#Delphi Lawrence

[gatutor]

Delphi Lawrence

Baby´s in black

[kwebtv]

Series Premiere

Danger Man - View From the Villa - ITV - September 11, 1960

Espionage

Running Time: 30 minutes

Written by Brian Clemens and Ralph Smart

Produced by Ralph Smart

Directed by Terry Bishop

Stars:

Patrick McGoohan as John Drake

Barbara Shelley as Gina Scarlotti

Delphi Lawrence as Stella Delroy

John Lee as Mayne

Colin Douglas as Mego

Philip Latham as Delroy

Court Benson as Finch

Andreas Malandrinos as Waiter

Charles Houston as Cafe Artist

Raymond Young as Marine Officer

Marie Burke as Housekeeper

[musicandoldmovies]

Delphi Lawrence and Anton Diffring in The Man who could cheat Death

[missanthropicprinciple]

Terry-Thomas and Delphi Lawrence in Too Many Crooks (1959)

[mostlybritishactors]

Delphi Lawrence

[letterboxd-loggd]

The Man Who Could Cheat Death (1959) Terence Fisher

March 30th 2024

[cinemaquiles]

DICA DE HORROR: UM CLÁSSICO DA HAMMER DE 1959 COM CHRISTOPHER LEE!

[beatricecenci]

Lawrence Alma-Tadema (Dutch, 1836-1912)

Women of Amphissa

[oceannicmuse]

AU of the Athenide AU

Will Solace → Theronikos

θέρω (thérō) – “care, warm, protect” + νίκη (níkē) – “victory”

__________

Excerpt from Religion and Hellenistic Translation: Minor Deities, by Dominique Lawrence Al-Abbas; Chapter XVII: Theronikos. Page 150, Introduction: Origin.

"[…] According to the ancient bards, Theronikos was born as a result of the inadvertent embrace between Apollo, god of harmony and light, and Calliope, the Muse of epic poetry, witnessing for the first time the superhuman talent of their son Orpheus. Although considered an accidental birth, the augurs of Delphi insist that such a union was “harmony incarnate,” and that no other child could have been formed with more purpose.

At birth, the child god repeatedly babbled the phrase:

“Δεῖ με θεραπεύειν τὴν Νίκην.”

(Deî me therapeúein tḕn Níken)

“I must take care of Nikē.”

The gods, surprised, took this statement as an involuntary prophecy. Some interpreted it as an oath to the goddess Nikē (Victory), others as a harbinger of her role in preserving the balance between life, glory and loss. Apollo, moved, granted him the name:

Theronikos (Θερώνικος)

“He who cares for Victory”

Since then, his cult developed alongside that of the healing gods, but with its own nuances: protector of the wounded of glory, patron of pediatric medicine, emotional introspection and the spiritual recovery of the deceased. […]"

____________

I GAVE MY ALL.

Basically, Will spoke in English, but nobody understands. So then he spoke in Greek and said "I need to care for Nico" or "I must care for Nico". Or something like this. And Apollo, Calliope and everyone understand Nikē, like victory, as a kind of reference to the fact that he would be a god of medicine specifically aimed at warriors or something like that.

I gave Will the name at 4:50 in the morning, I wasn't really thinking and I thought it was a funny joke.

Lol. I have an expository lesson of Literature tomorrow and my group did not study except me. I hope my teacher doesn't call us in this class because I'll kill them and myself.

Sorry for any grammatical error or something like that.

[vintagelasvegas]

Thunderbird, June 1969

Delphi Lawrence as the Madame. Pat Moreno's Artists and Models Topless Revue at 2:30 and 4:15 AM. Pardon My Can Can. Lunch 97¢ and Dinner $1.97.

[voskhozhdeniye]

Musical Obsessions 2024

Airiel, quite a bit from them*

Alan Sparhawk: White Roses, My God*

Andy Stott, a lot from him.

Anna von Hausswolff, I'm going through her albums.

Austin Cesear's Cruise Forever

Autechre, I'm going through their albums.*

Bat For Lashes: The Dream of Delphi

Belong: Realistic IX

Beth Gibbons: Lives Outgrown

Beyoncé's 16 CARRIAGES, RIIVERDANCE, II HANDS II HEAVEN

billy woods, I'm rummaging through his albums.*

Biosphere, I'm drifting through his.

the body, I've gone through their albums. I've barely touch the collab albums.

Boris, I've been jumping through their albums.

Bowery Electric, I finally grabbed the last album.*

Burial: Dreamfear / Boy Sent From Above

The Caretaker, I'm randomly going through his albums.

Chat Pile: Cool World

Chelsea Wolfe: She Reaches Out To She Reaches Out To She

Cocteau Twins, I'm going through their albums.*

Coil, of course.

COLD GAWD: I'll Drown On This Earth

Colin Stetson: The love it took to leave you

The Cure: Songs Of A Lost World*

Danger Mouse & Black Thought's Cheat Codes*

The Decemberists' Joan in the Garden

DIIV: Frog In Boiling Water*

Emeralds, even more than last year.

Erykah Badu*

Fiddlehead, I've been listening to them a lot.

the fun years*

The Future Sound of London*

Glenn Branca, finally doing a deeper dive than I had in the past.

God Body Disconnect: Dreams to be Buried In

Godflesh, I'm slowly going through their albums.

Godspeed You! Black Emperor: “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD”*

Grouper, I'm going through her albums.

James Devane's Beauty is Useless

Jessica Pratt: Here in the Pitch*

Jon Mckiel: Hex

Kali Malone, I am slowly going through her albums.

Keeley Forsyth: The Hollow

Kendrick Lamar, it is what it is.

Kim Gordon: The Collective*

Laryssa Kim's Blue Velvet - Fortezza Sacra

Lawrence English, I'm randomly hopping through his albums too.

Lupe Fiasco: Samurai

Lussuria's Migrate Exquisite Corpse

Lustmord: Much Unseen Is Also Here

Man Without Country's Beta Blocker

Mary J. Blige, every song: I'll love you forever, every dude she's dating, time to fuck you over.

Midwife: No Depression in Heaven

Moon Diagrams: Cemetery Classics

Moor Mother: The Great Bailout / The Great Bailout (Deluxe)

Muslimgauze, by July I realized I'll never hear all of his work. Bless him.

Nala Sinephro: Endlessness

Nirvana*

Norman Westberg's After Vacation

Nu Shooz's I Can't Wait, is the song in my head at all times.

The Orb, I'm going through their albums.

Pharmakon: Maggot Mass

Rafael Toral, I've been going through his work.

Saul Williams, his music and his Twitter have helped me survive this year.

Shellac: To All Trains

Slow Blink, I've been going through her albums.*

Sprain's The Lamb As Effigy*

SUNN O))), a lot.

Uboa: Impossible Light

Unwound, slowly going through their albums.

Windy & Carl, I've been going through their work.*

Bold and italicized indicates a favorite released this year.

This list does not really show that this is the most music I've listened to in a year. I'm typing this on December 3rd, and expect to have 60,000 plays on Last.fm before the end of the year. 2022 was my previous high, 45,000+. I don't feel as musically burned out like I did at the end of 2022, but I really want to slow down next year.....

As usual, choosing a favorite is like pulling teeth, so I'll do something different this year.

Colin Stetson, Kim Gordon, Moor Mother, & Pharmakon are my favorites. Colin and Kim are for the musician in me. Moor Mother and Pharmakon are for the writer and musician in me.

The regular edition and deluxe edition of Moor Mother's album are two different mixes of the album. The regular edition chops what sounds like a long form spoken word piece into nine claustrophobic noise pieces. The deluxe version stretches them out into three twenty-minute extended pieces. The extra time allows them to be more cinematic in their scope. I think you see where I'm leaning. Also, I BE KNOWING. What happened to the person who wrote that?

I truly don't know radio music anymore. The "new" songs we get at work are all the hits from twenty years ago, and last decade Tswizzle garbage. @knightofleo around here, the white radio stations don't play anything from Beyoncé past 4, at work, nothing past I Am... Sasha Fierce, No Crazy in Love. The white stations remove Jay's verse. I believe we feel the same about him, but the whitewash is fucked up. They cut Wyclef out of Killing Me Softly with His Song.

I said my goal for this year would be to really check out noise rock bands. I started with Boris, and then moved to pure noise. My plan for next year is to check out early electronic music, Éliane Radigue and Catherine Christer Hennix come to mind. Along with contemporary and experimental classical. Harry Partch, La Monte Young, György Ligeti, Steve Reich, you see where I'm going with this. This also allows me to cheat and dip into "Third stream," which puts be back into jazz.

Airiel: That is a potent combo of earnest lyrics and shoegaze.

Alan Sparhawk: What a pure album.

Autechre: Going into their music, all I heard was how divisive LP5 was. I spent last year with the first three albums. First time listening to Chiastic Slide, and I knew where LP5 was going.

billy woods: Bless him, I'm so tired of this abusive relationship with hip-hop.

Bowery Electric: First album, guitars in your face. Second album, guitars slightly buried underneath beats. Third album, guitars papering trip-hop beats.

Cocteau Twins: For the longest time, '80s synth heavy music sounded like nails on a chalkboard to me. I remember being introduced to Kate Bush in 2003, and thinking it was the worst thing I had ever heard. I was recommended Cocteau Twins a little while after getting into Slowdive. I heard those synths, and was like nope. That's a barrier that's gone now.

The Cure: The new album sounds like a direct conversation with Disintegration. The older Robert Smith trying to send answers back to his younger self.

Danger Mouse & Black Thought: I heard about this before it was released a few years back, but never checked it out.

DIIV: I am not the biggest fan of the new sound, but it still produces beautiful music.

Erykah Badu: Over the summer, I started going through Erykah and Mary J. Blige's albums. I've always known their music, but had never really went through their albums on my own accord.

the fun years: They are interesting. Their early albums are exercises in tape loop experiments. Their album from last year sounds like a lost Boards of Canada album.

The Future Sound of London: Currently going through their and The Orb's albums. I'll probably lump Orbital in next year. I am very interested in the sound collage their songs are. Before my car started having problems, I was planning on buying an expensive sampler to run my synths through. Basically, I want to DJ Shadow my own music. I can do it with the computer, but I desire the physical feel of chopping audio up. I refer to Shadow because he's always been a touchpoint for me, but TFSOL and The Orb are more erratic/ambient at times.

Jessica Pratt: I love her voice.

Kim Gordon: This album effortlessly sounds like what I'm trying to do with my music at times. Just disgusting, corrosive, battery acid beats.

Nirvana: I am thirty-five. I have avoided Nirvana my entire life. I think you can guess why. I remember reading an article from someone who saw Joy Division live. They said, the problem is, those who weren't there will never understand the promise we saw in that band. Those too young to have been there can only view the band through the eyes of tragedy. After Kyle died, I figured fuck it. I love Bleach, that's an ugly fucking album. Nevermind is interesting. In Utero is terrifying. "I wish I was like you, easily amused." Yep.

Slow Blink: Thank you @the-inevitable-minor-fires

Sprain: I didn't grab The Lamb as Effigy until this year. That is a mental breakdown on tape.

Windy & Carl: Thank you @zombimanos

As for my music, I'm still inspired by the usual suspects. Thinking about the slipperiness of The Future Sound of London and The Orb, the crudeness of the body, and the dead weight thump of Andy Stott. Slow Blink and the fun years really have me thinking about tape loops. I don't have the time, space, or money to actually do them, but I'll grab a sampler next year. I have been denying myself the desire to make nasty harsh noise drones.

Last year's list.

[gatutor]

Delphi Lawrence-Anton Diffring "El hombre que podía engañar a la muerte" (The man who could cheat death) 1959, de Terence Fisher.

[aliciavance4228]

A Short Yet Wholesome Story

This painting is called Women of Amphissa and was painted by Lawrence Alma-Tadema.

“When the despots in Phocis had seized Delphi, and the Thebans were waging war against them in what has been called the Sacred War, the women devotees of Dionysus, to whom they give the name of Thyads, in Bacchic frenzy wandering at night unwittingly arrived at Amphissa. As they were tired out, and sober reason had not yet returned to them, they flung themselves down in the market-place, and were lying asleep, some here, some there. The wives of the men of Amphissa, fearing, because their city had become allied with the Phocians, and numerous soldiers of the despots were present there, that the Thyads might be treated with indignity, all ran out into the market-place, and, taking their stand round in silence, did not go up to them while they were sleeping, but when they arose from their slumber, one devoted herself to one of the strangers and another to another, bestowing attentions on them and offering them food. Finally, the women of Amphissa, after winning the consent of their husbands, accompanied the strangers, who were safely escorted as far as the frontier” (Plutarch, Moralia, 249F).

[the-caterers]

Sorry! For Vide, Honey, and Delphi

ooc: oh okay got it

Vide

💀- I mean, they’re a literal manifestation of fear, so they are a part of Dementophobia, but I think they probably suffer from Scopophobia cause Eye and Spiral do not get along

💚- they basically do not have a gender, I think the proper title is nonbinary but that’s also a umbrella term I think. As for sexuality, I would say pansexual I think, I’ve never thought about it. I know they’re engaged to Lawrence

Honey

💀- idk the actual name but like, obviously The Flesh, but also the idea of loses what she has.

💚- She a woman, and idk her actual sexuality but she falls under the sapphic umbrella

Delphi

💀- I think she both causes and has Theophobia.

💚- She’s a lesbian, and a women, but with the same kind of commitment to it as I do to geometry. That is to say, little to none

[semper-legens]

51. The Charioteer of Delphi, by Caroline Lawrence

Owned?: Yes Page count: 225 My summary: In Rome, a famous racehorse has gone missing - and Lupus has a connection, with a boy his mother sent to Rome to work in the races. The four friends are once again off to Rome to solve a mystery, but is there more to the horse’s disappearance than meets the eye? My rating: 3.5/5 My commentary:

More Roman Mysteries! I'd let this series fall by the wayside a bit, but I'm gonna finish it, particularly as I'm into the later books. Though, admittedly, this is one that I don't favour as much. Part of it is that this is a book about chariot racing, an aspect of Roman history that I don't particularly care about - although the usual care is given to depict it with accuracy in a way that would be educational to the young readers of this book. Another part is that the mystery element of this plot is a little…stranger, than in previous books. I'll get into that in a bit. It's a solid entry into the series, however, and features my beloved Sisyphus, the definitive coded-gay character of my childhood. But it does just sort of feel more 'oh we're doing chariot races now' than that aspect being built organically into the plot as with other books.

This is a series that treats the Roman and Greek myths as having a genuine, if vague, truth to them, as well as depicting the Jewish and nascent Christian God as real. Characters get visions from the gods or hear guiding voices or are spurred on by religious figures. This is a fact of life. But where this book differs is that Nubia is horse-psychic now. She's always been depicted as being good with animals, but this was always seen as being an aspect of her gentle character and the knowledge that she brought from home. In this book, however, she can talk to horses. Well, horses give her visions (she sees Pegasus' fear at encountering fire, and where some idols are hidden) but it amounts to the same thing. Which is…not as jarring as it could have been, but it does stand out as being overtly supernatural in a series that isn't in any way fantasy. Sure, there's an element of the mythological to it, but it still sticks out. It's odd, that's all I'm saying.

As I said, the racing aspect of this book doesn't really interest me personally, though I am willing to admit that this is my own personal thing, rather than the subject itself being less interesting. Lawrence treats it with the same depth of information as she does gladiators, or Vesuvius, or any other aspect of Roman life depicted within these books. (Actually, it feels particularly timely - as I write this, the Grand National at Aintree, near where my mum works, just finished.) I like the focus given to the culture around the races as much as the races themselves; who supports which teams and why, and the lives of the racers and their horses. The mystery of this book winds itself around the intrigue around the lives of a few different racers, and the reality of the harshness of their lives is not sugarcoated. Racers and horses alike straight-up died from crashes and being trampled - many racers were enslaved, and were treated much the same as the horses themselves. Again, it's that maturity that this series shows that I very much appreciate.

And, you know, serious props for having a historical autistic character in Scopas. He's explicitly labelled as autistic by Lawrence's postscript, but the symptoms are obvious in his behaviour - alright, it's hardly the most subtle depiction, but this is a book for 8-12 year olds, and I think it really works here. Scopas is odd, but his oddities are never really demonised; they're a quirk of him, like Nubia's speech patterns or Jonathan's pessimism. The narrative doesn't treat him like a freak or a victim, it treats him like a kid working to achieve his dream of becoming a racer. He's not any more infantilised than the others. And it respects his knowledge and experience in dealing with horses; not in a Rain Man way, even, just that he's a kid who knows a lot about horses. It's a very plausible depiction of a historical autistic kid, and one that I really liked!

Next, the life and times of the Wicked Witch of the West.

[screamscenepodcast]

Hammer Film Productions tries to update the play THE MAN IN HALF MOON STREET by Barré Lyndon, with mixed results. Take a listen to hear what we liked and didn't about 1959's THE MAN WHO COULD CHEAT DEATH (Fisher)!

Context setting 00:00; Synopsis 22:30; Discussion 32:19; Ranking 46:04