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Stuttering: In a New Light
curated by Michael Benevento
February 29 - April 27
Opening Reception February 29, 7-10PM
8PM live performances with Hank Shedd / Miizzzard / Laure Drogoul / PERGA / Todd Rennie+Mary Anderson / Andrew Shenker's preparation for untuned piano with Lafayette Gilchrist on keys and Mackenzie Astin wind instrument
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Current Gallery in collaboration with Carroll Museums, Inc. is proud to present Stuttering: In a New Light at the Carroll Mansion. An exhibit inserted within the permanent collection and architecture of the museum, which overlaps contemporary artworks with the Carroll Mansion's rich history. Over time, this building has functioned as Charles Carroll's residence last living signer of the Declaration of Independence, a saloon, tenement apartments, a clothing sweatshop, vocational school, recreation center, and historic site.
Featuring:
Andrea BocchioElizabeth McTernan
Jennifer CarinciAdam Montegut
Monique CrabbC. Ryan Patterson
Stephen DewyerStephen Pauley
Alia DiazPERGA
Laure DrogoulHans Petrich
Liz EnszTodd Rennie + Mary Dixie Anderson
Elke GraalfsWill Rockel + Kendra Atkin
Mark P. Hensel aka MiizzzardHank Shedd
Megan HildebrandtAndrew Shenker
Rachel JobeChristine Buckton Tillman
Nick KarvounisVishwam Velandy
Eric Leshinsky
*This exhibition is a collaboration between Current Gallery and Carroll Museums, and will be hosted at the Carroll Mansion,
800 E. Lombard Street, Baltimore, MD 21202
NEW YORK, NEW YORK - JUNE 12: Host Emily Blunt presents an award to Dr. Philip O. Ozuah (L) onstage during the American Institute For Stuttering 17th Annual Gala hosted by Emily Blunt on June 12, 2023 in New York City. (Photo by Craig Barritt/Getty Images for American Institute For Stuttering )
Made in 1962 this 16mm film camera has a 25mm F2.8 (to F16) lens and stutter speeds from 1/5 to 1/200.
I tried to get the whirling prop blades of the Ford Trimotor to trigger my panorama arrow but this is the best I could do. It doesn't come close to Bill Smith's "PropJet" here. Maybe I wasn't close enough. I had an open cockpit window to work with!
www.flickr.com/photos/byzantiumbooks/29264377277/in/pool-...
NEW YORK, NEW YORK - JULY 11: (L-R) Rachel Cortese, Emily Blunt and Tom Cortese 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)
the library project is a project creating a subtle dialogue about the issue of giving,lending and taking.as most of my pieces have a lifespan of a stutter in the street (either because of collectors or weather or the street cleaners), i thought i would try to embrace it and play around with the circumstances. before placing the pieces on the surface, i wrote(for the first edition, but later came up with alternate sentences) "i let you borrow my heart for a while,let others borrow it as well", and then placed the piece over the writing,covering it.
the pieces in this series are applied with double sided tape (which can be easily removed) with some unpeeled scraps of tape on the cardboard left for the borrower to replace anwhere.i think its great if someone wants to take it home, but it raises the conflict of the fact that its in the street for the art to be shared with the people using it.therfore, whoever dispatches the piece can replace it in it original location, or even better, a new location,making him/her part of the arts existence and making it even more part of the collective reality than it was before.
(best viewed large)
Ex Hong Kong (China Motor Bus) Leyland / Dennis Condor at Market and Stutter in San Francisco working for Big Bus Tours.
hypnosistrainingacademy.com/hypnosis-for-stuttering-treat...
As a hypnotist, do you want to help people overcome stuttering? Then, Learn 6 powerful hypnotic techniques that you can use to ease the symptoms of stuttering and possibly even eliminate it altogether. Read the article here to know the facts and choose from a variety of hypnotic techniques to help them cope with their stuttering.
American postcard by American Postcard, no. 36. Boris Karloff in Bride of Frankenstein (James Whale, 1935).
British actor Boris Karloff (1887-1969) is one of the true icons of the Horror cinema. He portrayed Frankenstein's monster in Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939), which resulted in his immense popularity. In the following decades, he worked in countless Horror films, but also in other genres, both in Europe and Hollywood.
Boris Karloff was born William Henry Pratt in 1887 in London, England. Pratt himself stated that he was born in Dulwich, which is nearby in London. His parents were Edward John Pratt, Jr. and his third wife Eliza Sarah Millard. ‘Billy’ never knew his father. Edward Pratt had worked for the Indian Salt Revenue Service and had virtually abandoned his family in far-off England. Edward died when his son was still an infant and so Billy was raised by his mother. He was the youngest of nine children, and following his mother's death was brought up by his elder brothers and sisters. As a child, Billy performed each Christmas in plays staged by St. Mary Magdalene's Church. His first role was that of The Demon King in the pantomime Cinderella. Billy was bow-legged, had a lisp, and stuttered. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry. After his education at private schools, he attended King's College London where he took studies aimed at a career with the British Government's Consular Service. However, in 1909, the 22-year-old left university without graduating and sailed from Liverpool to Canada, where he worked as a farm labourer and did various odd itinerant jobs. In Canada, he began appearing in theatrical performances and chose the stage name Boris Karloff. Later, he claimed he chose ‘Boris’ because it sounded foreign and exotic, and that ‘Karloff’ was a family name. However, his daughter Sara Karloff publicly denied any knowledge of Slavic forebears, Karloff or otherwise. One reason for the name change was to prevent embarrassment to his family. He did not reunite with his family until he returned to Britain to make The Ghoul (T. Hayes Hunter, 1933), opposite Cedric Hardwicke. Karloff was distraught that his family would disapprove of his new, macabre claim to world fame. Instead, his brothers jostled for position around him and happily posed for publicity photographs. In 1911, Karloff joined the Jeanne Russell Company and later joined the Harry St. Clair Co. 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. 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 for Karloff with the shoes weighing 11 pounds (5 kg) each.” The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?." The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. Universal Studios was quick to acquire ownership of the copyright to the makeup format for the Frankenstein monster that Jack P. Pierce had designed. A year later, Karloff played another iconic character, Imhotep in The Mummy (Karl Freund, 1932). The Old Dark House (James Whale, 1932) with Charles Laughton, and the starring role in MGM’s The Mask of Fu Manchu (Charles Brabin, 1932) quickly followed. Steve Vertlieb at The Thunder Child: “Wonderfully kinky, the film co-starred young Myrna Loy as the intoxicating, yet sadistic Fah Lo See, Fu Manchu's sexually perverse daughter. Filmed before Hollywood's infamous production code, the film joyously escaped the later scrutiny of The Hayes Office, and remains a fascinating example of pre-code extravagance.” These films all confirmed Karloff's new-found stardom. Horror had become his primary genre, and he gave a string of lauded performances in 1930s Universal Horror films. Karloff reprised the role of Frankenstein's monster in two other films, the sensational Bride of Frankenstein (James Whale, 1935) and the less thrilling Son of Frankenstein (Rowland V. Lee, 1939), the latter also featuring Bela Lugosi. Steve Vertlieb about Bride of Frankenstein: “Whale delivered perhaps the greatest horror film of the decade and easily the most critically acclaimed rendition of Mary Shelley's novel ever released. The Bride of Frankenstein remains a work of sheer genius, a brilliantly conceived and realized take on loneliness, vanity, and madness. The cast of British character actors is simply superb.” While the long, creative partnership between Karloff and Lugosi never led to a close friendship, it produced some of the actors' most revered and enduring productions, beginning with The Black Cat (Edgar G. Ullmer, 1934). Follow-ups included The Raven (Lew Landers, 1935), the rarely seen, imaginative science fiction melodrama The Invisible Ray (Lambert Hillyer, 1936), and The Body Snatcher (Robert Wise, 1945). Karloff played a wide variety of roles in other genres besides Horror. He was memorably gunned down in a bowling alley in Howard Hawks' classic Scarface (1932) starring Paul Muni. He played a religious First World War soldier in John Ford’s epic The Lost Patrol (1934) opposite Victor McLaglen. Between 1938 and 1940, Karloff starred in five films for Monogram Pictures, including Mr. Wong, Detective (William Nigh, 1938). During this period, he also starred with Basil Rathbone in Tower of London (Rowland V. Lee, 1939) as the murderous henchman of King Richard III, and with Margaret Lindsay in British Intelligence (Terry O. Morse, 1940). In 1944, he underwent a spinal operation to relieve his chronic arthritic condition.
Boris Karloff revisited the Frankenstein mythos in several later films, taking the starring role of the villainous Dr. Niemann in House of Frankenstein (Erle C. Kenton, 1944), in which the monster was played by Glenn Strange. He reprised the role of the ‘mad scientist’ in Frankenstein 1970 (Howard W. Koch, 1958) as Baron Victor von Frankenstein II, the grandson of the original creator. The finale reveals that the crippled Baron has given his face (i.e., Karloff's) to the monster. From 1945 to 1946, Boris Karloff appeared in three films for RKO produced by Val Lewton: Isle of the Dead (Mark Robson, 1945), The Body Snatcher (Robert Wise, 1945), and Bedlam (Mark Robson, 1946). Karloff had left Universal because he thought the Frankenstein franchise had run its course. Karloff was a frequent guest on radio programs. In 1949, he was the host and star of the radio and television anthology series Starring Boris Karloff. In 1950, he had his own weekly children's radio show in New York. He played children's music, told stories and riddles, and attracted many adult listeners as well. An enthusiastic performer, he returned to the Broadway stage in the original production of Arsenic and Old Lace (1941), in which he played a homicidal gangster enraged to be frequently mistaken for Karloff. In 1962, he reprised the role on television with Tony Randall and Tom Bosley. He also appeared as Captain Hook in the play Peter Pan with Jean Arthur. In 1955, he returned to the Broadway stage to portray the sympathetic Bishop Cauchon in Jean Anouilh's The Lark. Karloff regarded the production as the highlight of his long career. Julie Harris was his co-star as Joan of Arc in the celebrated play, recreated for live television in 1957 with Karloff, Harris and much of the original New York company intact. For his role, Karloff was nominated for a Tony Award. Karloff donned the monster make-up for the last time for a Halloween episode of the TV series Route 66 (1962), which also featured Peter Lorre and Lon Chaney, Jr. In the 1960s, Karloff appeared in several films for American International Pictures, including The Comedy of Terrors (Jacques Tourneur, 1963) with Vincent Price and Peter Lorre, The Raven (Roger Corman, 1963), The Terror (Roger Corman, 1963) with Jack Nicholson, and Die, Monster, Die! (Daniel Haller, 1965). Another project for American International release was the frightening Italian horror classic, I tre volti della paura/Black Sabbath (Mario Bava, 1963), in which Karloff played a vampire with bone-chilling intensity. He also starred in British cult director Michael Reeves's second feature film, The Sorcerers (1966). He gained new popularity among the young generation when he narrated the animated TV film Dr. Seuss' How the Grinch Stole Christmas (Chuck Jones, Ben Washam. 1966), and provided the voice of the Grinch. Karloff later received a Grammy Award for Best Recording For Children after the story was released as a record. Then he starred as a retired horror film actor in Targets (Peter Bogdanovich, 1968), Steve Vertlieb: “Targets was a profoundly disturbing study of a young sniper holding a small Midwestern community, deep in the bible belt, terrifyingly at bay. The celebrated subplot concerned the philosophical dilemma of creating fanciful horrors on the screen, while the graphic, troubling reality was eclipsing the superficiality so tiredly repeated by Hollywood. Karloff co-starred, essentially as himself, an aged horror star named Byron Orlok, who wants simply to retire from the imagined horrors of a faded genre, only to come shockingly to grips with the depravity and genuine terror found on America's streets. Bogdanovich's first film as a director won praise from critics and audiences throughout the world community, and won its elder star the best, most respectful notices of his later career.”. In 1968, he played occult expert Professor Marsh in the British production Curse of the Crimson Altar (Vernon Sewell, 1968), which was the last Karloff film to be released during his lifetime. He ended his career by appearing in four low-budget Mexican horror films, which were released posthumously. While shooting his final films, Karloff suffered from emphysema. Only half of one lung was still functioning and he required oxygen between takes. he contracted bronchitis in 1968 and was hospitalized. In early 1969, he died of pneumonia at the King Edward VII Hospital, Midhurst, in Sussex, at the age of 81. Boris Karloff married five times and had one child, daughter Sara Karloff, by his fourth wife.
Sources: Steve Vertlieb (The Thunder Child), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
written by karen bishop
January 8 ,2008
READY, SET, GO!...BUT NOT QUITE YET
The dust is beginning to clear and the creations we have been longing for are on their way to us now, but only with a slow stutter, as things will not really take off until the end of January. Our new creations and passions are trying to peek through the din, just waiting to arrive in full force, but not quite yet. With so much energetic debris flying around the past few months, due to the deep excavations and cleansings, there was seemingly no room for anything to take hold or find a clear passage…but now there is more room, there is more space, and things will begin to take hold and manifest.
January is the month that we will finally land somewhere, be able to take a breath, and gain a bit of catching up from all the months prior. It is a settling in point and a grounding point. We are also experiencing a disconnect from the old, from the cleansing experience, and readying to connect to the new. For me, this has manifested as having anything electronic in my home not work or connect to anything! We are also detoxing and letting go from the experience of the past few months, and this can create body aches and pains, intestinal distress, headaches, and fatigue. The experience of the past few months is now being removed from our systems.
But not for long, as this year our creations will begin to be noticed…WE will be noticed, desired, asked for, and needed. 2008 will most assuredly be the year of abundance for us. And even if the old world or much of the mainstream will be shifting, changing, seemingly suffering and grasping for a foothold, we will remain untouched and unscathed.
It will be our time. We will be safe and removed from the old, from the suffering, from the lack, and from the fear. We will be residing in another world, a new and different reality, and living the life of our dreams.
These past few months may have left many of us feeling traumatized, exhausted, irritable, frazzled, and needing a long rest, or perhaps even just a period of time for self nurturing and an escape from any moving energy. And this is what January will give us. There is an emptiness now, an almost bottoming out, but this is just the in-between point right before all the magnificence arrives. We may feel as if we have “dropped” somewhere, but this is only because all the excavating is finally over.
Yes, the bulldozer of deep cleansing has gone to another place for the time being, even though we are still detoxing, adjusting, and re-aligning. Are we now soon to arrive in the Promised Land forever more? Will we arrive in Heaven for a permanent residency? Well……
The longer the cleansing and experience of darkness is, the bigger, longer, and more magnificent the experience of a higher realms reality is when it eventually arrives. So then, this will be a monumental one indeed. This new space we can now find ourselves in is a new rung on the ascension ladder, a very new plateau, and is indeed a bit different from all the rest.
But we will not be able to stay here forever, and we would not want to. As we progress with our spiritual evolutionary process, we find ourselves in realities that are more and more pleasant than any before. But eventually we outgrow them (as we evolve into beings embodying a higher consciousness, and therefore our desires change), and then….poof! We must graduate to a new level where we are now vibrating. So then, the process seems never ending, but the realities get better and better.
Each new reality exists with creations we have desired. As more and more of our ego selves or mis-perceptions begin to dissipate, we then begin to desire and create something different. The ultimate end for this particular level of reality we have chosen to exist in on the earth plane, involves a reality of service and of purified creation for the entire whole.
The ultimate goal we had decided upon derived from a blueprint from eons ago…a blueprint that always worked, and was used in a universal way. This blueprint was the base for most of the creations of new planets, for new civilizations, and for new birth of form. It consisted of a purified self that was connected very fully to Source, as well as a distinct and unique gift, talent, and focus for each individual.
In this way, each individual soul would comprise a piece of the pie, or a hub of the wheel, and each wheel would have a similar purpose at its core. And throughout it all, would weave a commonality of Source energy, which is the glue that holds everything together and serves as the ultimate connector.
What will represent a core, or a hub of commonality? Geographical locations each contain their own specific energy or theme and purpose. Thus, those residing there will naturally resonate with that purpose. This is why some areas do not resonate for us at all, and others feel like a taste of home. Many communities are now fully embodying a theme and purpose, whether they are sustainability, a strong sense of community, high levels of creativity, a deep connection to nature, connections to the stars, or perhaps even connections to deep within the earth.
The current themes above are also universal to each and every hub, so it may seem a bit confusing. But these hubs (or areas on the planet) which already exist, contain a stronger and more substantial theme in one of these areas. This is because these themes and predominant energies were needed to comprise a piece of the whole, and thus contained one stronger or more exaggerated theme or purpose.
Ultimately, things will balance and even out, each theme mentioned above will be embodied by each and every hub in equal amounts, and a new and more distinct purpose will then unfold for each area. This has been the same for individuals. We were carrying or embodying an exaggerated theme, so that each theme or purpose within us would contribute to making up a complete whole.
If you have ever found yourself being resistant to or angry with another individual who seems to be raining on your parade or purpose, or simply following a different road or passion and cannot seem to agree with yours, this is only because they are embodying their own specific theme or purpose, and thus, see much around them through this particular filter or lens. We needed to embody our own special themes and purposes in grandiose amounts so that they would not be deterred or watered down by the lower vibrating energies. When we see through a specific filter, it is as if nothing else exists, but our own purpose or desire! And all others may feel like enemies or individuals trying to sabotage us.
But this time is over. We have reached a new and different plateau now, and things will be different than they have ever been before for eons of time on this planet.
Much is being condensed. What does this mean and how will we be affected? As so much of the lower vibrating energies have been usurped and are now residing elsewhere, we are then left with fewer and fewer energies and creations within and without. This manifests then, as a condensation of a more pure state, within and without. The lower vibrating creations, whether they are in thought forms, emotions, perceptions, physical manifestations, and the like, can no longer exist in this higher vibrating space.
So then, as certain geographical areas needed to comprise one specific theme over all others, and individuals the same, which were disbursed over a larger area of mass on the planet (or lower vibrating mass of the old world), in order to comprise a whole which resonated to where we were residing at that time on our ascension ladder, this will no longer be the case.
I hope I am explaining this in a sensical way…it can be difficult to describe in human language! What this means is that there will be less…less flying around with no place to reside (as there will be no anchors to hold these energies), less of the lower vibrating manifestations in form, as so forth.
Because of this, the law of attraction will bring together new higher vibrating manifestations and creations. Each individual vibration which was embodying a higher purpose or theme for the whole in times past (whether it be in individual form or in geographical locations, for instance), will now come together and join with other higher vibrating creations or individuals.
So then, much of everything will now become more refined. This means that the way and reason that we interact with other energies, including individuals, will be for a more specific purpose. And in this way, we will then begin attracting better things and more amazing, loving, and supportive people into our lives, who match us in our higher states.
Geographical locations or communities, and individuals will now no longer have to embody high amounts of specific purpose, as we will now be interacting as a smaller and refined whole. There will be much more equal representation.
As far as the original blueprint? Even though the original blueprint has existed and functioned well for eons of time, as it fully supports and represents the blueprint of creation, we are always free to create a new world exactly as we please. This is the beauty of the new world.
We have come as representatives of every star and far away place, in order to bring together as much of a higher vibrating contribution and higher knowledge as possible, in order to create this very new world on the planet earth. There is then, a perfect representation from each varied place. And some far away places in the universe were so very hesitant to send a representative, as they were so advanced that they knew there would be great and grand challenges for their sensitive children in this harsh world they had never inhabited before! Thus, much protection was put into place, even though at times we may doubt that this is so. It has been an awesome orchestration indeed. So in this regard, then, the earth is our palette.
The beauty in this is that within every new twist and turn, there is an opportunity for change. We can change the plan at any given moment. And because of this and because we never really know how things will react, we never really know what will happen next and when it will happen. This is why prophecies and timelines of past are moot and inconsequential. If we were to believe, for instance, in the prophesy of 2012, we would probably then create just that. But we are more powerful and far beyond these old prophesies of past. These prophesies were from another world and another time. Anything can be changed at any given moment now. This is the beauty of creation. Anything can be changed. We are free to create whatever we choose.
Even if you may not be consciously aware of it, we meet at regular intervals and evaluate what is occurring, how we are being affected, and what we choose to happen next for all of the whole. We are all in this together at our soul levels, communicating regularly, while we continue to embody human form and experience it all at the same time. Everything is continually monitored then, with loving care. And know as well that the ascension guides we all have with us, are really only aspects of ourselves. We are always the ones who navigate the course, for ourselves and for the progression of this ascension process.
What will be some of the new realities of 2008?
Food and what we choose to put into our bodies will now change dramatically. We have reached a vibrational level where we need not be so strict about what we eat if we want to stay healthy and purified. Simply blessing our food before we eat it or having an intent that only the higher vibrating aspects of the food will enter our systems and sustain us, will be quite enough. And now that we are vibrating so much higher, we need not even have an intent or provide a blessing, as the law of attraction will simply connect us automatically with the higher aspects of what we are consuming. We are at many different levels of vibration individually, so either of the scenarios above may be effective and appropriate.
Here again is the same theme. The higher vibrating aspects of things will be all that we are affected by and connect with. So in this regard, we will also be attracting wonderful partners and individuals into our lives. We will in essence be attracting wonderful everything, with amazing and perfect connections that will fit us to a tee…all that we have ever wanted.
Even though there may seem to exist lower vibrating aspects to things, if we consciously choose to only accept the higher vibrating ones, and focus solely on those, then anything and everything else will simply cease to exist. Or again, some of us may not need to consciously do anything at all, and simply let things unfold as they may.
I must say, that consciously focusing on higher avenues and manifestations is the way to navigate in the higher realms, only now we will be much more supported in these ways as the energies we are now residing in are much higher with much less interference. Navigating entails focusing on what we want and choose to see. Focusing on anything else simply gives it fuel and keeps its creation alive and in our space. Expecting something new and different to occur will most assuredly ensure its arrival. This involves a willingness to let go of old expectations and experiences. 2008 will be something very new indeed.
So then, there will be many opportunities in the year to come, all depending upon where we choose to focus, or reside. We can choose to exist in a revolving door of repeated patterns and darkness or mis-perceptions, or we can choose to see a higher way, let much of the old interpretations drop away, expect only the best and highest, and know that this will be our new reality.
When we are in a state of purification and cleansing, as we have been the past few months, we usually attract situation which match what we are cleansing, and thus, it can feel as if we are in hell or some horrible and unpleasant reality of our worst case scenarios. Like energies always attract like energies, so when the darker and denser ones are up, or sometimes our deepest fears, we will attract just those.
Now that this awesome year of 2008 is upon us, with much cleansing and re-evaluation having taken place in 2007, we will now begin to attract through the Law of Attraction, all the manifestations of our dreams, as a new purified energy will be much more prevalent than ever before!
So then, we need only sit tight for a few more weeks, allow this unusual down time we are currently experiencing to be utilized for some much needed rest, or perhaps a bit of preparation, and know that things will be significantly different in times to come.
A new and magnificent reality is beginning to peak through the clouds. It will be different than anything we have experienced thus far. Are you ready? Do you believe we will have a time of heaven on earth? Are you willing to allow it to arrive at your door, seemingly all by itself? Are you ready for incredible abundance and a day to day experience of living in the world of your dreams? Are you ready to feel the absence of darkness, and to live a life of joy and bliss? Get ready, because it is on its way!
circuit bent texas instruments la dictee magique (french speak and spell) bends are the same as english versions Stutter, glitch, pitch
The joke that goes well with this photo...
A man who stuttered badly kept applying to a book company for a job as a salesman but was repeatedly turned down. Finally, his persistance paid off when the book company, desperate for sales, decided to give him a suitcase full of Bibles and sent him out on the streets figuring he would have an easier time selling Bibles than the usual line of books.
The next day the severely stuttering man returned with an empty suitcase, a handful of money and an equal number of subscriptions to other books. Thinking it a fluke, they sent him out again only this time he returned with twice the money and twice the number of orders. The sales manager, rather perplexed had to ask him how he was able to sell so many more books in two days than any of the other salesmen could in two weeks.
"W-well," he began, "the f-first d-day it t-took me a wh-while to g-get up my c-c-c-confidence that's w-why I d-didn't s-sell as m-m-many. B-b-but all I d-d-do is w-w-walk up t-t-to the d-d-door, knock on th-the d-d-door and wh-when s-s-someone c-c-comes t-t-to the d-door, I ask th-them, "D-d-do you w-w-want t-t-t-to b-buy a B-Bible from m-m-me or sh-sh-should I r-r-r-read it t-t-to you?"
Seriously, this is my husband and friend after church. They at one time worked together at a shop. It would be more fitting to call them Grease Monkeys.
Quite inadequate, awkward, shy and stuttering.
Bitting his lips til they bleed and sitting with tennis shoes on the couch.
...for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs, –
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.
(Wilfred Owen, Anthem for Doomed Youth)
Washpool National Park, New South Wales.
For use of this photo please contact clancywildlife@gmail.com
stuttering (2003 - 2013), an award-winning work, sees movements triggering a multitude of previously invisible buttons projected on the wall. If you move quickly the piece is saturated with a cacophony of visual and aural noise; if more slowly, you can experience individual phrases. The piece asks us not to interact, but to perform embodied listening.
"É preciso liderança para enfrentar o medo de uma nação. É preciso amizade para enfrentar a si próprio."
Esta é a tagline do novo cartaz de divulgação de The King's Speech ("O Discurso do Rei"), filme que conta a história do reinado de George VI ("Bertie") — pai da rainha Elizabeth II —, monarca britânico que, apesar de sofrer de gagueira, 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.
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 abdicação de seu irmão, Eduardo VIII (Guy Pearce). Em virtude da gagueira, enfrentar um microfone para fazer pronunciamentos à nação representa um desafio maior do que estar no 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, 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 a renúncia.
Veja o trailer legendado do filme.
NECK
I touched her on the back of her neck
with such tenderness
that her skin kissed my palm
with a singular abandon
DANCE
she brushed her hair
stopped
stared
sung into the brush
cried
and started all over again
some kind of imbalance
and talent
part of me
wanted to help
part of me
wanted to dance
OUT
take me out
through the door
into the street
where the yellow lines
never meet
tell me then of rules
and compliance
and I’ll speak
of loneliness
and self violence
Women
be a gentleman
open doors for women
treat a woman better than you would a man
don’t cuss around a woman
make women feel special because they are
appreciate don’t salivate
no means no
these are the things my family taught me about women
they were right
if only society were in agreement with me
alas
EIGHT
legs heavy
Everest stairs
leading to my fate
8 to reach the top
8 to be done with it
a confrontation
that will lead to sadness
8 a vertical eternity
or at least so it seems
SCOOP
yesterday
you weren’t here
I felt
not hollow
but as if
i was being hollowed out
the cosmic melon scoop
KISS
remember your lips
swollen
with biology
hormonal ingenuity
your mouth was open
saying something stutter-rush
in anatomical resistance
something love lodged in your esophagus
but despite that
I believe you enjoyed yourself
BEDTIME
imaginations lover
dive below the covers
hold your breath
let excitement shudder
whisper silent goodbyes
to your land locked mother
as you swim the warm blanket’s currents
of color and wide wonder
IQ
the world did not stop turning
my IQ simply bottomed out
when I realized
I might have a chance
"love you make me"
to make you love me
lunar eyescape
ahh to walk
upon her eye
in its hazel foam fog
til i reached its black brine
through its tumble jungle bog
then slowly
loose my mind
after reveling in it all
BASTARD
she opened 15 mason jars
and cried in each one
for later she thought
preserves
ENTER
all the open doors are behind me now
what happens next…
metaphorical breaking and entering
what fun
POSTS
behind the fence
between the slats
a forbidden
but tasty past
STARS
last night
all the stars were out
even the once human
those souls this earth
with all its riches
could not contain
neither the saint
or the sinner
more frequency
more sound
those who are bent to believe
in all sorts of madness
the possibility of aquatic bees
peering as they will
on mortals
especially those in love
there is a kinship
in that time
for cautious considerates
turn to unihibititsts
exposing
the waves in their lengths
transparent flames all
consuming each other
in a passionate free for all
End
Winter’s scissors
will sever our cord
cold
devoid of pain
and beyond old
Cold
I’ve touched your soul
tundra well
cold hole
frostbite
you have an old magic
called apathy
I hate yellow flowers
the hall was lined with empty frames
60’s wall paper
the orange and greens screams
white frames
square forty by forty
ornate
orange blossom motive with teeth
spaced evenly
and one empty door frame
to an empty room
sun creeping in
STAIRS
she looked down the stairs
rooms
voices
mingling forming
curiosity
so real it was like a friends whisper
get a little closer
it was the after time
after they put her to bed
she shouldn’t be up
the after world
was pulling her down
one step after another
RAYS
she saw the last rays of the sun
swim under sand
to hunt and hide
till morning
AGE
I can feel your hand wither
the bones beneath
veins bas relief
so stretched
though too
I can feel your soul
resounding bell
giant
endless well
your a planet trapped inside a
crumbling shell
grandmother
FIVE
Excerpt from a meeting with my inner child
found him tied to a tree
binds cutting
five
had to be five
injured and scared
released him, held him
everything will most certainly not be alright
but I’m here
I’m not going anywhere
No one has ever made me so mad as myself
in light of that self acknowledgment
I’ve never wanted to hurt myself
no matter how stupid I got
Its just that I love me
you don’t go around hurting the ones you love
that’s what an asshole does
APPLES
at first I believed
myself to be the apple of your eye
but that was clearly impossible
for in the light
your pupils are slits
black daggers both
RIDE
You can trade lives
people float in and out
plastic Jesus on your dashboard
just tradition
not religion
and your cute
we’re talking
we’re not falling though
just two strangers
riding with Jesus
he’s wearing flowly blue
GREY DARK
The grating removed
peer down
into grey dark
a foggy dark
that turns men into beasts
climb down
be mad with us
the unsavory
but always sweet
HAPPY EASTER
crawled inside
the blood hall
died inside its walls
came walking out the other side
with both the great
and the small
BROKEN
I never did like the lullaby
when the bough breaks
I cried when they sang it,
so here is a short poem
to celebrate my dislike
BROKEN
the dawn broke
the bough broke
I’m broken
BIRDS
I climbed the spinal staircase
to feed the birds of your mind
flutter flutter
feathers
chirp
noisy beggars
JUPITER
A ball of magical gas
with rings and pretty things
in orbit about your stormy skin
PRIDE DUTY HONESTY
three tarnished copper eggs
sickly green shells
they use to be beautiful
pale cream
conjoined bells
but no one spread their feathers
none to shelter from the weather
birds inside
died
flightless
discarded in the heather
The Girl
Who was that girl
strapped to your arm
with thorny ropes?
Translucent skin
the nights own hair
and a tousled stare
I saw you whisper magic
mumble in shapes and symbols
the old rhythms
you led her
it might have been
a walk
but I saw in part
the divine dance
from that other time
you paraded her
while she smiled a mask
the beauty of that pretense
blinded the rest
I saw her tragedy
is that mother?
I wondered
in her earthly guise…
dear brother
BYE
in the middle
of that disconnect
discontent
when all your tears had be spent
I just wretched
wiped my mouth
screamed aloud
buried my love six feet down
walked out
not another sound
COLD
I just stare
the dreamsicle melts
melts orange
my hand covered completely in soft tangerine hues
encased a prehistoric mosquito in amber
cold sunlight drips from my hand
all five of my minds speak in stereo
the little blonde girl is beautiful
FERTILITY GOD
The black fled
but left behind
its inky scrawl
the paper carved
with a dark chisel
beneath natures green halls
the absence of day
the shunning of light
may your godhood shrivel
in manhood’s rite
a curse
cut in ancient shorthand
from a bitter woman barren
2 days before her last breath
BREATHE
inhale
exhale
something so commonplace
except when you do it
then its Tsiolkovsky’s concert for the cello
stare
listen
feel
think
I’m too young for this
MAGIC
glistening
glitter shine
the crunchy marshmallow
the naturally sweet lime
we so want
Mr bubble to be real
to come floating up out of the tub
to speak to us
in his rub a dub
we want magic
HEART
beneath and under her beauty
elegant wrappings
her heart was hollow
bird bones
fragile
built to fly
SENSE
hypersensitive
on the edge
skin thin
soul stretched it’s a drum head
don’t speak at me
mouth leak about me
20 thousand rubber-bands
snap
talk to me
FIRST KISS
kissed her by the rock
where the river fell and rolled
wrote something romantic
left it on the road
went back without her
went back to see
but there was nothing left
only phantoms
transparent memories
KITCHEN
cabinet doors open
tomatoes cut but still together
wine bottle not quite empty
vinegar and oil out of place
scissor and knife side by side
tea towel reflecting in stainless
plastic bags covering, hanging from the fridge
The thing about Julie
that really made me wonder
is how the lies in her eyes
looked just as beautiful as the
the truth in Michelle’s
MOMENT
exposed
laced with lust
I shy away
devour you
at the same moment
in time
my soul paper starts tearing
lengthwise
SKIN
once I slipped on your skin
and saw the world through your yellows and blues
its so much brighter than mine
it hurt my eyes
a note to the social butterfly
from the recluse in your life
the auditorium is filled
mounted speakers
with their dark woven faces
echo the podiums call
then I see
her ear, her hair
and I am so far away from her
separated by
mountain peaks of broken glass
that rise like pre-edenic giants
from the lonely neurons
that control my feelings of loss
NIGHT SKY
if I swore by the night
that pervasive darkness
and the shadows therein
if I promised their diamond studded sky
and the velvet that they lie upon
do you think I could kiss Jolene
SMALL STUFFED ANIMAL
Found it there
crushed on the pillow
flat
stretched
unformed
a small squeaky voice
terrorizes your mind
”help me please”
Lonely
a big red balloon
filled with he-li-um
so others can smile
you deflate me
MOM
pretty lady
in your pink and green
matching hand bag
perched there before me
I noticed
that one of those laugh lines
around your eyes
is definitely mine
HURT
If I could just weep while I sleep….
do you mind crying on my face tonight?
I can’t do both
GENTLE
my eyes are beds to the world
dark walnut frame
white duvet
black satin pillow case
where the tired might find rest
LUIGI'S HORSES
listen
the boxes of soul light turn
carousel speed
wooden steeds
painted on the inside
seem to gallop in place
it’s life
it’s going nowhere
and desperately wants
to be real
CEREMONY OF TRAVEL
vincentpettavel:
Up.
Pack.
Eat.
Leave.
Glorious routine in glorious unfamiliarity,
experiencing the culture shock,
or shock at the
lack of culture,
immersed in a world so
alien,
yet connected to reality by the
web of media.
Speaking of
‘Home’
and meaning only a bed.
Not thinking about those who once mattered,
feeling remorse when their face crops up
in sudden thoughts.
simply great
TILE DREAM
tiles on the ceiling
tiles within tiles
reddish pink patterns
rectangles forming thick lines
but from the bed
with the stove at the end
they appeared blue
so you got up
to look anew
SUMMER
givethekidabreak:
She flew kites in the summer
Wearing her favorite
Mustard colored shoes
Carefree slipping from her hair
Down to her shoulders
Wriggling their way to her fingers
That held on to strings she was sure
Would never leave her grasp.
this is really good esp how carefree becomes control
y
SHEETS
body
one million sheets of white paper wet
dizzy yet
tired
pressing on my eyes
I see light lines
luminosity in an otherwise
……………………………..darkened space
MY LOVE
there is something jet black in my soul
my love
Jacob ladder strand
wish it was mine
a bit of my sin soil
piece of my dark
i could make it
right with my Maker
set it alight with His spark
but it’s a foreign body my love
foreign rails and rungs
from you
US
what is between us is more than air
it’s dust and love
pain and despair
but what is in us is richer still
it’s the cold calculating hardness
of winter’s sudden chill
it is duty
which keeps us bound
keeps the between alive
and us invariably sound
RACE DAY
eyes squint
sneaker soles stick
on the hot black top
back drop: a cooler full of sun
race day
water ice
ice water hydrate
win
photo finish
finished
sweat slick
I am the sea
Hot Lanta
TWENTY TWENTY
after our separation
I was left with a lace sleeve
you a star just to the right of the moon
back then
when we gave them
we understood forever
twenty twenty
and blind
SADNESS
amid the slippery spaces
of our touch and tell
hair bound in fingers
and strewn clothes as well
there is an inexplicable sadness
a melancholy only heard in our sighs
OTHER
I drew close
painting in an art musuem
an etheral piece
delicate shades of blue
I found my self in
inner contemplation
whether she was a human at all
she was far too interesting
in appearance and poise
for something as crude
as mortaility
I drew closer still
DOLLAR
burn little light
burn for a dollar
I don’t want to wake
to see the groping hand
feel the holler collar
I don’t want to shake
in the night queens parlor
JOURNEY
camper van
silent sadness
hung like a broken disco ball from the roof
touching everyone with it’s unsparkle unshine
she ‘s gone
I whispered
move on
and tugged the gloom even tighter about me
MIRROR
my eyes on fire
everything smells like mirror glass
I’ll not let you
crawl through my skin again
I can’t handle
the dry numbness
nether again
AWOKEN
ting
glass rain drops
fall
in a coffee drip rhythm
score
all the while
my mind is too big
for my eyes
LINES
cracks feel like lines gone wrong
jagged little liars
full of spite and scorn
cracks in my skin on the your floor
they read red
they scream mending
but they only widen more
HEART
the gate to the left of purple
lies a stainless steel locket
that was once made of flesh
much like my heart
reach down below the pain to find it
the library project is a project creating a subtle dialogue about the issue of giving,lending and taking.as most of my pieces have a lifespan of a stutter in the street (either because of collectors or weather or the street cleaners), i thought i would try to embrace it and play around with the circumstances. before placing the pieces on the surface, i wrote "i let you borrow my heart for a while,let others borrow it as well", and then placed the piece over the writing,covering it.
the pieces in this series are applied with double sided tape (which can be easily removed) with some unpeeled scraps of tape on the cardboard left for the borrower to replace anwhere.i think its great if someone wants to take it home, but it raises the conflict of the fact that its in the street for the art to be shared with the people using it.therfore, whoever dispatches the piece can replace it in it original location, or even better, a new location,making him/her part of the arts existence and making it even more part of the collective reality than it was before.
**Geek Village Wintertales Hasselt**
More info & videos about our 360° videobooth + our tiny bonus photobooth
360 video samples: on our Instagram / our Tiktok
French promotion card by Metropole Le Palais du Cinéma. Publicity still for L'ami de la Famille/A Friend of the Family (Jacques Pinoteau, 1957).
French comic actor and musician Darry Cowl (1925-2006) appeared in more than 150 films, often as a clown with a chronic stutter. Many of his comedies were not worth his talents, but at the end of his life, he made a glorious come-back and won the César twice.
For more postcards, a bio and clips check out our blog European Film Star Postcards.