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The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
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)
LANGENBECK, Bernhard (Padingbüttel, 1810 — Wiesbaden, 1887), German surgeon. He received his doctorate in Göttingen in 1835 and in 1836 published a study on the pathological anatomy of the retina, which attracted great attention. By 1840 he had become professor of surgery.
In 1840 he carried out experiments on the transmission of carcinoma from humans to animals, and in 1841 he introduced a new method of treating spasmodic stuttering by tenotomy. He gained particular renown in military surgery through his writings on gunshot wounds and his efforts to treat them conservatively. His reputation was established in 1848, when he reintroduced joint resection in cases of gunshot injuries of the limbs, a procedure that had until then been rarely performed. By perfecting the technique through subperiosteal and synovial methods, he was able to save many wounded soldiers from amputation.
Dedicated to preserving the function of injured limbs, he constantly devised new methods: forced extension without tenotomy for knee contracture (1850), subcutaneous osteotomy (1854), permanent warm baths for amputation stumps (1855), and treatment of aneurysms with subcutaneous injections of ergotin (1869). In civilian surgery he also pioneered many innovations: a new method of cheiloplasty (1855), a technique for cleft palate repair (1859) that became a model for later procedures, rhinoplasty (1860), osteoplastic resection of the upper jaw (1861), and an improved method of pharyngeal extirpation (1879), introducing the subhyoid pharyngotomy. He also wrote an important treatise on venous diseases.
For many years he was regarded as Germany’s leading surgeon, an outstanding teacher, and a brilliant operator. From 1860 he co-edited the Archiv für klinische Chirurgie with Billroth and Gurlt, and in 1872 he founded the German Society of Surgery (Deutsche Gesellschaft für Chirurgie).
Tekst iz med enc uređen sa AI ChatGPT
s237 11672 EncMediAI 1969-4 Bernhard Rudolf Konrad von Langenbeck (9 November 1810 – 29 September 1887)
LANGENBECK, Bernhard (Padingbüttel, 1810 — Wiesbaden, 1887), njemački kirurg. Promovirao je 1835. u Göttingenu, a već 1836. objavio rad o patološkoj anatomiji retine, koji je privukao veliku pažnju. Od 1840. djeluje kao profesor kirurgije.
Godine 1840. izveo je pokuse prijenosa karcinoma sa čovjeka na životinje, a 1841. objavio novu metodu liječenja grčevitog mucanja tenotomijom. Posebno se proslavio u ratnoj kirurgiji, svojim spisima o strijelnim povredama i nastojanjima da ih liječi konzervativno. Slavu je stekao 1848. kada je ponovno uveo resekciju zglobova kod strijelnih rana udova, dotad vrlo rijetko izvođenu. Usavršio je tehniku resekcija uvođenjem subperiostalnih i supsinovijalnih metoda, spašavajući mnoge ranjenike od amputacije.
Težeći očuvanju funkcije povrijeđenih udova, stalno je uvodio nove metode: nasilnu ekstenziju bez tenotomije kod kontrakture koljena (1850), supkutanu osteotomiju (1854), trajne tople kupelji za liječenje amputacijskih batrljaka (1855), liječenje aneurizmi supkutanim injekcijama ergotina (1869). U mirnodopskoj kirurgiji također je uveo niz inovacija: novu metodu heiloplastike (1855), plastičnu operaciju nepca (1859), koja je postala uzor kasnijim zahvatima, rinoplastiku (1860), osteoplastičnu resekciju gornje čeljusti (1861), te usavršenu metodu ekstirpacije ždrijela (1879) s uvođenjem subhioidne faringotomije. Napisao je i vrijednu raspravu o bolestima vena.
Godinama je bio vodeći njemački kirurg, izvrstan učitelj i vrstan operater. Od 1860. izdavao je, zajedno s Billrothom i Gurltom, Archiv für klinische Chirurgie. Godine 1872. osnovao je Njemačko kirurško društvo (Deutsche Gesellschaft für Chirurgie).
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
Anna McKim was born in New York City to silent film actress Anna Lehr and actor/director Edwin McKim. She made her film début when she was five years old in the silent film version of "Ramona" (1916) and was credited "Baby Anna Lehr". She continued in children's roles in "The Man Hater" (1917) and "Five Dollar Plate" (1920).
Her parents separated in 1916 and divorced in 1920, and she didn't see her father again until 13 years later when she made a public plea to the press to help her find him.
She stopped working in films.
In the late 1920's she worked as a dance instructor and gradually began to appear on film as a chorus girl. Her friend Joan Crawford was the one who introduced her to Howard Hughes,who groomed her as a dramatic actress. He in turn was looking for a girl for his production of 'Scarface' (1932). She made $250 a week.,
She was a great success in such pre-Code films as 'Scarface' (1932) as Paul Muni's sister; in 'Three on a Match' (1932) with Joan Blondell and Bette Davis as the doomed, unstable Vivian, in 'Love Is a Racket' (1932) and in 'Sky Devils' (1932) opposite Spencer Tracy.
Known for her style and elegance, she was a popular leading lady for Warner Brothers during the 1930's, and appeared in numerous contemporary romances and melodramas.
She eloped in July 1932 with Leslie Fenton, her English co-star from The Strange Love of Molly Louvain (1932), and left for a year-long honeymoon without giving adequate notice to the studio and in spite of her contractual obligations. This led to a period of litigation and pay dispute during which she discovered she was making the same amount of money as the boy who played her son in Three on a Match. She completed her contract on permanent suspension and then worked as a freelancer, but although she worked regularly, the quality of her scripts declined sharply.
She appeared as secretary Della Street to Donald Woods' Perry Mason in 'The Case of the Stuttering Bishop' (1937). She also acted on Broadway. With her then-husband, Leslie Fenton, Dvorak travelled to England where she supported the war effort by working as an ambulance driver, and appeared in several British films. She appeared as a saloon singer in Abilene Town, released in 1946. Her marriage to Fenton ended in divorce in 1946. In 1947, she married her second husband, Igor Dega, a Russian dancer who danced with her briefly in The Bachelor's Daughters. It ended in divorce two years later.
She retired from the screen in 1951, when she married her third and last husband, Nicholas Wade, to whom she remained married until his death in 1975. She had no children.
In 1959, she and her husband moved to Hawaii, a place she had always loved, and she lived in near-anonymity until her death from stomach cancer in Honolulu at the age of 68. She had no survivors.
NOTE: Ann was uncredited in a great many of her silent movies, so I selected only a few and a selected few of her Sound Movies.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
With stuttering, viewers-turned-participants use their entire bodies to touch and trigger activation points laid out in a Mondrian-styled grid. Move quickly, and the piece will itself stutter in a barrage of audiovisual verbiage; move carefully, even cautiously – stutter with your body – and both meaning and bodies emerge.
Pierre Marchand from PAris performed a spectacular diabolo act during the 6th International Circus Festival of Budapest. I have used slow stutter speed to get the motion and used ps3 to generate this effect.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
Quite inadequate, awkward, shy and stuttering.
Bitting his lips til they bleed and sitting with tennis shoes on the couch.
Caso inédito descoberto no Brasil mostra que mutação em gene associado ao autismo pode ser responsável por um subtipo genético de gagueira: bit.ly/autismo-gagueira
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
Two cranes on rails passing a wheelie bin between them in a slow, rather stuttering dance. Aberdeen 03.June.2014. The ship is the anchor handling tug Normand Titan.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
Quite inadequate, awkward, shy and stuttering.
Bitting his lips til they bleed and sitting with tennis shoes on the couch.
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)
Gagueira foi tema de destaque no Neuroscience 2010, congresso internacional de neurociência promovido pela Society for Neuroscience.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
What’s wrong with my tongue
These words keep slipping away
I stutter, I stumble
Like I’ve got nothing to say
A.L. ...
This is an 8 image panorama. Part of a continuing study of Joshua Tree National Park.
The final image is 84" wide.
Better on black. Click on image.
© 2013 Chuck Lapinsky Photography. Copyrighted and All Rights Reserved. All Images are registered with the United States Copyright Office. Unauthorized use, copy, display, or distribution of any photographs taken by Chuck Lapinsky, is strictly prohibited. You do not have permission to use this photo in any form without the written consent of Chuck Lapinsky or Chuck Lapinsky Photography.
this is for the naked billboards with nothing to say for themselves;
so take these stutters, all ye bewildered daydreamers and mend them into anything awkward.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
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)
Dutch press photo by Nederlands Film Museum, Amsterdam. Boris Karloff in Frankenstein (James Whale, 1931).
British actor Boris Karloff (1887-1969) is one of the true icons of the Horror cinema. He portrayed Frankenstein's monster in Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939), which resulted in his immense popularity. In the following decades, he worked in countless Horror films, but also in other genres, both in Europe and Hollywood.
Boris Karloff was born William Henry Pratt in 1887 in London, England. Pratt himself stated that he was born in Dulwich, which is nearby in London. His parents were Edward John Pratt, Jr. and his third wife Eliza Sarah Millard. ‘Billy’ never knew his father. Edward Pratt had worked for the Indian Salt Revenue Service and had virtually abandoned his family in far-off England. Edward died when his son was still an infant and so Billy was raised by his mother. He was the youngest of nine children, and following his mother's death was brought up by his elder brothers and sisters. As a child, Billy performed each Christmas in plays staged by St. Mary Magdalene's Church. His first role was that of The Demon King in the pantomime Cinderella. Billy was bow-legged, had a lisp, and stuttered. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry. After his education at private schools, he attended King's College London where he took studies aimed at a career with the British Government's Consular Service. However, in 1909, the 22-year-old left university without graduating and sailed from Liverpool to Canada, where he worked as a farm labourer and did various odd itinerant jobs. In Canada, he began appearing in theatrical performances and chose the stage name Boris Karloff. Later, he claimed he chose ‘Boris’ because it sounded foreign and exotic, and that ‘Karloff’ was a family name. However, his daughter Sara Karloff publicly denied any knowledge of Slavic forebears, Karloff or otherwise. One reason for the name change was to prevent embarrassment to his family. He did not reunite with his family until he returned to Britain to make The Ghoul (T. Hayes Hunter, 1933), opposite Cedric Hardwicke. Karloff was distraught that his family would disapprove of his new, macabre claim to world fame. Instead, his brothers jostled for position around him and happily posed for publicity photographs. In 1911, Karloff joined the Jeanne Russell Company and later joined the Harry St. Clair Co. which performed in Minot, North Dakota, for a year in an opera house above a hardware store. While trying to establish his acting career, Karloff had to perform years of difficult manual labour in Canada and the U.S. to make ends meet. He was left with back problems from which he suffered for the rest of his life. In 1917, he arrived in Hollywood, where he went on to make dozens of silent films. Some of his first roles were in film serials, such as The Masked Rider (Aubrey M. Kennedy, 1919), in Chapter 2 of which he can be glimpsed onscreen for the first time, and The Hope Diamond Mystery (Stuart Paton, 1920). In these early roles, he was often cast as an exotic Arabian or Indian villain. Other silent films were The Deadlier Sex (Robert Thornby, 1920) with Blanche Sweet, Omar the Tentmaker (James Young, 1922), Dynamite Dan (Bruce Mitchell, 1924) and Tarzan and the Golden Lion (J.P. McGowan, 1927) in which James Pierce played Tarzan. In 1926 Karloff found a provocative role in The Bells (James Young, 1926), in which he played a sinister hypnotist opposite Lionel Barrymore. He worked with Barrymore again in his first sound film, the thriller The Unholy Night (Lionel Barrymore, 1929).
A key film which brought Boris Karloff recognition was The Criminal Code (Howard Hawks, 1931), a prison drama in which he reprised a dramatic part he had played on stage. With his characteristic short-cropped hair and menacing features, Karloff was a frightening sight to behold. Opposite Edward G. Robinson, Karloff played a key supporting part as an unethical newspaper reporter in Five Star Final (Mervyn LeRoy, 1931), a film about tabloid journalism which was nominated for the Oscar for Best Picture. Karloff's role as Frankenstein's monster in Frankenstein (James Whale, 1931), based on the classic Mary Shelley book, propelled him to stardom. Wikipedia: “The bulky costume with four-inch platform boots made it an arduous role but the costume and extensive makeup produced the classic image. The costume was a job 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. 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.
I just bought this locomotive second hand on ebay and it behaves really funny. Sometimes, out of the blue it starts to stutter and go back and forth a little bit. It also increases and decreases in speed without touching the controller. The general speed of the loco also seems slow and it makes a loud humming noise when it sits still. Something is off here. Anybody got any tips before the ebay seller gets a bad feedback from me?