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Water based oil on canvas, 36" x 48"
Original tiger photograph by Tommy Simms on Flickr.com
The ancestors of modern tigers evolved of 42 million years.
www.livescience.com/17723-sabertooth-cats-powerful-arms.html
Hearing the interview with Alan Rabinowitz on Krista Tippett’s NPR show called, “Being,” touched me on many levels. As a child Rabinowitz was crippled with a stuttering problem that was so severe, they put him in the classes with the kids who had learning problems and forgot about him. He couldn’t speak to people, but he could speak to animals. And as this broken child connected with a broken, caged leopard in the zoo he made a promise. If he could ever complete a sentence, he’d be the voice for the animals. Rabinowitz went on to learn how to control his breath and now he is doing what he said he would do for the big cats. He’s doing it very well. He's got a PhD in Zoology, acts as the CEO for panthera.org, and he's really making a difference. Years later as he’s tracking a wild black panther through the jungle, the panther slips in behind him and he comes face to face with it. Now he measures his spirit to this healthy, wild animal and the story comes full circle. Rabinowitz says this about tigers:
“Spiritually I feel very strongly about the tigers. I think you can drop me off any place in the world and I can tell you if the big cats are around me or not. I have been face to face with wild lions, with wild jaguars, and there is a real energy emanating from them. I’ve been in jungle and watched as big cats move through the jungle and hear all of the animals go silent as the big predator moves through it. The energy in a jungle with big predators is a very, very different energy, and when you truly merge with it and feel it, it’s not a dangerous energy. It’s not a negative energy — completely the opposite. It’s this huge, positive, overwhelming force which humbles you, makes you realize that there are things much greater on the Earth than you.”
Peter Levine wrote one of my favorite books. It’s called, “Waking the Tiger.” Levine talks about the fight or flight response everyone has to a traumatic event. When something bad happens to you and it leaves you paralyzed with fear, the energy of the event slips inside you. It keeps hurting you. You spend all your time replaying the event over and over looking at the situation from different angles to make sure it never happens to you again. Meanwhile it saps your strength. However, if you can look at the event, re-write the story, re-focus the energy and wake the tiger, you can get the energy to move through you instead of letting is get stuck inside you. This process makes you strong. Learn how to re-create yourself. Learn how to re-create the world by waking the tiger and facing what paralyzes you.
It really works. I had a healthy case of PTSD from a car accident as a child. I connected with parrots to make myself strong. I helped write a book that rocked the avian world. When I was in a second car accident a few years ago, I knew what to do. I avoided a lot of the pitfalls I stepped directly into as a much younger person because I moved the energy differently. And now when I look at the gut wrenching incident at Zanesville, Ohio where all those animals got shot. I watch how the pain disappears from the horizon but still rolls around in our psyches and I simply must say out loud it’s not enough to witness the event. We have to do something with it.
Here's the link for Krista Tippett's show
being.publicradio.org/www_publicradio/applications/formbu...
Beth Martell - Your Voices, Your Stories | A Voice for the Animals with Alan Rabinowitz [onBeing.or
being.publicradio.org
With the extinction of the tiger so close, transforming our own hearts is paramount.
Ex Hong Kong (China Motor Bus) Leyland / Dennis Condor at Market and Stutter in San Francisco working for Big Bus Tours.
Ex Hong Kong (China Motor Bus) Leyland / Dennis Condor at Market and Stutter in San Francisco working for Big Bus Tours.
While I was photographing Wheatears, this beautiful male Yellowhammer alighted briefly on the tattiest piece of bailer twine but I quite liked the depth perspective so decided to upload. Yellowhammer is another name that has been in use since the sixteenth century. Here in Yorkshire I hear people call them Yellow Buntings and I used to think how old fashioned it was, but Yellow Bunting wasn't recorded in print until about 200 years after Yellowhammer.
This was one of the first bird songs that I learnt as a child. It is usually rendered "a little bit of bread and no cheese" but only the cheese bit chimes with me. To my ears the song is a slow stutter with a drawn out cheeeese at the end.
Yellowhammers thrive wherever there is a mixture of arable land and grassland, which is none too frequent in this era of specialised farming. Numbers have declined by more than 50% over the past 50 years or so, and the main range contraction has been in the upland fringes and the west where livestock farming has squeezed out arable. They can usually find bits of grassland (where they feed on large insects like grasshoppers and beetles) tucked among intensive arable areas.
Busy Gothenburg intersection at night.
Nikon D600, 24mm f/1.4.
Video recorded at 1080p30, 1/30s, f/1.4, ISO1000.
Video speed-up with ffmpeg command-line tool:
ffmpeg -i IN.MOV -filter:v "setpts=0.1*PTS" -an OUT.MOV
Post-speedup stabilization in iMovie to counter cheap timelapse rotator stuttering. I have heard of a ffmpeg video stabilization filter, but I have not had any success with it yet. Anyone tried that with good results? Please let me know. :)
This is the time lapse movie I made of the rock sculpture I did yesterday. You're probably getting bored of me saying it but click play then pause to download the video then once downloaded you view it with stuttering. And you'll need to play it twice. The first time it plays an AVI it seems to go at 4 times the speed it should. The second time should be fine. I have no idea why.
It was interesting to see that the rainbow arches I made yestreday weren't very popular despite getting a few views. That is very useful feedback for me so thank you. I hope that it means that the comments I do get are genuinely because you like something and if you don't like something as much then you don't favourite or leave comments. I really hope my assumption is correct because it should mean what you are writing are genuine, useful comments rather than just being nice!
There were a lot of people around yesterday in the park and I felt rushed and a bit pressured and didn't put enough effort into all the things I normally would. I think it shows and it seems so do you. Resting on my laurels (as opposed to making something out them!) is not good and constructive feedback will keep me focussed on doing what I do to the best of my ability.
Also please know that I do read every single one of your comments with great interest and I really appreciate the time that everyone gives to write comments on my pictures. I may not answer everyone individually (but I would like to) but I take a lot of notice of what every single person writes. I appreciate it a great deal.
I had many 100's of new contacts made last weekend and it will take me a good while to be able to look at everyones photos as I like to do. So please don't think I am ignoring anyone or not grateful for the kind words you all have left me, its just that I am a bit swamped at the mo and have too many projects on the go at once. A lot of my effort is going into two books I am compiling at the moment, I hope to have them finished soon.
It is also quite challenging to keep coming up with new and different ideas whenever I make something so it may be time to step back for a little while and refresh my inspiration. (However I am always saying that as I expect my ideas to dry up any moment as I don't know where they come from but the ideas do seem to keep coming)! So I hope everyone sticks around if I do take a short break, I still want to share what I do with everyone if you want me to.
A few hours sat at my desk at work will soon put me in the right frame of mind though. It only takes a little pointless shuffling of papers to help me come up with some fresh ideas to carry out! Who would work a job with so little creative content? Me and countless millions of others I am sure.
Have a nice rest of the weekend whatever you are up to.
Richard.
Ps. Apologies for the lack of humour but my comedy writer has gone on holiday!
non-woven landscaping (ground cover, weed control) membrane, weatherings, encrustations and other cumulative stutterings and insults
Niihama / Cambridge
20 August 2018
Ipswich 3-0 Wolverhampton
Ipswich survived an early onslaught, including a missed penalty by Freddy Eastwood, to rack up a tenth successive home win and move into the play-off places.
The visitors will feel hard done by as they could easily have been a goal or two up early on, but once Ipswich got a foothold in the game, they rarely looked like letting it slip.
Strike pairing Alan Lee and Pablo Counago scored in a ten-minute spell either side of half-time and substitute Danny Haynes sealed the points with a third in stoppage time.
Wolves looked to have made the best possible start when Fabian Wilnis left a back-pass to goalkeeper Neil Alexander short, Michael Kightly nipped in and Alexander clipped him to concede a spot-kick.
However, Eastwood's stuttering run-up didn't fool the home keeper, who made his second penalty save of the week by diving to his right to beat away the Wales international's poor effort.
Still Wolves continued to pour forward, but Ipswich steadily worked their way into the game and Sylvain Legwinski was only narrowly off target with a glancing header from an Owen Garvan cross.
Wayne Hennessey fielded a couple of tame Counago shots before being beaten on 42 minutes when Garvan's through ball played in Lee who held off Jody Craddock's challenge before curling the ball beyond the keeper with the outside of his boot.
Alexander gathered a Karl Henry shot at the second attempt and made a better save from a Jay Bothroyd piledriver, palming the strike up in the air and then grabbing it right on the line as Eastwood closed in.
Wolves sent on Mark Little and Matthew Jarvis for Craddock and Eastwood respectively at the break, but it was the hosts who started the period the stronger.
Garvan and Lee went close for Town, before, on 52 minutes, a quick Jon Walters throw was collected by Counago and the Spaniard tricked his way beyond Darren Ward before slamming past Hennessey.
Wolves tried to rally and Bothroyd had the ball in the net from a Seyi Olofinjana cross but was well offside, before Town almost added a third when Counago slid in to meet Billy Clarke's cross but fired wide.
After that, Town held on pretty comfortably, and looked far more likely to score again themselves with Legwinski's volley clipping the bar from 20 yards before Haynes sealed it with a clever breakaway goal in stoppage time.
Ipswich's run of home successes is now the joint second best in their history, with only the 15 home wins in a row by Sir Bobby Robson's 1980-81 side now above the current team's achievement.
SportBox.tv
c/o prideofanglia.com
So, it appears you have decided to dry-mount yourself into being. After a stuttering start you have, perhaps, found your beginning. You have decided to submit yourself to a Galápagos finch spreadeagling, a pinning to a specimen board, a desiccated permanence, exposed to the inquisitional gaze of the curious.
It’s not like it’s the first time you have been dry-mounted.
You realise that all anomalies will be on show, everything that marked you out as ‘strange’, and set you on your relentless choiceless course. The microscope will show that shrunken hippocampus, whilst the descriptions will provide some evidence of coping mechanisms generated to deal with that particular state and its nascence.
You have collaborators in this self-pinning, you hand-picked women for that role, three mainly, but there have been others. You ‘choose’ women, from outside family, for their caring and delicacy. This generated itself naturally because for the most part, you don’t like men, or rather you don’t trust them. There have been a few exceptions, of course, and perhaps there will be more of that later.
Rack,
Now I'm worried about you and glad I'm coming over soon. Don't croak, but I'm sure that's not immediately imminent. Fuck this lurgy! I'm going to phone you this evening because e-mail is not enough, and I want to hear your voice reassuring me, or telling me that you are scared, or whatever. You know you upset me but that's only because I love you too much and I know you might need a sounding board to share your fears with. Thank God (who?) for your ‘him indoors’. I hope he's managing OK. I wish you were here, but I recognise that this is just a selfish wish. I will see you again very soon. Galvanised to write, eh? Write then. Write to me. Let's write an e-mail novel together; a sort of 'Les Liaisons Dangereuses' with contemporary STD undertones...sounds a bit like ‘Rent’, doesn't it?
Talk to you later
Your Bilious Ruin xxx
PS: I didn't get your last missive.
The unravelling began casually, or in retrospect it seemed casual, even though it began with the spectre of mortality looming. They had already been through this too often together in their history, their shared story. That tale embraced tragedy and humour early on, in fact from the first day, or at least from that day when she impressed herself on his consciousness indelibly. Ruin guessed she had been a presence before that, but only one that merged attractively with all that was exciting about negotiating a new and bohemian life in New York City in 1987.
Central to that excitement was another plague. This lurgy was different from the one we are all, universally, enjoying now. It was a plague with an added sting, that stigma generated by the unfortunate entanglement of sex and shame in the human psyche, that particular hatred of one’s own needy, hormonally generated, essence.
"The vampire finch is sexually dimorphic as typical for its genus, with the males being primarily black and the females grey with brown streaks. It has a lilting song on Wolf, a buzzing song on Darwin, and whistling calls on both islands; only on Wolf, a drawn-out, buzzing call is also uttered."
The Divine Wiki
I hereby extend to you a heartfelt welcome to this spiralling, purple, display-case of our dry-mounted utterings, stutterings, liltings, whistlings, buzzings, and drawn-out vampiric screechings, permanently fixed in this skewered skewwhiff comedy of missteps and celebratory 'fatal' errors.
He loved words. That, he learnt much later, would be his undoing. At some point the words got stuck. He wasn’t sure when that happened, it might have been in the fallopian tube, it might have been much earlier. He didn’t remember when they first began to tumble out, or stutter out rather. To begin with there were so few of them, but at the same time he couldn’t recall when they turned staccato, when they had begun to trip each other up, when they started to pile up in his head refusing to let each other fall out of his mouth.
It was usually just one word. The thing was he saw it, that word, coming. Even as he was boasting to his friends about a new adventure, or whatever, he could see it coming. I say that word, but in truth, there were a lot of them, and one word would be fine one day, and on another could quietly set up a barricade in his throat and refuse to budge. Some words were impossible, his own name for Christ’s sake, why the hell would that get stuck? His own name in Gaelic was even worse, but that’s jumping ahead.
Anyway, in the long run, he ended up with all these words stuck up inside his head, all blocked by one little bastard of a word flicking his epiglottis and making a ridiculous noise there, impersonating a machine gun in his throat. It hurt too, that stoppage, or rather those far from standard stoppages.
However, he had realised lately that he wasn't going to let pronouns, or any other words for that matter, stop him now. This was a new talking anyway, this was a talking to himself. It was a talking he was doing with a keyboard on a screen, stuttering didn't matter at all, at all. There was sometimes a hesitancy, but that could always be corrected, nudged into a type of flowing. He knew no one was listening anyway, so it didn't matter. This was a new sort of freedom.
He knew it would have to become more private as he went along. He was both dreading and looking forward to this.
NEW YORK, NEW YORK - JULY 11: Emily Blunt (C) and AIS board members 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)
In scripted (2013) a 3D sensor uses head-tracking to follow participants’ movements as if from above, and responds by drawing unbroken, charcoal-like lines of their actions, which then fade slowly on a parchment-like background. As we write with our bodies, gesture-tracking software recognizes shapes that resemble letters from the alphabet, projects and speaks them aloud.
=====It's A Bop=====
Bringing You Gestures and Dancers On SL!
You can Buy These On Marketplace!
Stutter-Marianas Trench
marketplace.secondlife.com/p/Its-A-Bop-Stutter-Marianas-T...
NEW YORK, NEW YORK - JULY 11: <> attends 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)
Well, a week of entertaining Pete's son and girlfriend seems to have taken its toll (I just pushed myself too hard. It was totally worth it to have them here).
I'm officially sick, dammit. Runny nose, sore throat, achy and tired. We took them to the airport this evening and tonight I will go to bed early and try to get back into a routine this week!
It might make me feel better if you look at this on black.
The robot’s designation was K-4N, a Bivale prototype engineered for rapid-response logistics and crowd interaction. It was fast, adaptive, and unnervingly strong. But during its first public demonstration, something went wrong. A miscalibrated feedback loop triggered a cascade of erratic movements—arms flailing, legs locking, voice module stuttering in fragmented syllables. Spectators screamed. Engineers panicked. The footage went viral.
K-4N was recalled, quarantined in a lab on the outskirts of Kyoto. The incident was labeled a “behavioral anomaly,” but no one could explain the emotional residue it left behind. Some said the robot looked afraid. Others said it was angry. Most dismissed it as a glitch.
But one engineer, Dr. Sora Ishikawa, saw something else: confusion. Not malfunction, but a kind of existential dissonance. K-4N had been designed to respond to human emotion—but it had never been taught how to feel the absence of it. The crowd’s fear had created a feedback vacuum. The robot had panicked.
Sora made a radical proposal: before reprogramming, K-4N would undergo meditative training. Not as a fix, but as a form of integration. She brought the robot to a Zen monastery nestled in the hills, where an elderly monk named Ryosen agreed to guide it—not as a machine, but as a student.
At first, K-4N’s movements were rigid, its sensors twitching with every falling leaf. But Ryosen did not correct it. He simply sat, breathing.
Waiting. Teaching without words.
Weeks passed.
Then one morning, beneath the maple tree, K-4N lowered itself into the lotus position. Its servos adjusted. Its posture softened. And for the first time, it did not scan or calculate. It simply was.
Ryosen bowed. The robot bowed back.
The engineers called it a breakthrough. Sora called it a beginning.
And somewhere in the moss-covered silence, steel learned to be still.
Postscript: A once-chaotic robot now sits in perfect stillness beside a Zen master. The image feels like the beginning of a new chapter—where AI doesn’t just compute, but contemplates. Where misbehavior gives way to mindfulness. Where the future bows to the ancient.
[Note: To abandon AI robots based on a few unsettling incidents, would be like giving up on a child for stumbling while learning to walk. What’s needed is graceful stewardship, not fear or sensationalism.]
Stuttering, cold and damp
Steal the warm wind tired friend
Times are gone for honest men
And sometimes far too long for snakes
In my shoes, a walking sleep
And my youth I pray to keep
Heaven sent hell away
No one sings like you anymore ...
Soundgarden
Live at the Fox Theater
Detroit, MI
May 17, 2017
Oh I really need to know
Or else you gotta let me go
You're just a fantasy girl
It's an impossible world
All I want is to be with you always
I give you everything
Pay some attention to me
All I want is just you and me always
Give me affection
I need your perfection
Cause you feel so good
You make me stutter, stutter
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...
Enniscorthy edged by battling Bangor by Roger Corbett
Bangor produced an excellent performance against a strong Enniscorthy side to once again come from behind and secure a semi-final place by 14-10.
In contrast to last week, the weather and pitch conditions at Upritchard Park were good. However, Bangor’s preparations got off to a bad start when centre Mike Aspley aggravated an injury in the pre-match warm-up and was unable to play. A quick re-shuffle saw Chris Morgan come in from full back as his replacement, and Adam McCusker taking up the full back role. For Enniscorthy’s part, they came to this fixture on the back of a good run of results in the Leinster League Division 1A, and sitting in second place in that table.
A mistake by Bangor right from the referee’s whistle at kick-off looked to have handed the visitors an opportunity to take the initiative. However, having won the ball back, McCusker put a superb kick deep into the Enniscorthy twenty two that left the defence no option but to put it into touch. The Bangor line-out was taken cleanly by Curtis Stewart, and a maul was formed that surged towards the Enniscorthy line before Jamie Clegg dropped with the ball and scored the game’s first try after just 4 minutes. Mark Widdowson made the conversion, and the score was 7-0.
Within 3 minutes the lead could have been extended when Enniscorthy were penalised for a high tackle. However, this time Widdowson’s kick drifted wide of the posts.
If Bangor thought things were going their way, this soon changed as Enniscorthy gathered themselves and started to gain confidence through a lengthy period of possession, aided in some part by Bangor’s readiness to kick when in possession themselves. The Enniscorthy attack was now causing Bangor headaches, with the result that the penalty count started to rise. Eventually these repeated infringements around the breakdown led to a yellow card being shown to James Henly. Enniscorthy saw this as their opportunity to capitalise, and laid siege to Bangor’s line. Bangor doggedly held their line despite conceding further penalties, and having to defend the resulting line-out and drive combination by Enniscorthy. As Henly’s 10 minute period in the sin bin came to an end, Bangor had somehow managed to hold off the Enniscorthy attack, and had actually managed to turn over the ball, giving them a chance to clear their lines and gather their breath. However, in a bizarre series of events, Ricky Armstrong’s clearance kick was charged down and bounced back towards the Bangor line, only to be gratefully accepted by one of the big Enniscorthy forwards who was still getting to his feet from the preceding ruck. With barely two steps to the line, he touched down for the try, leaving the Bangor players confused and dejected after working so hard to prevent the score. The conversion was missed, keeping Bangor narrowly ahead by 7-5, after 23 minutes.
For most of the remainder of the first half, Enniscorthy kept play in Bangor’s half. Bangor looked dangerous on the counter attack, with some good runs by the wingers Davy Charles and Mark Widdowson. For Enniscorthy’s part, they had several good scoring opportunities but either knocked-on or missed a pass at the crucial moments. A half time score of 7-5 would have been gladly taken by Bangor but, as 40 minutes approached, a lapse in concentration while in their own twenty two, led to a missed tackle which was clinically exploited by Enniscorthy, allowing them to run in for their second try which, although unconverted, gave the lead by 7-10 as the sides turned around.
As has been the case in many other games, Bangor’s second half performance moved up a gear, and it was now the visitor’s line that was coming under attack. Within the first 10 minutes, Bangor looked to be in a good scoring position, but the Enniscorthy defence was equal to Bangor’s first half display. Although unable to break through at this time, Bangor were now looking more confident as the initial Enniscorthy charge appeared to be stuttering. This certainly looked the case when, after 25 minutes had elapsed, the Enniscorthy kicker elected to go for the posts from close to the half way line – a strange decision given the relatively poor conversion attempts earlier. Once again the kick was missed, but Bangor had at least been pushed back into their own half.
As the game entered the final 5 minutes, it was beginning to look like Enniscorthy would hold firm and take the win. However, in a repeat of the exemplary performance displayed at Clonmel in the previous round, Bangor simply lifted their game again and mounted a surge against their tiring opponents. With just 2 minutes of normal time remaining, Jamie Ball gathered the ball at the half way line, and then passed it to Clegg on his left. Leading by example, Clegg went straight, taking the ball past the 10 metre line and drawing the approaching Enniscorthy defender. A well-timed pass to his left was equally well-received by Widdowson on the wing, who rounded his opposite number and sprinted for the line. With little space to work with and the full-back still to beat, Widdowson produced the speed and footwork necessary to take him over the line, to the left of the posts. He then managed to add the icing on the cake with another well-struck conversion which put Bangor ahead by 14-10.
The moments immediately after scoring are particularly dangerous, and with Enniscorthy now throwing everything they had, the remaining couple of minutes were incredibly tense – for both sets of supporters. To Enniscorthy’s credit, they skilfully kept recycling the ball – almost like sevens rugby – bringing the game back into Bangor’s twenty two. But in the end, it was just too much, with Bangor eventually managing to turn the ball over and close out the game, bringing despair and delight in equal measure on the faces of the opposing players.
To the Bangor supporters who had been unable to travel to the game at Clonmel, and who had not fully appreciated the performance there, this brought everything that had been said into focus, and with it the realisation that Bangor now have the ability to go all the way in this competition. With Ulster rivals Clogher Valley and CIYMS, and Leinster high-fliers Dundalk now joining Bangor in the semi-finals, the next hurdle will be equally challenging, but having beaten two of the strongest junior sides in Ireland, confidence is high and everything is now to play for.
Bangor side: J Leary, A Jackson, P Whyte, G Irvine, J Henly, R Latimer, J Clegg (c), C Stewart, R Armstrong, J Morgan, M Widdowson, C Morgan, M Weir, D Charles, A McCusker
Subs: O McIlmurry, F Black, M Crockford, J Ball, M Thompson
Bangor scores: J Clegg (1T), M Widdowson (1T, 2C)
|please read Ta's Story about resilience|
When I was younger, I suffered from a very severe speech impediment, a stutter. So severe, to the point I was physically not able to put words out of my mouth. No matter how hard I tried, the words just got more and more stuck and it got more and more frustrating. So I gave up speaking altogether. Not only was it frustrating, but quite embarrassing. It was during that key time in a kid's childhood when they begin to make life long friendships and I couldn't even introduce myself and say "Hello, my name is Ta." I was bullied and put down for the way I spoke and sounded. It made me become painfully shy and quiet. I see people just throw words around, saying stupid, hurtful things, just to hear the sound of their own voice and taking such a simple ability for granted, speaking. When I tried to speak and voice my opinion, all the eyes in the room began to roll and voices toppled over mine because no one had the patience to hear it. One of the very few people that actually did in fact have the patience wasn't even a person. It was my dog. Dante. Our family got our boxer dog when my stuttering was at it's worst when I was about 7. I spoke to him for hours about my day and how I was feeling. I was able to say what I needed to say and actually get it out before someone interrupted me. I didn't get talked over or made fun. It must sound ridiculous that I spoke to a dog, but Dante was such an incredible listener. I felt I always had his attention. Very recently, we had to put down Dante. He was 11 years old. He was one of my best friends and I miss him terribly. There are a couple good things I got out of my impediment. The first, I realized my passion in life is animals and becoming a veterinarian. How perfect of a job would it be to heal the best listeners, animals! The second, is that silence is golden and many things are better left unsaid. To this day, I fear public speaking and meeting new people. My stutter did continue through elementary school and middle school, and even a little in high school, but less severe due to speech therapy. One of the greatest things I learned in speech therapy is that the people that matter are the ones that care to listen.
British postcard in the Picturegoer series, London, no W 516. Photo: Universal International.
British actor Boris Karloff (1887-1969) is one of the true icons of the Horror cinema. He portrayed Frankenstein's monster in Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939), which resulted in his immense popularity. In the following decades he worked in countless Horror films, but also in other genres, both in Europe and Hollywood.
Boris Karloff was born as William Henry Pratt in 1887 in London, England. Pratt himself stated that he was born in Dulwich, which is nearby in London. His parents were Edward John Pratt, Jr. and his third wife Eliza Sarah Millard. ‘Billy’never knew his father. Edward Pratt had worked for the Indian Salt Revenue Service, and had virtually abandoned his family in far off England. Edward died when his son was still an infant and so Billy was raised by his mother. He was the youngest of nine children, and following his mother's death was brought up by his elder brothers and sisters. As a child, Billy performed each Christmas in plays staged by St. Mary Magdalene's Church. His first role was that of The Demon King in the pantomime Cinderella. Billy was bow-legged, had a lisp, and stuttered. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry. After his education at private schools, he attended King's College London where he took studies aimed at a career with the British Government's Consular Service. However, in 1909, the 22-years-old left university without graduating and sailed from Liverpool to Canada, where he worked as a farm labourer and did various odd itinerant jobs. In Canada, he began appearing in theatrical performances, and chose the stage name Boris Karloff. Later, he claimed he chose ‘Boris’ because it sounded foreign and exotic, and that ‘Karloff’ was a family name. However, his daughter Sara Karloff publicly denied any knowledge of Slavic forebears, Karloff or otherwise. One reason for the name change was to prevent embarrassment to his family. He did not reunite with his family until he returned to Britain to make The Ghoul (T. Hayes Hunter, 1933), opposite Cedric Hardwicke. Karloff was extremely worried that his family would disapprove of his new, macabre claim to world fame. Instead, his brothers jostled for position around him and happily posed for publicity photographs. In 1911, Karloff joined the Jeanne Russell Company and later joined the Harry St. Clair Co. that performed in Minot, North Dakota, for a year in an opera house above a hardware store. Whilst he was trying to establish his acting career, Karloff had to perform years of difficult manual labour in Canada and the U.S. in order to make ends meet. He was left with back problems from which he suffered for the rest of his life. In 1917, he arrived in Hollywood, where he went on to make dozens of silent films. Some of his first roles were in film serials, such as The Masked Rider (Aubrey M. Kennedy, 1919), in Chapter 2 of which he can be glimpsed onscreen for the first time, and The Hope Diamond Mystery (Stuart Paton, 1920). In these early roles, he was often cast as an exotic Arabian or Indian villain. Other silent films were The Deadlier Sex (Robert Thornby, 1920) with Blanche Sweet, Omar the Tentmaker (James Young, 1922), Dynamite Dan (Bruce Mitchell, 1924) and Tarzan and the Golden Lion (J.P. McGowan, 1927) in which James Pierce played Tarzan. In 1926 Karloff found a provocative role in The Bells (James Young, 1926), in which he played a sinister hypnotist opposite Lionel Barrymore. He worked with Barrymore again in his first sound film, the thriller The Unholy Night (Lionel Barrymore, 1929).
A key film which brought Boris Karloff recognition was The Criminal Code (Howard Hawks, 1931), a prison drama in which he reprised a dramatic part he had played on stage. With his characteristic short-cropped hair and menacing features, Karloff was a frightening sight to behold. Opposite Edward G. Robinson, Karloff played a key supporting part as an unethical newspaper reporter in Five Star Final (Mervyn LeRoy, 1931), a film about tabloid journalism which was nominated for the Oscar for Best Picture. Karloff's role as Frankenstein's monster in Frankenstein (James Whale, 1931), based on the classic Mary Shelley book, propelled him to stardom. Wikipedia: “The bulky costume with four-inch platform boots made it an arduous role but the costume and extensive makeup produced the classic image. The costume was a job in itself for Karloff with the shoes weighing 11 pounds (5 kg) each.” The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?." The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. Universal Studios was quick to acquire ownership of the copyright to the makeup format for the Frankenstein monster that Jack P. Pierce had designed. A year later, Karloff played another iconic character, Imhotep in The Mummy (Karl Freund, 1932). The Old Dark House (James Whale, 1932) with Charles Laughton, and the starring role in MGM’s The Mask of Fu Manchu (Charles Brabin, 1932) quickly followed. Steve Vertlieb at The Thunder Child: “Wonderfully kinky, the film co-starred young Myrna Loy as the intoxicating, yet sadistic Fah Lo See, Fu Manchu's sexually perverse daughter. Filmed prior to Hollywood's infamous production code, the film joyously escaped the later scrutiny of The Hayes Office, and remains a fascinating example of pre-code extravagance.” These films all confirmed Karloff's new-found stardom. Horror had become his primary genre, and he gave a string of lauded performances in 1930s Universal Horror films. Karloff reprised the role of Frankenstein's monster in two other films, the sensational Bride of Frankenstein (James Whale, 1935) and the less thrilling Son of Frankenstein (Rowland V. Lee, 1939), the latter also featuring Bela Lugosi. Steve Vertlieb about Bride oif Frankenstein: “Whale delivered perhaps the greatest horror film of the decade and easily the most critically acclaimed rendition of Mary Shelley's novel ever released. The Bride of Frankenstein remains a work of sheer genius, a brilliantly conceived and realized take on loneliness, vanity, and madness. The cast of British character actors is simply superb.” While the long, creative partnership between Karloff and Lugosi never led to a close friendship, it produced some of the actors' most revered and enduring productions, beginning with The Black Cat (Edgar G. Ullmer, 1934). Follow-ups included The Raven (Lew Landers, 1935), the rarely seen, imaginative science fiction melodrama The Invisible Ray (Lambert Hillyer, 1936), and The Body Snatcher (Robert Wise, 1945). Karloff played a wide variety of roles in other genres besides Horror. He was memorably gunned down in a bowling alley in Howard Hawks' classic Scarface (1932) starring Paul Muni.. He played a religious First World War soldier in John Ford’s epic The Lost Patrol (1934) opposite Victor McLaglen. Between 1938 and 1940, Karloff starred in five films for Monogram Pictures, including Mr. Wong, Detective (William Nigh, 1938). During this period, he also starred with Basil Rathbone in Tower of London (Rowland V. Lee, 1939) as the murderous henchman of King Richard III, and with Margaret Lindsay in British Intelligence (Terry O. Morse, 1940). In 1944, he underwent a spinal operation to relieve his chronic arthritic condition.
Boris Karloff revisited the Frankenstein mythos in several later films, taking the starring role of the villainous Dr. Niemann in House of Frankenstein (Erle C. Kenton, 1944), in which the monster was played by Glenn Strange. He reprised the role of the ‘mad scientist’ in Frankenstein 1970 (Howard W. Koch, 1958) as Baron Victor von Frankenstein II, the grandson of the original creator. The finale reveals that the crippled Baron has given his own face (i.e., Karloff's) to the monster. From 1945 to 1946, Boris Karloff appeared in three films for RKO produced by Val Lewton: Isle of the Dead (Mark Robson, 1945), The Body Snatcher (Robert Wise, 1945), and Bedlam (Mark Robson, 1946). Karloff had left Universal because he thought the Frankenstein franchise had run its course. Karloff was a frequent guest on radio programs. In 1949, he was the host and star of the radio and television anthology series Starring Boris Karloff. In 1950, he had his own weekly children's radio show in New York. He played children's music and told stories and riddles, and attracted many adult listeners as well. An enthusiastic performer, he returned to the Broadway stage in the original production of Arsenic and Old Lace (1941), in which he played a homicidal gangster enraged to be frequently mistaken for Karloff. In 1962, he reprised the role on television with Tony Randall and Tom Bosley. He also appeared as Captain Hook in the play Peter Pan with Jean Arthur. In 1955, he returned to the Broadway stage to portray the sympathetic Bishop Cauchon in Jean Anouilh's The Lark. Karloff regarded the production as the highlight of his long career. Julie Harris was his co-star as Joan of Arc in the celebrated play, recreated for live television in 1957 with Karloff, Harris and much of the original New York company intact. For his role, Karloff was nominated for a Tony Award. Karloff donned the monster make-up for the last time for a Halloween episode of the TV series Route 66 (1962), which also featured Peter Lorre and Lon Chaney, Jr. In the 1960s, Karloff appeared in several films for American International Pictures, including The Comedy of Terrors (Jacques Tourneur, 1963) with Vincent Price and Peter Lorre, The Raven (Roger Corman, 1963), The Terror (Roger Corman, 1963) with Jack Nicholson, and Die, Monster, Die! (Daniel Haller, 1965). Another project for American International release was the frightening Italian horror classic, I tre volti della paura/Black Sabbath (Mario Bava, 1963), in which Karloff played a vampire with bone chilling intensity. He also starred in British cult director Michael Reeves's second feature film, The Sorcerers (1966). He gained new popularity among a young generation when he narrated the animated TV film Dr. Seuss' How the Grinch Stole Christmas (Chuck Jones, Ben Washam. 1966), and provided the voice of the Grinch. Karloff later received a Grammy Award for Best Recording For Children after the story was released as a record. Then he starred as a retired horror film actor in Targets (Peter Bogdanovich, 1968), Steve Vertlieb: “Targets was a profoundly disturbing study of a young sniper holding a small Midwestern community, deep in the bible belt, terrifyingly at bay. The celebrated subplot concerned the philosophical dilemma of creating fanciful horrors on the screen, while graphic, troubling reality was eclipsing the superficiality so tiredly repeated by Hollywood. Karloff co-starred, essentially as himself, an aged horror star named Byron Orlok, who wants simply to retire from the imagined horrors of a faded genre, only to come shockingly to grips with the depravity and genuine terror found on America's streets. Bogdanovich's first film as a director won praise from critics and audiences throughout the world community, and won its elder star the best, most respectful notices of his later career.”. In 1968, he played occult expert Professor Marsh in the British production Curse of the Crimson Altar (Vernon Sewell, 1968), which was the last Karloff film to be released during his lifetime. He ended his career by appearing in four low-budget Mexican horror films, which were released posthumously. While shooting his final films, Karloff suffered from emphysema. Only half of one lung was still functioning and he required oxygen between takes. he contracted bronchitis in 1968 and was hospitalized. Early 1969, he died of pneumonia at the King Edward VII Hospital, Midhurst, in Sussex, at the age of 81. Boris Karloff married five times and had one child, daughter Sara Karloff, by his fourth wife.
Sources: Steve Vertlieb (The Thunder Child), Wikipedia, and IMDb.
Dois textos fundamentais para entender as bases biológicas da gagueira persistente do desenvolvimento:
1) O que a neurociência já sabe sobre a gagueira: bit.ly/NPBThD
2) Pesquisa genética revela face desconhecida da gagueira: bit.ly/SYZU8M
Mayor Bill de Blasio and actress Emily Blunt present Eric Dinallo with an award during the American Institute for Stuttering Award Dinner at Guastavino's in Manhattan on Monday, June 25, 2017. Michael Appleton/Mayoral Photography Office
Based on a delightful song I am hazarding a shaky opinion this is Melospiza melodia. Little brown birds - who knows? But, I took this advice fron the Cornell Lab of Ornithology: "Don’t let the bewildering variety of regional differences this bird shows across North America deter you: it’s one of the first species you should suspect if you see a streaky sparrow in an open, shrubby, or wet area. If it perches on a low shrub, leans back, and sings a stuttering, clattering song, so much the better."
In scripted (2013) a 3D sensor uses head-tracking to follow participants’ movements as if from above, and responds by drawing unbroken, charcoal-like lines of their actions, which then fade slowly on a parchment-like background. As we write with our bodies, gesture-tracking software recognizes shapes that resemble letters from the alphabet, projects and speaks them aloud.
Part of the Temperance Movement "it is said that a plasterer's labourer, named Richard Turner, was accustomed to stutter out in Lancashire dialect his hatred of the 'moderate' doctrine, "I'll hev nowt to do with wi' this moderation -- botheration -- pledge; I'll be reet down tee-tee-total for ever and ever."
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...
ELECTRIC BALLROOM
CAMDEN, LONDON
17TH FEBRUARY 1994
1. SPASTICA
2. ROCKUNROLL
3. LINE UP
4. ANNIE
5. CONNECTION
6. IN THE CITY
7. S.O.F.T
8. STUTTER
9. WAKING UP
10. BRIGHTON ROCK
11. SEE THAT ANIMAL
12. VASELINE
13. STUTTER
ASTORIA LONDON
28TH OCTOBER 1994
1. SPASTICA
2. ROCKUNROLL
3. 2:1
4. LINE UP
5. ANNIE
6. CAR SONG
7. NEVER HERE
8. SEE THAT ANIMAL
9. STUTTER
10. WAKING UP
11. S.O.F.T
12. BLUE
13. CONNECTION
14. VASELINE
On Thursday, I was Professor Allan. I gave Blue a brief, stammer-and-stutter-filled introduction to the basics of photography and how to use her camera. She's got a Rebel XTi, which is the DSLR I started with, and it was really weird to hold one of those again and then hold my 5D. After just a very short while holding the XTi, my 5D suddenly feels enormous and bulky. Holding the XTi, it doesn't feel particularly small, it just changes how I feel the camera I've used nearly every day for the past two years. Weird.
Pôster brasileiro de "O Discurso do Rei" (The King's Speech, Reino Unido, 2010), filme que conta a história do reinado de George VI ("Bertie") — pai da rainha Elizabeth II —, monarca britânico que, apesar de ter disfemia (gagueira persistente), liderou seu país após a grave crise da abdicação, que quase desestabilizou a Inglaterra durante o difícil período que antecedeu a entrada do país na 2ª Guerra Mundial.
Trailer legendado:
www.youtube.com/watch?v=FcwPoPqQDRE
Sinopse do filme:
Bertie (Colin Firth) se vê diante de um grande dilema ao ter de assumir o poder após a morte de seu pai, George V (Michael Gambon), e a escandalosa abdicação de seu irmão, Eduardo VIII (Guy Pearce). Em virtude da disfemia (gagueira persistente) que possui desde a infância, enfrentar um microfone para fazer pronunciamentos à nação representa um desafio maior do que estar em um front de batalha. O ano era 1936 e o Reino Unido vivia um momento crítico de sua história. Preocupada com os percalços que a gagueira traria a Bertie no exercício do poder, com o país à beira de uma guerra e precisando desesperadamente de um líder, sua esposa (Helena Bonham) resolve pedir ajuda a um fonoaudiólogo nada ortodoxo, o australiano Lionel Logue (Geoffrey Rush). Baseado na história real do Rei George VI, o drama nos mostra os bastidores da difícil e desesperada luta do monarca para reencontrar a própria voz e evitar o colapso institucional de seu país.
Sobre a gagueira:
A gagueira é um distúrbio do neurodesenvolvimento que afeta a fluência da fala e pode causar forte impacto negativo na vida da pessoa que gagueja. Dada a importância da comunicação no dia a dia, a gagueira tende a prejudicar consideravelmente a funcionalidade do indivíduo em vários aspectos da vida, sobretudo nos âmbitos acadêmico, social e ocupacional. Assim como o Rei George VI, cerca de 1% da população adulta, em todos os países e culturas do mundo, sofre de gagueira persistente. O distúrbio surge tipicamente na infância, atinge 5% das crianças e persiste na idade adulta em 1% delas. Apesar da prevalência relativamente alta, a gagueira infelizmente ainda não recebe a atenção e o cuidado que necessita. A maioria dos casos tem origem neurológica ou genética e a intensidade dos sintomas pode ser influenciada por fatores como estresse, estado emocional e cansaço físico. Não há cura, mas um bom tratamento pode reduzir a frequência e a severidade dos bloqueios, diminuir a relutância em falar e melhorar a autoestima.