cosmos. Swami once wrote,
"I move in the outer space. From those lofty heights I go to the devotee, first as thought, then as fragrance and then as light."
Sai experience is a combination of that light, of that thought and of that fragrance. You have seen here the world come to Swami - I have seen Swami go to the rest of the world. At a UN conference at Osaka , Japan two years ago, I saw 10,000 delegates give a standing ovation to a group of Japanese children performing a ballet on the values of Sathya, Dharma, Shanti and Prema. In probably the most popular square in Spain every Sunday devotees sing songs of peace and harmony watched by residents and visitors.
During a skiing holiday in the Austrian Alps my wife and I attended a Bhajan session at a little hamlet of 200 people, in the middle of nowhere where 20 Austrians who had never stepped out of Europe performed Bhajans and held a workshop. When out of deference to them my wife chose to sing a German song the leader said "No, in Sanskrit please". In the forests of West Africa , I have seen native tribes commence their daily meeting singing the song " Ore Baba, OseBaba".
And at a Sai retreat that I attended a few years ago in Argentina at the time of the Kosovo crisis one young adult asked a question, "If Sai Baba is raising human consciousness why are the children of Kosovo being murdered?" Pat came the answer from another young adult, "When Hitler's hordes roamed through Germany the world kept quiet; they did not even shed a silent tear. But when the children in Kosovo were being murdered the world roared back." That is how Sai Baba is elevating human consciousness - slowly and imperceptibly the world is turning into a golden age.
Swami told Howard Murphet that the golden age was coming. Howard Murphet then asked what work would Prema Sai do? Sai said "He will have plenty of work. Prema Sai will elevate human consciousness to Divine heights. Not only will there be a lot of work but He will also need a lot of help."
What kind of help, wondered Howard Murphet; then he remembered the story of how in a time of great flooding a man stood on top of his roof to escape the waters. When the water was rising higher the man prayed to God to save him. Soon a man came in a boat and asked him to get in. The man said "No, I have prayed to God and He will come and help me." Soon the waters rose nearly to his feet. Then another man came in a helicopter and dropped a rope. The man said "No, I will not come with you; I have prayed to God and He will help me." The laws of nature soon took their course and the man drowned. He went to heaven and asked God why He did not help him in his time of need. God said "I sent you a man with a boat and later, when you refused him another man with a helicopter…but you did not accept that help." The man understood; God is in everybody and He needs a million hands to help Him.
In establishing this, Swami has been saying that His Life is His message. He has been living that message particularly in the last 15 months. Ever since the drama of His fall He has been living one particular message - that He is not the body. Over 2000 years ago at another time and in another place in distant Jerusalem another cosmic being allowed Himself to bleed on the Cross in order to establish to the children of Israel one facet of reality. Everyday, Swami has been establishing with perfect equipoise the same facet of reality to all of us that 'I am not the body'. The reality that 'I am God'; the reality that Brahma Sathyam Jagat Mithya. It is for us to accept or reject this reality.
It's rather like the search for the Holy Grail. There is a lot of wealth and fame and pain in the so-called materialistic success story that I myself tried to follow 30 years ago. But in the evening of my life, like Percival (a Knight) I have come to the Fisher's King to ask Him; "Where does the Holy Grail lie?" The Grail serves the Grail King who lives in the innermost recesses of the castle. When Percival received this answer his search was over. The Grail King is a symbol of man's inner God.
Knowing this truth, it is glorious to be alive today - not only to be alive but to be aware that God is physically here is a privilege that millions never had! The only gratitude that we can offer for this privilege is to lay down our lives as flowers at His Lotus Feet. Sai Ram.
(Prof Anantharaman worked as the CEO of a Transnational Business conglomerate based in Switzerland, as an adjunct professor in several business schools including the Harvard Business School and is currently a faculty member in the School of Business Management at Puttaparthi)
________________________________________
Source: Radio Sai E-Magazine, June 2005
www.radiosai.org/Journals/Vol_03/06JUN01/living_divinity.htm
I'm always in that sleepy middle, between escape and destination, lost in the transition. Words without translation, I speak those mumbled stutters, the muffled humming of a man who loves alone. I will tell you what it's like, but I won't get it across – the fiery things that bring me 1,700 miles from the land of kilometers. Somewhat more direct by air, hopping from Halifax to Montréal before falling from the sky in Chicago. Here I am halfway or so, daydreaming of destination in the sinking evening. How long has it been? Nearly two years past since I brought the ends together, found the means to match up Illinois and Nova Scotia. Sort of a sighing, sleepy drunk – you know it. When telephone time tires of stretching that tightrope wire, and it finally springs back into shape. I watch the map on the back of the seat in front of me, that tiny avatar airplane drifting westward to my other home. It's a hope I'm always healing from, or heading towards. Susy, my wife, and all the love I've known.
November 13, 2021
Montréal, Québec
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The last thing he wanted to do was to pull a shuggie, or to ash, like Angela, all over the place. But there was no getting away from it. He was just going to have to drink that fecking hemlock and see if he could survive it. It was the only possible way forward, and the thing he had been avoiding for most of his life.
He had just, more or less, learnt how to talk, or at least seemed to be at that point of overcoming his stutter. He had managed to whisper out that he would scream, it was late at night, and the next morning, his uncle, the abuser, moved out and on, no doubt in search of greener unploughed fields. Ruin was then, perhaps, 14. The ‘perhaps’ talks more about the inconsistencies of memory than anything else, that untrustworthiness. Either way, it had taken more than a year for him to find the courage, and strength, to whisper that threat, the one that chased his lecherous uncle away. It had to be a whisper, what with his two younger brothers in a second bed in that small damp room. He could go into heart-breaking details, the torn sheet (just one), the horsehair poking out of holes in the mattress, the fact that there was no heat at all, other than body warmth, and the coats piled up on the beds, but he won’t. He wouldn’t ‘Dickins’ the story either, even though he could. This wasn’t about victimhood and redemption; he was writing something else entirely. Masha, much later, asked him if was he trying to justify himself by what he was writing. “No” he answered, “that isn’t it at all. I have nothing to justify”. He could describe the abuse too, but he wouldn’t. If this story is about abuse, he thought, it will be saying that abuse is the most ferociously creative force in the universe, a life and planet-generating, gob-smacking, phenomenon. That’s the story he wanted, and needed, to somehow tell. He had made art about it for most of his life, and now he was going to write about it.
Talking of gob-smacking, this introduction is a preamble to the crux of the matter, and that day when, as a fourteen year old, he slapped his mother. He had never slapped anyone before, he was way too timid, and as far as he could remember he had never slapped anyone since. He had certainly, since, psychically abused those around him, friends or those that ended up having to look at his art in galleries or museums, but he had never taken to that helter-skelter of physical violence. At the same time, he enjoyed Patrick McCabe’s pig-boy running around the boreens of West Cork, in ‘The Butcher Boy’, brandishing an axe, killing willy-nilly. He understood that rage. He understood the draw of the chainsaw and flying body-parts. Luckily, he had art, a safe-ish place to slaughter the innocents. He knew in his heart of hearts that if he hadn’t become an artist, or if he wasn’t writing this, he could have as easily been an axe-murderer. This was not about choice at all. It was just sheer luck. The story of that other young man in Austria who couldn’t get into art school, ending up unleashing his rage on the 20th century, would be a case in point as to what might have happened otherwise. No choices were made, the world and nature intervened and fashioned that rage in accordance with its own needs, as it always does.
Of course, there was a time when he loved her entirely. She had been the chaotic centre of his small universe, a skirt hem to hang off of, a nicotined hand to sometimes hold. He remembered thinking she was beautiful, even. The abuse put paid to that. That he had spent the 40 years that followed thinking of her as his pimp aided and abetted that ‘running away’ pattern he honed to perfection in his ensuing life. The ‘Wild Geese’ became a motif he loved and felt a deep association with.
He was obviously an anxious child before, evince that stutter. When he was thirteen, his father had somehow procured for him a job in ‘The Laurels’, a bar, in Clondalkin, 4 or 5 nights a week, from 7pm until midnight. That football field of a bar is still there, though it now seems to have taken on a Swiss Chalet meets American Wild West sort of theme, broken up into smaller variations on those twinned, and oddly incongruous, genre design foibles. Then it was one huge, open, smokey place. His father, being both an alcoholic and a bar-man, had connections, so accommodations were made around the law that said you couldn’t work as a ‘lounge boy’ until you were fourteen.
From the age of 13 he began to pay his mother 4 Irish Pounds (Irish: Punt Éireannach) to sleep in his bed, to support the up-keep of her brood. He, erroneously, thought of it as 'her' brood, his father being absent, with that bottle of 'Uisce Beatha' he kept hidden in the toilet cistern. It wasn't long after this accommodation had been reached, when his mother realised that another 4 Punt Éireannach could be generated by his scooting over, and making room for her fully-matured, young, rutting-bull of a half -brother.
So begins the story of the slap, and the, trussed-up-like-a-goose, running away.
He never thought that he would get to the point of admitting to this, that slap. It was the single source of his greatest shame, and the relief of putting it down, at last, was profound.
The rest was icing.
Christopher Vestel bangs on the doors "Medical check-up, line up maggots!" snapping a glove on.
Bianca Bender sits up slowly....in no big hurry...she's been here long enough.....what's a few more minutes.....looks through the bars and shows a glimmer of recognition.
Christopher Vestel snaps his fingers at her "To the bars prisoner, if you want to be released in good health"
Bianca Bender raises an eyebrow and goes to stand....momentarily forgetting about her leg...and ends up half falling to her left side as the GSW on the back of her thigh causes her leg to give out.
Bianca Bender cringes but stands....leaning against the end of the bunk beds for support and takes a stuttering step almost falling against the bars in front of the solider.
Christopher Vestel looks at her "Prisoner, I am entering the cell, don't even get an idea your going to touch my piece" referring to pistol mostly
Bianca Bender curls her lip...and glares through the wire holding herself up while her leg gets some feeling back into it..
Christopher Vestel points to the ground "Sit prisoner..."
Bianca Bender growls...'"make up your fucking mind...." turns around and lets herself fall into a sit on the floor flinching and her face paling as the wound on her thigh screams in pain.
Christopher Vestel smirks, looking at her..."Best way to know how pain your in, is see you perform a simple act of movement, Bianca"
Christopher Vestel kneels down near her, removing a small supplies of gauze, medical tape, and septics, looking at her repeatedly, making sure she doesn't reach for the firearm....
Bianca Bender sneers..."Well pretty boy let me gash the back of your thigh a quarter inch deep and have you sit your handsome ass down here with me." growls low mumbling..."and I felt sorry for your damn offspring last night..."
Christopher Vestel looks to her, not liking that comment, he removes the stim injector from his belt "Do you want to go to sleep, or stay awake, cause this sedative will put your fuzzy ass out"
Bianca Bender rolls her eyes, "Pretty boy scared of some simple words...." curls her lip, "I've got a gash in the back of my thigh and a gash in my left arm as well....I think I'll just sit here and look pretty.....I want to go home."
Christopher Vestel nods, he takes some quick clot foam packets out "I don't have my big kit with me today, but I will patch the holes up until you get back to your Den.." he rips open a packet, dumping it into a gauze square.
Bianca Bender looks up and reaching for the sleeve of the crap shirt she's wearing easily tears the sleeve away revealing an angry looking gash on her L arm...smiles..."Tell me when you're ready and I'll stand up and you can get a good look at my ass....kiss it while your back there if you'd like...." bats her eyes up at him.
Christopher Vestel reaches over the neko, with the Quick clot in hand, he pushes it into the wound, about a whole inch deep into the wound, listening to her comments "I've seen your ass before, Neko"
Bianca Bender snorts but hisses in a breath when the quick clot hits the soar...she'd endure his shit long as he gets her out of here in relatively one piece....looks at him..."Oh really...do tell the moment you laid eyes on my fine piece of ass? I don't seem to remember that...you must not be worth remembering." attempts to stand from her seated position having to pull up on the grating of the cell door do to so faces the door and waits for the "order" from him.
Christopher Vestel waves for her to stand up "Turn around" he orders "The reason you couldn't remember me, was because I was on a roof, looking at your ass through my sniper scope"
Bianca Bender snorts..."So you're a pervy peeping tom? Don't they teach you how to shoot w/ that extension of your cock..." drops her pants as she says the last word....the gash on the back of her left leg has started to bleed again from sitting on the floor....the scab that was forming breaking open...she clenches her free hand around the bars as the rough cloth brushes against the wound...gritting her teeth..."Take a good look....next time will cost you." prays he hurries...she's on the edge...not sure how long she can keep up her facade.
Christopher Vestel takes a can from his pack, he puts a nozzle on it..."I was going to kill anyone of you, if you harmed my child" he injects the nozzle deep into her GSW, thinking of the killing spree he would go on if someone harmed his Jay Jay.
Bianca Bender hisses as the nozzle goes into her wound...."He's a brat....you let him run around like a damn ape...shit father..." had had no intention of harming the boy....he seemed a good kid...white knuckles both hands on the jail cell bars to keep from collapsing...fuck if she put people through half this pain when she worked on them.....bites her lip hard.
Christopher Vestel finishes, giving her ass a slap "Then you babysit him, cause he keeps sneaking out of the bunker" he packs up his medical gear. Standing up, obviously towering over Bianca.
Bianca Bender grips tighter with her right hand as the left is a little weak from the GSW and pulls the bottoms back up her head wanting to drop....but she straightens her spine a fracture more..."Maybe if his father wasn't a shit head...he'd stick around...or if his father's friends weren't a bunch of pedophiles...." turns and stares at the man if he looks close he can see the pain and the hope at having him be the one to show up finally but her body language is pure defiance..."Can I leave now that you're done lookin your fill and gettin your jollys off?"
Christopher Vestel says "A shit head huh? Hmmm, maybe I should leave you in here, when the morning crew comes in, ask Miss Kat about that"
Christopher Vestel grabs her cuffs, he lifts them up high enough for him to see the keyhole, he unlocks the, throwing them to the bed.
Bianca Bender almost collapses but locks her knees...and winces when it shoots up her thigh...taking a deep breath...not flinching back when he grabs the cuffs or back away from him when he comes close enough to unlock them but whispers softly...he may pick it up or not.."thank you."
Christopher Vestel sighs at her saying that, knowing helping her, can get him landed in this cell, again.
Christopher Vestel grabs her arm and tries to pull her out of the cell to the out processing door.
Lazarus Lowenstark walks away from the counter guffawing at some ignorant joke or another he was sharing with the guards. He struts down like he owns the place, and gets closer to Bianca's cell, "BEEEYANCA!" He shouts with a Brooklyn Drawl, "Get yer ASS up. Daddy had to Bail your ASS out and it cost me a pretty Frikkin' penny - and Guess who's ASS that's comin' out of?"
Speech Impediments in Rock, Exhibit A | bigger
**
interesting: http://www.youtube.com/watch?v=gEaS-K3j3M8
::
Blogged at The Theory of Nevolution. Thanks!
Rack never blurted; she always controlled her output. The effect was precise and Protestant, ‘I found out I am HIV positive a few days ago’
‘Oh Christ’, Ruin blurted, Catholic to the hilt.
Ruin was always an outlet for Rack, almost like a delinquent spokesperson, the stuttering utterer of the unspeakable. He had the ability to take the private into the realm of the universally available with consummate ease. She didn’t. It was something she greatly feared and something she instinctively grasped that early summer morning in 1988, in the 'Moondance Diner', on 6th Avenue and Grand. She knew she was making the personal public. She was undoing herself.
He possessed that strange gift, the one imposed and imprinted, like the mark of Cain, on the sexually molested child, of having no facility to recognise boundaries, no ability to be able to tell the personal and private apart from what could be made generally available. She knew that he was her surrogate broadcaster and momentarily shuddered at the stranger, whom she had spontaneously trusted, sitting opposite her. This understanding hung between them as they ordered breakfast.
Their opening was torturous and drove them scurrying apart. It was more than either of them could handle, Rack racked with regret for exposing this opening wound and Ruin incapable of carrying the story alone. Their rehabilitation was slow and arduous. It was a time when to speak these words was a declaration of the almost immediate dissolution of self. It was a time before the hope generated by the misnomered cocktails and the political agitation, which was to burgeon out of despair and become Act- Up. It was a time before anything could be done except grasp at straws. So, both started grasping and would occasionally find themselves in the same room drawn to the same possible panacea. Rack’s volition was desperation. Ruin’s was guilt. They acknowledged each other with some embarrassment and growing affection and more often than not turned away from each other and left separately. Ruin knew he loved Rack. Rack was not at all sure.
Dear Rack,
Just sending you back some words you once sent to me:
“I have often thought that writers do not write; they read what is already written and transcribe. So perhaps they are not complaining about ill health, lack of money, and rejection, but about the bondage of a calling that keeps them laboriously transcribing cryptic messages in rapidly disappearing ink, like the traces of a dream, year after year...."
Thinking of how romantic you are.... even if it is all so appalling to live through.
We seem to endure, and hopefully will continue to do so for a little while longer.
Love,
Ruin
Meet Peter Joynt. Peter was performing at Hintonburg Happening on a Saturday evening. Hintonburg is a very cool community just west of Ottawa's downtown. When I arrived Peter was entertaining the audience with his rhyming, when Peter stopped performing and he spoke to the audience he had a pronounced stutter, in spite of this he was extremely confident and articulate. I took some random shots during Peter's performance but I was really hoping to get a moment with him to try and get his story.
Once Peter's set was over and he was packing away his gear I approached him. Peter was extremely polite and when I told him about the 100 Strangers Project he jumped at the chance to be included.
Peter is a graduate of Carleton University in Ottawa, he graduated with an Arts Degree in Economics. He is employed in the IT industry. In his spare time Peter devotes his time to writing music and making videos, he has worked on projects for a number of organizations including the Ottawa Senators (NHL Hockey Team), local cable TV provider Rogers TV and Ottawa Tourism. As I mentioned earlier Peter is a stutterer when he talks but it disappears when he performs. This has become a distinguishing feature of his persona and the reason he became a motivational speaker. Peter speaks regularly at schools about rapping, stuttering and bullying.
On a lighter note in 2012 Peter won a Toyota Camry Hybrid in Tim Horton's "Roll Up The Rim To Win" Contest. FYI Tim Horton's is an iconic coffee chain in Canada and parts of the US. The odds of winning this top prize were 1 in 7.2 million. Go figure!!
Thank you Peter for agreeing to be a part of my 100 Strangers Project, meeting individuals such as you is what makes this so interesting. Your enthusiasm is infectious and I wish you all the very best. I'm sure our paths will cross in the future.
There is more information on Peter at www.thejoynt.ca
This is picture #45 of my 100 Strangers Project.
You can find other photographers' work on this project at:
Pokemon Sword Expansion Pass ROM for PC is here. Game runs perfect with stable 30fps and no stutters.
Pokemon SWSH XCI/NSP ROM: bit.ly/pokeswshyuzupc
Official Yuzu Emulator: yuzu-emu.org/
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What's the cause of the stutter? I'm holding a video camera on the monitor. The wiggliness of the handhold shows that the video has halted, then jumps to the current position, freezes again, and so on. How do I determine the cause?
Commissioned by Lionel Cox in about 1935, it is not known who designed the boat-shaped building, but it was built by Mark Amy Limited.
Occupation
The Barge Aground was requisitioned by the German occupying forces in 1941 and used as a canteen by Machine Gun Battalion 16. The building was painted with camouflage. Many of the original contents were looted and shipped to Germany.
After the war, Lionel Cox returned to the Barge Aground and the building was restored as a beach chalet. He left the building to the Jersey Scouts Association in his will in 1955.
It was leased to a William Chalmers Kerr until 1971. Mr Kerr was a research psychologist from Glasgow University who specialised in speech disorders, particularly stuttering. The property was used as a clinic, with patients visiting from all around the world.
The site was used in the 1970s and 80s by the Scouts as a base for camping, in connection with the Westward Ho site on the opposite side of the road. It was then sold by the Jersey Scouts Association to the Public of the Island in 1997, who then let it to the Scouts Association for a time. The building was restored and refurbished as a holiday let by Jersey Heritage in around 2005.
Architectural assessment
The Barge Aground is the single surviving example of the beach chalets that once lined St Ouen’s Bay and is illustrative of the inter-war fashion for building places of fun.
Boundary
The parish boundary between St Ouen and St Peter was the old outlet stream from St Ouen's Pond. This now runs beneath the German anti-tank wall, which was built during the Occupation and had the effect of joining together the various lengths of seawall, which had been constructed during the 19th century, to stabilise the sand dunes and make access to the beach easier for horse-drawn carts.
L’Ouzière Slipway (La Montée de l’Ouzière), and its associated walls, were built about 1870. During the Occupation, like many slipways, it was blocked by fortification building – in this case twin 4.7cm anti-tank gun emplacements. Following the Liberation, one of these was removed to open up the slipway again. The scars left by the German blocking can be still seen, because the original setts or cobblestones had been set at an angle to give the horses hauling carts grip. This was not needed by motor lorries and tractors fitted with rubber tyres, and the replacement setts were laid flush.
Another victim of the German army in this area was the Conway tower built just after the 1779 invasion attempt. Standing to the south of the slip, the tower known variously as St Ouen’s No 3, St Ouen’s D, or the High Tower, was demolished as it got in the way of their more modern weapons. The tower had been sold by the War Department in July 1922 for the princely sum of £50.
Today this part of the bay, between L’Ouzière and Le Braye, is better known for sunbathing and surfing, but in the past it was generally referred to as Le Port, which means the ‘haven’. This is because in the 17th century it was called Le Port de la Mare, and was described as a roadstead – somewhere vessels could lie safely at anchor.
Invasions
The Channel Islands Pilot, published in 1870, informed ships’ masters that the anchorage which afforded good shelter in easterly winds was ‘about half a mile square ... off La Rocco tower’. This would explain why this part of the bay was selected in October 1651 by the Parliamentary forces, headed by Admiral Blake, to invade the island.
Sir George de Carteret, the Royalist leader, and the Island Militia spent three days watching and tracking the Parliamentary fleet, moving between St Ouen’s Bay and St Brelade’s Bay and back again, but by the time the Parliamentarians landed, many of the militia had gone home exhausted. There was a short clash on the beach, but it was the beginning of the end for the Royalist cause in the island, and within three months the last Royalists, penned up in Elizabeth Castle, surrendered and the island was under Parliamentary control.
Although the States had voted to set up what was supposed to have been some sort of defensive work with a cannon here in 1602, to protect the anchorage, Admiral Blake makes no mention of it in his account of the landing.
Two centuries later, in May 1779, while Britain was fighting the rebel American colonists, a French force of 1,500 soldiers, accompanied by a fleet of five warships and over 50 small landing craft, under the Prince of Nassau, attempted a landing here. They were thwarted by the falling tide and Moyse Corbet, the Lieut-Governor, who had 40 mounted troopers, another 400 infantry drawn from the 78th Regiment and militia, supported by some of the militia cannon. Unable to land, the French ships returned to Brittany. The scare caused the British Government to more than double the size of the garrison on the island.
La Caumine a Marie Best
The only building still standing from the period of the 1779 invasion is the St Peter’s Guardhouse, also known as La Caumine à Marie Best, or, because it is whitewashed for sailors to use as a navigation mark, the White Cottage. The guardhouse and magazine, with its vaulted roof, replaced an earlier gun position, probably the one mentioned in Colonel Legge’s 1679 report, known as the Middle Boulevard, which was destroyed in an explosion in 1765.
The guns were placed about 15 metres in front of the building. Its association with Marie Best dates from just after the Napoleonic War, when Marie Anne Best (1790-1832), the daughter of an English soldier called Adam, and Marguerite Carrel, moved into the disused guardhouse with her children to avoid a smallpox outbreak. Over the years, deprived of its military use, it fell into disrepair and later inhabitants let more windows into the walls.
Along with most of the coastal defensive structures, the War Department sold the building and land after the Great War. It was bought by William Gregory in November 1925. In May 1932 he sold the building to Captain J A, Hilton but kept the associated land. Captain Hilton’s widow donated the cottage to the National Trust for Jersey in 1975. Today it is the oldest surviving defensive building in the bay.
La Caumine à Marie Best’ caused a bit of a stir in 2011 when it was painted a pale green as part of the National Trust’s green awareness campaign, because some people thought it was an official navigation marker. The Jersey Coastguard issued a public notice to the effect that, according to the Admiralty Chart of the bay, the white building marked as the recognised navigation mark in the area is actually Big Vern’s Diner, just to the north. Normality returned in 2012 when the building was repainted white.
Just to the north of the Watersplash stood another of the Conway towers, St Ouen’s No 4. It was probably built after the 1779 invasion attempt and, like the others, it was armed with an 18-pounder carronade on a traversing platform mounted on the roof. At some stage in the middle of the 19th century it was undermined by the sea and collapsed.
The Watersplash was originally built before the Occupation, as a private home called Idaho, by Arthur Parker. In January 1948 it was bought by Harry Swanson, who renamed it and turned it into a nightclub. The Watersplash has become something of an island institution, for it was here that Jersey’s current surfing culture started.
Surfing centre
In 1923 Nigel Oxenden and a few friends started what was probably Europe’s first surf club, the Island Surf Club of Jersey. These first surfers were all body boarders - lying on their boards rather than standing up - but with the Occupation and the removal of the beach huts along the shore surfing faded away.
Surfing restarted in 1958, when three young South Africans came to work at Parkin’s Holiday Camp at Plémont. They built their own hollow boards and took them to St Ouen’s Bay, where, recognising the potential, Harry Swanson hired them as “South African Hawaiian Board Riders” and lifeguards. Tourists and locals flocked to watch, and the following year a group of young islanders formed the Jersey Surfboard Club, which is now said to be the oldest club in Europe. In 1962 the first Surf-Riding Championship at was held at the ‘Splash and in 1966 the World Surfing Championship was held here.
Another beach café integral to the history of Island surfing is El Tico. Opened in 1948, in 1965 it became the site for the Jersey Life Guard Station and Centre.
It was not only water sports that St Ouen’s Bay was known for; it has also been the venue for sand racing since before the Occupation. Its heyday was probably in the late 1950s and '60s, when thousands of spectators watched the events.
Before the Watersplash and El Tico existed, in the 1920s and 1930s, the dunes between them were dotted with beach huts. All of these were cleared by the Germans to create a military no-go zone. Just beyond El Tico, and just over the parish boundary in St Brelade, stood another Conway tower, La Tour de la Pierre Buttée, or St Ouen No 5. Built after the 1779 invasion attempt, like its neighbour it collapsed around 1850 having been severely damaged by storms.
Le Braye Slipway (La Montée du Braye), which leads to the beach, along with its flanking walls, were built around 1869 to the designs produced by the architects Philip Le Sueur and Philip Bree, who are better known as the architects who worked on St Helier Town Hall in 1872 and the Royal Court Building in 1877.
Le Braye means 'passage between the rocks'. Old maps show that there was a rocky outcrop on the dunes at this point, so does the name refer to this and the track on to the beach which went through them, or does it refer to the narrow passage between the rocks to the south of Le Rocco Tower?
Le Pulec
The precipitous cliffs of Les Landes end at the small inlet known as Le Pulec. Although the name has come to mean ‘stinking bay’ because of the smell caused by rotting vraic that gets piled up here, it actually comes from the Old Norse word for Pool. Access to the small inlet was made easier in 1858 when an access road and slipway on to the beach were built.
Vraic was especially important for the light soils of this part of the island. It could be put straight on to the land to improve the soil, or it could be left in stacks to dry. In 1710 the Seigneur of Vinchelez de Haut Manor leased a field to Jean de Carteret and Jean Le Cornu for drying vraic, for which he received two cabots of wheat and two hens a year. In order to prevent erosion of the shoreline by carts going on to the beach in the 1850s and 1860s, the States built a number of granite slipways with short flanking walls. Over the years further stretches of seawall were built until, during the Occupation, the Germans forces linked them all together behind a reinforced concrete anti-tank wall, two metres thick and six metres high.
Dominating Le Pulec to the south is the massive rock that gives the area its name, L’Etacquerel, which comes from the old Norse word for a heap or a stack of rock – stakkr. While most buildings and the haven lie in the lee of the massive rock, a small cottage called La Voûte, because of its vaulted roof, was built on the seaward side in the 1th century. A datestone in its gable is testament to the fact that Jean Hubert and Elizabeth Le Gresley were living there in 1753.
The Chamber of Commerce report of 1872 noted that the fishery here involved about 12 boats and 30 fishermen, who mainly went out for crab and lobster. Slipways had been built at either end of the haven in the mid-1860s, to allow the boats to be hauled to safety off the beach, but the report also made the recommendation that a small breakwater should be built, because boats at anchor were frequently damaged because of a lack of one. From the seaward side, access was along La Bouque - a narrow, safe passage about three-quarters of a mile long through the reefs.
It was here at L’Etacq that in the late 1820s Philip Hacquoil built three boats – all just over 30 feet (9½ metres) and about 14 or 15 tons. These were the Friends and the Dophin in 1825, and the Hope three years later. In 1831 the Dolphin, which was owned by Philip Perree and his son, was seized and condemned for smuggling.
Further to the south is an area known as La Saline, which is where salt was collected by evaporating seawater from very shallow pools. This was first mentioned in 1248. Access to the beach here was improved in 1856 when the slipway - La Montée de la Brequette - was built. Near the slip, a house was built just after the Great War, to look like an early 19th century fort, complete with loopholed walls. It took its name from the field behind it - Le Petit Fort. In recent years a modern house has been built, destroying the illusion.
Beyond La Saline the place names give a clue as to the characteristics of the area: Les Laveurs was where the waves surged up the beach washing the shingle, La Crabiére took its name from the offshore rocks where crabs were caught and, just over the parish boundary, by the southern end of St Ouen's Pond, L’Ouzière, which took its name from the English word ‘ooze’, because before the sea wall altered the make up of the beach, this area was quite muddy.
For a long time this northern half of the bay was thought to have protection enough from any attempted enemy landing from the reefs running down from L’Etacq. A French map of the island dated 1757 shows the only defensive structure in the bay was a redoubt holding four cannons, in the vicinity of La Tour Cârrée, or The Square Tower. The current building, which is more of a blockhouse with loopholes for musketry than a tower, was put up in 1778. The following year, three 24-pounder cannons - referred to as the North Battery - were placed in front of it. Today it is painted white and black on the seaward side, as a navigation mark, and since 2007 it has been part of the Jersey Heritage holiday lets scheme.
With the growing tension following the attempted landing in the bay in 1779, and the Battle of Jersey two years later, further batteries were built. Among these, close to where Lewis’s Tower now stands, was the Du Parcq Battery. Named after Jean du Parcq, the Rector of St Ouen, who, during an attempted French landing in 1779, brought down several artillery pieces to form a battery on the beach. Originally it had three small-calibre guns and two 8-pounders, but by 1787 these had been replaced by three 24-pounders on a wooden platform behind a turf rampart.
During the 1830s, following a report that highlighted the threat posed by ships carrying larger calibre guns, which could hold position beyond the reefs and bombard the coast, these batteries were replaced by three of the last Martello towers to be built in Europe – Kempt Tower, Lewis Tower and L’Etacq Tower. The work on all three was supervised by Colonel G G Lewis, the Commanding Officer of the Royal Engineers in the Island, but the actual construction was carried out by local builders.
L’Etacq Tower was demolished by the Germans in 1942 to make way for a bunker housing a 105mm coastal gun. Since 1980 this has housed Faulkener Fisheries' vivier. As it was situated on the point at L’Etacq overlooking the small haven, it was also known as Le Havre Tower. Built by John Benest in 1833 for £840, it was armed with a single 24-pounder gun set on a traversing platform on the roof, and was garrisoned by a sergeant and twelve men.
Like the other towers in the island, once Britain and France became allies in the 1850s it was allowed to fall into disrepair; the War Department actively began to get rid of them after the Great War.
Work on Lewis’s Tower started in May 1835, but the builder Jean Gruchy, stopped work in June when Philippe du Heaume, the Seigneur of the Fief of Morville and Robilliard, raised the Clameur de Haro. His claim was upheld, and he received 600 Francs compensation. Work resumed in July that year. By spring 1837 it was nearly finished, although the ground floor magazine needed to be completed, as did the water cistern.
Jean Gruchy received £780 for his work, but within two years the Royal Engineers were complaining that it was not weather-tight and requested that a coating of cement be applied to reduce the problem of damp. During the Occupation a concrete extension was added to house a searchlight as it was part of Resistance Nest Lewis Tower, which also included the nearby bunker, with its 105 mm gun and 4.7 cm Pak 36(t) anti-tank gun. The bunker is now home to the Channel Islands Military Museum.
As the amount of leisure time increased in the years after the Great War, the dunes around the bay became dotted with beach chalets of all descriptions. Most were cleared by the Germans, although the more substantial chalet, popularly known as the Barge Aground, because of its shape, still remains. More correctly known as ‘Seagull’ it was built for Mr G L Cox by Mark Amy Ltd in 1935. During the Occupation it was used as a canteen by the Germans, and from the 1970s until 2001 it was used by the island Scout Association. Since 2006 it has been self-catering holiday accommodation.
Shipwrecks
The rocks and reefs of this part of the bay have seen their fair share of shipwrecks. In 1859 the 113-ton racing schooner, belonging to the Royal Yacht Squadron, Alca sank off L’Etacq. Her owner Mr Delmé-Radcliffe, his guests and crew took to the boats. All 14 people on board were saved.
A more recent wreck was the 76-ton ketch Hanna, of Poole, which struck the reef a quarter of a mile off L’Etacq just before midnight on Saturday 19 November 1949. She was carrying a cargo of limestone from Brixham to St Helier. Her crew of three were rescued by the Lifeboat RNLB Elizabeth Rippon but the vessel was a total loss.
La Rocco
About half a mile straight out from Le Braye slip lies a natural outcrop of Jersey shale La Rocco - from Rocque Hou which means ‘the rocky islet’. The northern side of this islet is called La Joue, the ‘prow’, from the way it presented itself to the incoming swell. Because of its position, guarding the approach to the beach, La Rocco was selected as the site for the last of the Conway towers to be built in the island.
CoastMapStOuenS.png
In addition to the usual design, this tower also had a surrounding bulwark for four guns. Work started in 1796 but was hampered by lack of funds, and because of the low wages offered, local stonemasons were not too keen to be involved in the contract either. By 1798 the project had overrun its original budget and the Lieut-Governor had to come up with more money to complete the job. In May 1799 he had to take 15 stone masons to court to get them to complete the job. Finally, at a cost of over £8,000, the work was done and in May 1801 the tower was named after the Lieut-Governor, Lieutenant General Andrew Gordon [1]. Manned by a subaltern, a sergeant, two corporals, a drummer and 18 privates, its armament consisted of five 24-pounders.
It continued to be manned after 1815, and by 1848 a report shows that its armament had been upgraded to 32-pounders. It was abandoned in the 1850s following the improvement in relations with the French, and by 1896 the War Department proposed selling it. The States eventually bought it in July 1922 for £100, with the intention of creating a day-mark for shipping.
Occupation damage
The tower suffered considerable damage during the Occupation when a landmine on the southern side of the bulwark accidentally went off. The popular story is that the damage was caused by German gunnery. Whatever the real story, it was neglect and severe weather over the next few years that caused the extensive damage. A States report in November 1962 noted the damage and, with typical governmental alacrity, in October 1968 it was proposed that the States would pay 50% of the cost of repairs, if the public would pay the other half. A La Rocco Tower Appeal Committee was formed to raise the £17,500 required and, backed by the Jersey Evening Post, raised the money in just under 15 weeks. Rebuilding work began in the late spring of 1969 and was finished in 1972.
In the 1920s the tower was leased to Lady Houston, who used it as her ‘beach hut’. In 1931 she gave £100,000 towards the development of what was to become the Spitfire. In January 1806 the English vessel Adventure, on passage from Malta to London, was wrecked near La Rocco. Captain Watson and all his crew were saved but the ship was lost. The fates were not so kind in March 1861 when the 250-ton French vessel La Cultivateur, sailing from Dublin to Rouen, struck rocks off La Rocco and five of the nine-man crew, despite being able to swim, were drowned. It was not only ships that came to grief on La Rocco: in November 1940 a Dornier 17 crashed here while on a training flight and all four Luftwaffe personnel were killed.
Once completed, La Rocco tower became part of the fortification network in the bay. Just to the south of Le Braye, towards La Carrière, stood St Ouen’s No 6, also known as la Tour du Sud. Built by 1786, the tower was severely undermined by coastal erosion following a high spring tide and violent storm on 19 March 1847. By 1851 half the tower had collapsed, and what was left was used for target practice by the Militia artillery. Today no trace of the tower remains, although there is a marvellous photograph taken just before its destruction.
Quarry
Where the escarpment sweeps back to the coast there was a quarry - La Carrière - and it was here that one of the early gun positions in the bay was sited. In his 1685 report William Salt indicated that two demi-culverins were here. These cannon, which fired an 8-9lb shot, had a range of about a mile, although they were only really effective at up to a third of that distance.
The strategic importance of this area was recognised by the Germans, too, and two massive bunkers, a heavy machine gun position, a personnel shelter and a searchlight bunker were built into La Tête du Nièr Côte behind the anti-tank wall. Known as Resistance Point La Carrière, they are maintained and opened to the public by the Channel Island Occupation Society.
As part of this building work, the slipway known as La Charrière du Mont du Feu was demolished and blocked, although traces can still be seen in and around the anti-tank wall. The name commemorated the du Feu family who owned the land.
The shore alongside La Pulente slip, more properly known as La Montée du Sud, was known as Le Grand Havre, and beyond the slip was Le Petit Havre. While they may not look like harbours to us today, they were recognised landing points in the past. In 1299 records show that duty was collected on a cargo of wine unloaded here.
In 1309 court records mention a wreck at La Pulente, whose cargo was 32 pieces of iron, some verdigris, two barrels of ‘roker’ fish (Thornback Rays), 12 lb of chalk, some ginger, six measures of cinnamon, six measures of pepper (these three spices were valued at 40 livres), six lengths of strong white cotton cloth (dimity), 140 yards of canvas valued at 8 livres, one mast, small logs of timber and a hand wheel.
The fishery survey published in 1872 noted:
"There is but one boat, we found here three or four fishermen from town who frequently visited this bay and told us they considered it the best bay for fish, particularly whiting, but the sea was always very rough and dangerous".
This survey was undertaken just after La Montée du Sud had been completed. This allowed small boats to be hauled up from the beach and more boats began to be used here by the end of the century. The slip also allowed carts easier access to the vraicing area. Marks, such as La Merq de la Charrièrre, just below the slip, were set up among the rocks, which as the tide dropped and they became visible meant vraicing could begin. Sometimes the mark was a designated rock, sometimes it was an iron spike set in the top of a rock.
Like Le Pulec, La Pulente is derived from the Old Norse word for pool and endi the Norse word for end – so it means the pool at the end of the bay. In the 19th century a hotel was built here to cater for the growing number of visitors to the island. In the 1880s the landlord, Thomas Gibaut, was also one of the leaders of a smuggling gang who used the beach to land contraband before distributing it in Town. In June 1889, following a tip-off, the police intercepted a van carrying 20 barrels of illicit spirits in Devonshire Place, outside the home of Gibaut’s father. Inside the house they found another barrel. Altogether over 300 gallons of spirit was recovered.
The hotel was evacuated during the Occupation and partly demolished, before it was gutted of anything burnable during the last winter of the war. Rebuilt in 1946, the hotel to all extents and purposes became a public house.
Thursday 23 April 1896 must have been a slow news day in Guernsey as their newspaper, The Star, reported a nasty incident involving two men at La Pulente the previous Sunday. While riding their tandem, a cow had kicked their machine ‘rendering it useless, owing to half a dozen spokes being broken’. The traumatised pair had to walk to La Moye Station, carrying their machine with them in order to catch the train back to Town.
The following February The Star also reported the sad fate of John Syvret, who had fallen ‘40ft’ over the edge of the quarry at La Pulente to his death while going fishing. The rather unsympathetic headline read ‘A Ne’er-do-Well’s Sad End’. The headland John Syvret was walking over to get to the beach was L’Oeillière, which means peep hole. This could refer to a pierced rock or more probably some form of early lookout tower.
When you forget to turn off long exposure noise reduction you get interesting things - as I posted in my last example. Get it right, and the trails can be continuous, provided you heed the 600 Rule or rather you'll see, it's not at all related to the 600 rule whether you get gaps. For some tips on creating a stacked star trail as you see here, please see the Stacker's Checklist"
This time I got it right except that I have not cleaned up a few artifacts of the stacking. Do you notice the red artifacts in the dock railing? That's glow from my intervalometer. There is also that strange orange cloud... I consider it character.
© Copyright 2012, Steven Christenson
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All rights reserved. Curious what "all rights reserved means?" it means that without written permission you may not: copy, transmit, modify, use, print or display this image in any context other than as it appears in Flickr.
NEW YORK, NEW YORK - JULY 11: Tina Brown and Emily Blunt speak onstage at the 2022 Freeing Voices, Changing Lives Gala at Guastavino's on July 11, 2022 in New York City. (Photo by Jamie McCarthy/Getty Images for American Institute for Stuttering)
www.youtube.com/watch?v=yFqehlgRAWA&list=UUGxOmjoIx5k...
Made this for Domo but you guys can all enjoy it!
I have the tendency to slightly stutter while speaking English, that's just muh nerves :3
French postcard by A.N., Paris, no. 963. Photo: Paramount. Henry Wilcoxon in Cleopatra (Cecil B. DeMille, 1934).
British actor Henry Wilcoxon (1905-1984) was best known as a leading man in Cleopatra (1934) and many others of Cecil B. DeMille's films. He also served as DeMille's associate producer on his later films.
Harry Frederick Wilcoxon was born on 8 September 1905 in Roseau, Dominica, British West Indies. His father was English-born Robert Stanley 'Tan' Wilcoxon, manager of the Colonial Bank in Jamaica and his mother, Lurline Mignonette Nunes, was a Jamaican amateur theatre actress, descendant of a wealthy Spanish merchant family. His older brother was Robert 'Owen' Wilcoxon. Henry had a difficult childhood. His mother disappeared suddenly and mysteriously when he was about a year old, and his father took him and Owen to England with the intention that his own mother Ann would take care of them. But, because his mother was too frail to care for the children, they were first sent to a foster home, where they became ill from malnutrition and neglect and they were moved on to an orphanage. There, Harry suffered from rickets, and Owen developed a stutter and had epileptic fits. They were rescued from the orphanage to a new foster home. After several years Harry's father 'Tan', with his new wife Rosamond took the children home with them to Bridgetown, Barbados, where they were educated. Harry and Owen became known as 'Biff' and 'Bang' due to their fighting skills gained in amateur boxing. After completing his education, Wilcoxon was employed by Joseph Rank, the father of J. Arthur Rank, before working for Bond Street tailors Pope and Bradshaw. While working for the tailors, Wilcoxon applied for a visa to work as a chauffeur in the United States, but upon seeing his application refused, turned to boxing and then to acting. His first stage performance was a supporting role in an adaptation of the novel The 100th Chance, by Ethel M. Dell, in 1927 at Blackpool. He joined the Birmingham Repertory Theatre the next year and toured for several years. He found critical success playing Captain Cook in a production of Rudolph Besier's The Barretts of Wimpole Street at the London Queen's Theatre alongside Cedric Hardwicke. In 1932, He played at the Queen's Theatre in Sir Barry Jackson's production of Beverley Nichols' novel Evensong alongside Edith Evans.
In 1931, Harry Wilcoxon made his screen debut as Larry Tindale in The Perfect Lady (Frederick J. Jackson, Milton Rosmer, 1931), followed by a role opposite Heather Angel in Self Made Lady (George King, 1932), alongside Louis Hayward. In 1932, he appeared in The Flying Squad (F.W. Kraemer, 1932), a sound remake of a 1929 silent film based on the novel by Edgar Wallace. Altogether he made eight films in Britain till 1934. In 1933, a talent scout for Paramount Pictures arranged a screen test which came to the attention of producer-director Cecil B. DeMille in Hollywood. He cast Wilcoxon as Marc Anthony in Cleopatra (Cecil B. DeMille, 1934) opposite Claudette Colbert as the man-hungry Queen of Egypt. Harry was renamed by DeMille for the role and from then on he was Henry Wilcoxon. He was next given the lead role of Richard the Lionhearted in DeMille's big-budget spectacle The Crusades (Cecil B. De Mille, 1935) opposite Loretta Young. That film, however, was a financial failure, losing more than $700,000. After the lack of success of The Crusades, Wilcoxon's career stalled. He starred in a number of B-films, like The President's Mystery (Phil Rosen, 1936) and Prison Nurse (James Cruze, 1938) for Republic Pictures, and he portrayed the supporting role of Maj. Duncan Heyward in the commercially successful Last of the Mohicans (George B. Seitz, 1936) starring Randolph Scott. Wilcoxon himself called 'his worst acting job' Mysterious Mr. Moto (Norman Foster, 1938) featuring Peter Lorre. That year, he also played in If I Were King (Frank Lloyd, 1938) with Ronald Colman, and featured in Five of a Kind (Herbert I. Leeds, 1938) with the Dionne quintuplets. In Great Britain, Wilcoxon appeared as Captain Hardy in Lady Hamilton (Alexander Korda, 1941), alongside Laurence Olivier and Vivien Leigh. When America entered the World War II in December 1941, Wilcoxon enlisted in the United States Coast Guard. He served with the Coast Guard until 1946, gaining the rank of Lieutenant. During his period of service, he had three films released in 1942, among them Mrs. Miniver (William Wyler, 1942), which received considerable public acclaim, as well as six Academy Awards. Wilcoxon, in his role as the vicar, re-wrote the key sermon with director Wyler. The speech made such an impact that it was used in essence by President Roosevelt as a morale builder. Upon his return from war service, Wilcoxon picked up with Cecil B. DeMille with Unconquered (Cecil B. DeMille, 1947), starring Gary Cooper. After starring as Sir Lancelot in the musical version of Mark Twain's A Connecticut Yankee in King Arthur's Court (Tay Garnett, 1949) with Bing Crosby in the title role, he featured in DeMille's Samson and Delilah (Cecil B. DeMille, 1949). Wilcoxon returned to England to feature in The Miniver Story (H.C. Potter, 1950), a sequel to the multi-Oscar-winning Mrs. Miniver (1942) in which he reprised his role as the vicar opposite Greer Garson. In the late 1940s, young actors and actresses came to Wilcoxon and wife Joan Woodbury and asked them to form a play-reading group which in 1951 became the Wilcoxon Players.
Henry Wilcoxon played a small but important part as FBI Agent Gregory in DeMille's The Greatest Show on Earth (Cecil B. DeMille, 1952), on which he also served as Associate Producer. The film won the Academy Award for Best Picture in 1952. He also acted as associate producer on, and acted as Pentaur, the pharaoh's captain of the guards in DeMille's remake of his own The Ten Commandments (Cecil B. DeMille, 1956). Wilcoxon was sole producer on The Buccaneer (Anthony Quinn, 1958), a remake of DeMille's 1938 effort, which DeMille only supervised due to his declining health while his then son-in-law Anthony Quinn directed. After DeMille died, Wilcoxon worked on a film based on the life of Lord Baden-Powell, founder of the Boy Scout movement, which DeMille had left unrealised, and was also ultimately abandoned. After a relatively inactive period, Wilcoxon appeared with Charlton Heston in The War Lord (Franklin Schaffner, 1965). He was co-producer on the TV tribute The World's Greatest Showman: The Legend of Cecil B. DeMille (1963). At the opening of the DeMille Theatre in New York, he produced another short film. In the last two decades of his life, he worked sporadically and accepted minor acting roles in TV shows including The Big Valley (1965), I Spy (1966), It Takes a Thief (1968), Gunsmoke (1970), Lassie (1973), Cagney & Lacey (1982), and Private Benjamin (1982). He also appeared in a few films films, including F.I.S.T (Norman Jewison, 1978), starring Sylvester Stallone. He also had a memorable turn as the golf-obsessed Bishop Pickering, struck by lightning, in the slapstick comedy Caddyshack (Harold Ramis, 1980) with Bill Murray as his caddy. His final film was Sweet Sixteen - Blutiges Inferno (Jim Sotos, 1983). By loaning money from his early film acting, Wilcoxon assisted his brother Owen to establish himself in 1931 as a partner in the Vale Motor Company in London, and for a short time he showed a personal interest in the development of their sports car, the Vale Special. At that time his girlfriend was a London-based American stage actress Carol Goodner. Wilcoxon married 19-year-old actress Sheila Garrett in 1936, but they divorced a year later. In 1938 he married his second wife, 23-years-old actress Joan Woodbury. They had three daughters: Wendy Joan Robert Wilcoxon (born 1939), Heather Ann Wilcoxon (1947) and Cecilia Dawn 'CiCi' Wilcoxon (1950). The couple divorced in 1969. Henry Wilcoxon passed away in 1984 in Los Angeles. He was 78 years old and had been ill with cancer.
Sources: The New York Times, The Scott Rollins Film and TV Trivia Blog, Wikipedia and IMDb.
“You know I like to use that time to prepare for my afternoon classes,” she protested.
“Make an exception, for me?” he wheedled, fastening the pasha’s diamond pendent around her throat so that the lovely jewel nestled just between her breasts.
Her breathing stuttered and the blood drained from her face at the sight of the gem.
“Where did you get this?” She had gone ashen-pale.
“In Armenia-”
“From my Uncle Krikor,” she whispered, fingertips hovering over just over the pendant. “His finest work.”
“He remembered you fondly, mogliettina,” he replied uncomfortably, cursing his stupidity for not realizing that she would recognize her uncle’s necklace.
But you knew she’d recognize it, didn’t you? You knew she would know how I got it and you wanted to make sure I couldn’t hide my sins from her. Clever old devil.
“He said he liked the idea of you wearing a necklace made for a pasha’s wife while you played on the floor with our children.”
A small, shaky laugh, pitched high and nervous, escaped her lips. “That sounds like Uncle Krikor.”
He smiled hesitantly, unsure how to gauge her response, and slid his hands over her upper arms to rub her shoulders. Her body was tense, but she permitted his touch. He pressed gentle kisses against the side of her neck, working his way up to her cheek. This wasn’t the reaction to the necklace he had expected. He thought she’d be delighted to receive such a beautiful and valuable gift, that his gesture would be rewarded with affection, praise, maybe even sex – if she liked it enough – that it would make her happy; he wasn’t prepared for her to react with thinly veiled shock and horror. He hoped he hadn’t made things worse.
“He’s dead then, isn’t he; him and all of my cousins. This wouldn’t have come to me otherwise,” she said softly, unflinchingly meeting his eyes in the mirror.
He looked away first.
- The Garden Season 2
When you forget to turn off long exposure noise reduction you get interesting things. Or I should say maddening gaps in trails.
Apparently I didn't read my own "Stacker's Checklist"! In my defense, I've been shooting the Milky Way quite a bit and sometimes do use LENR for that task (see my previous post)
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All rights reserved. Curious what "all rights reserved means?" it means that without written permission you may not: copy, transmit, modify, use, print or display this image in any context other than as it appears in Flickr.
[18:32] Cephas Loire gurgles a wet cacophony of chuckles, this time actually standing his ground and allowing the bullets to enter his abdomen. A heavy metallic thud resonates as the rounds bounce off the lieanr frame beneath. "Going to take more then....", he stutters a moment, coughing up a little blood, "...then that, little kitty. Catwalkers don't understand warfare, trying to grasp straws, house of cards. Wait until shipment comes, going to blow your fucking house of cards down." He reaches up, drawing the machette, "Going to give you one more chance to go lay in corner like little kitty...", he inhales, stiffling another cough, "...little song...little dance...big knife jammed down yer pants."
[18:35] Bailey Dazy continues to stand her ground on the ramp of the den. She knows if she backs down now, the den and her own ego will be lost forever. She doesn't have much more protection. She realizes she doesn't have any more bullets in her pistol, not like they were doing much anyway. She holsters it and reverts to the lone weapon she has left.... her hand made metal claws. 8 inches in length and razor blade sharp... She crouches with her claws extended... she'd be ready to pounce directly on top of him. "You may get too much sexual enjoyment from that."
[18:38] Cephas Loire extends his tongue, still dripping with regurgitated blood and bile, "Rather like pussy pussy...", he hisses menacingly, "..count self lucky caught me on good day or would have rippe dyou apart already." He takes a step closer, tilting his head, twirling the machete playfully, "Random shit happens all the time, shiv? SOmetimes it finds you...", he takes another step, "Sometimes foolishly go out looking for it."
[18:44] Bailey Dazy focuses her eyes on the intruder, her mind turning feral, words are hard to come by at this point as all her brain can think is 'kill, kill, kill' "You.... you're foolish... you... you come here. YOU LEAVE!" She roars with the last statement, as she leaps downward aiming directly for his head, should she succeed she may dig deep in with her claws.
[18:44] Bailey Dazy has nothing but revenge on her mind right now
[18:50] Cephas Loire growls loudly, announcing his own intent. He veers back, the claws missing his head but imbeding themselves instead in his chest, stopping short when they riccochete off the frame beneath. He growls again, slamming his head into hers, apparently not at full force or it would've caved in her entire skull. The impact dislodges her claws, he in turn crouching slightly, taunting her to continue with a beckoning hand.
[18:53] Bailey Dazy feels her feral adrenline rushing but the blow to the head takes quite a bit out of her... She stumbles back, and away from the edge of the catwalk. She all but pins her back to the wall... she hears Shadows cheering but it echoes in her ears. She reaches forward with her paw making an attempt to slice her bladed claws across Cephas's face. It's not until she nearly slaps him that she realizes she's unarmed.
[19:03] Cephas Loire leans into the path of her attack, allowing her hand to make contact with his ice cold synth flesh. He chuckles in amusement as he lashes his hand out to grab her wrist in a vice like grip. “See darkness in your eyes…”, he snarls, his voice heavy with intent, malice, “The cold, suffocating dark goes on forever and we are alone. Live our lives, lacking anything better to do and devise reason later.”, he pulls her towards her, her body whipping at him like a ragdoll, “There is nothing else. Existence is random, has no pattern save what we imagine after staring at it too long.”, he brings the machete up, relishing as she wriggles in his grasp, “No meaning save what we choose to impose.” At that he punctuates the remark by bring the blade swiftly down in a shallow arc, gleaming the flesh of her throat open, parting it in a smooth, glistening red line.
Washpool National Park, New South Wales.
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1961; The Case of the Stuttering Bishop by Erle Stanley Gardner. unknown Artist. Australian edition but printed and made in Utrecht The Netherlands !
so it's been a sl-sl-slow and st-st-stuttering start to the groupie culture again... for some reason it's been slightly intimidating this time around.
i mean it's not as simple as in the old days. back then you'd pour your heart out into an anonymous screen in some dingy net cafe in some dingy alleyway in old delhi or somewhere equally smelly, and press send. 3 days later someone would be guilted into writing back, even though they have 'nothing to say, home is home, same old same old.' these days you have to set up a travelblog, then you have to get everyone to bookmark it, and check it, and then leave comments so that you know you're not just writing to the cybergods who never listen anyway, and of course your parents, who don't really count (sorry folks). and to be honest, travelling with two people is, i suppose quite obviously, completely different to going it solo. i mean, someone already knows about the hell 17 hour ferry bus train trip you just did, so the imperitive to inflict, i mean share, the experience with others is just lacking.
but you know what? 3 days in bangkok in 40 degree heat is just the tonic for someone lacking the writing bug. (net cafes being airconditioned and all, and you might as well use one of the computers, as the proprietors tend to look at you funny if you just sit in the mercifully drycoldairflow, naked.)
so, after the somewhat waffly preamble, let's get started. oh, before i do, let me give you a quick "live" style rundown on what's hot and what's not in bangkok.
HOT: sausages on the charcoal braziers. it used to be squid, now they've got wieners. huh; thaksin sinawatra. that's right, the army's done such a bad job of managing the coup, the people want thaksin back to manage it for them; these weird jammalatra (sp?) amulets everyone is wearing. supposed to confer goodluck. at 2000B each and another 10000B upwards to get them blessed at a temple, thai time magazine is dubbing them the marketing miracle of the century. i think apple is releasing something called the "ipod" here soon. be interesting to see how it goes. this is one scam in thailand i'm glad i'm not in any danger of falling prey to!
NOT: thai people. its 40 freaking degrees and they're walking around in jeans and hiking boots. how do they stay so cool?; taksin. half the people love him as i said. the other half hate him. but it's more complicated than that. i can't keep up. the papers are no good either. the other thing about this preamble is that it reminded me of the new constitution the government is drawing up. the buddhist monks and some lay people (and foreigners!) are lobbying to have buddhism declared the state religion. the kingdom has always been a secular state, so it should be interesting watching the standoff...
ok so, what have jo and i actually been doing? good question, with a short answer - not a hell of a lot. leaving melbourne in ablaze of glory - thanks to all those who turned up to the golden monkey and kicked on into the wee hours - we alighted in singapore and crashed with my new boss-to-be. kicking in a couple of wines to his collection as rent for dumping some bags there (i think this could be a liquid appointment, judging by the stock already amassed), we winged it out for krabi the next day on tiger air. a lovely brandspanker of an A320, with about 30 people on board... for about 70 bucks. you people better pray they set up shop in melbourne, and give jetstar the spanking it deserves.
from krabi we hot ferried it to phi phi, and there the wheels started to fall off, to mix a metaphor 3 ways. some of you will know that i spent a lot of time on phi phi in '01,and to put it mildly, the place has changed. with the exception of a cleared piece of landin one corner of the village (which could be an ordinary construction site), some twisted and distorted building materials, and a heartbreaking baby's grave halfway up to the viewpoint, you'd never know there'd been a tsunami. until you speak to some of the locals, who talk about it quite freely - where they were and what they were doing... some of whom have missing or mangled limbs. so, that was different, but not markedly so. what struck me was the rampant development going on. phiphi was always"touristy". i knew that. but this is different. this is a 4 storey mall (!) being built where "charlie's" used to be. it's tour boats from phuket lanta and krabi converging on phi phi ley at 9.30 in the morning, disgorging orange lifejacketed snorkelling japanese tourists from the back of huge vessels, like they decided to return all the whalemeat in a "molecular food" form. we were lucky to get to phi ley bay by 8.30, and have 15 mins of uninterrupted bliss. but still, who wants to get up early on holidays just to enjoy an island cruise in peace??
so, instead of taking to the water, we took to the roads. hiking down to runtee bay, then over to ton ko bay (or trying to - we got lost and ended up on a new road above town, a massive swath cut into the hillside that bodes only ill for the coming years...). tiring of being tired, we alternated with some serious beach time, but really, unless you can escape the main village, the beaches at phi phi aren't all that crash hot.
so, we bailed to ko lanta, south of phi phi, which is only accessible in the dry season.
there's a weight on my wrists
the gentle pricks of fingertips
the gravitational friction
feather boa constriction
stuttering tongues with strangulated diction
I'm learning a lot from what I don't do
call me a liar, but I've been believed
by more truthful men than you
I made it through on feelings and false starts
but in the process of climbing, I'm falling apart
shouting out encouraging words
that get pecked on the way
by noise-canceling birds
I'm running out of hate
I love before I land
I feel like a boy
my flight is unmanned
stretched beyond
all coming back
a lone wolf lonely
at the center of the pack
when I stretch my jaw to howl
I feel my spirit crack
I don't think that's a metaphor
but I can't say for sure anymore
I'm raging in this room
in the midnight of the moon
I've forgotten forever
what peace was for
I'm making my treaty with war
© Steve Skafte
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Ex Hong Kong Leyland / Dennis Condor at Market and Stutter in San Francisco working for Big Bus Tours.
Voigtlander Vito B : a great little camera from the 1950's , quite often the shutter 'stutters' on the slow speeds. Here's how to get to the shutter to service the mechanism and also clean up the optics. Start by setting focus to 'infinity' & taking out the set screws in the focussing ring (4 screws) using a 'jewellers' screwdriver..by the way ; this camera needs a film to be in place to charge the shutter via the movement of the film on a sprocket wheel.