#Eric Crowther

[jtrav]

Purina + Target 🎄🎁 It's the pawliday season Featuring Hilary Duff, Momo & Ham 💖 Director: Jason Travis DP: Brandon Widener Executive Producer: Emily Heller / Jellybean Partners Production Coordinator: Griffin Scott PA: Sean Lass, Anthony O'Brien, Chaya Borison 1st AC: Nick Kubeck 2nd AC: Sophie Donatella Camera Operator: William Crowther DIT: Drew Annen Gaffer: Steven Suarez Best Boy: Tom Rubino Grip: Eric Alt Production Designer: Miranda LeRae Set Dresser: Sadie Spezzano MUA: Anna Stovitz, Samantha Hollins Sound: Xiao Hou Location Scout: Annee Elliot

Client: Purina / Target Agency: Golin

[darthhope999]

OC intro pt seven!

Feel free to send story asks or headcannon asks! I’d love to write them!

James Fires

I have already written a “page” for him, I just thought I would be a good idea to put the link here since he will be mentioned.

Moodboard

Picrew

Benjamin Stolle

Ben is James’s acquaintance, not friend, he used to work as a police officer and self defense trainer before being “recruited” but him. He is about four years older than him but knows that he is no match for the other man’s mind, through he can overpower him in a physical fight. Ben is resigned to the fact that he will always be confused by what James does and says, and he basically just goes along with it. However, he does draw the line at murder and won’t be anywhere near James when he hurts someone. He owns a cat with James named Bink. He wears cheaply made clothing, though, unlike James, he does try to put effort into his appearance. His eyes are a warm brown and his hair is a dirty blonde color.

Picrew

Iain Atonal

Iain works as a english professor at a university. He is very enthusiastic and always makes his lessons interesting by cracking jokes, bouncing around the classroom, and using odd examples. Though some students find this very annoying and dislike his class, most love it. Iain also has a bad habit of getting himself into trouble. Oh, it’s dark outside and you may get mugged walking home? Okay, walk home with earbuds in not paying attention to anything. Leo always has to be the one to save him. He also tends to get very protective over things he deems as unfair or cruel. Which leads to Leo needing to bail him out of jail when he assaults a bully to save a kid. He has a pessimistic cat named Sage and a puppy named Coco. He loves the color (or lack of? Or perhaps all of?) white and wears mostly light or pastel color clothing. His eyes are a pale blue color and his hair is a dyed silver.

Leon Fires

Leo is a mathematics professor at a university and works alongside Iain. He is more laid back but good at explaining things and very helpful. Leo is very formal and gets to the point quickly without much joking or getting distracted, though once you get to know him he is much more open to joking around and wasting time, great for Iain. He is used to having to bail Iain out of jail and/or getting him out of other troublesome situations, that doesn’t mean he doesn’t get annoyed every time that happens though. Even if Iain always pays him back. Leo normally wears rather formal attire, he has warm brown eyes and dark brown hair.

Eric Crowther

Eric is a history professor at a university and works alongside Iain and Leo. He was one of the first friends the two were able to make when they took the job. Eric is kind and gentle and very highly regarded by his students and peers. He is patient, friendly and always ready to help… so he makes us think. Eric Crowther is a collector who will do anything and everything to get what he wants. He is fascinated by every part of American history and determined to find and complete his collection of “ancient” artifacts. This includes a knife belonging to one James Fires. When he is looking for an item to add to his collection he is sadistic and ready to fight for what he “needs”. Eric normally wears a trench coat and wide brimmed hat, he has black hair and brown eyes with flecks of blue in them.

Bink

Sage

Coco

[mariocki]

Storyboard: King & Castle (2.1, Thames, 1985)

"How come you're a karate expert?"

"It's aikido, actually."

"Yeah, well, whatever you call it."

"When I was eighteen, I joined the Royal Navy. Nobody liked me in the navy and you can't run away on a ship. So I learnt self defence."

"You learnt it well!"

"It's a science."

"Oh yeah, it's the science of killin' people, very 'andy."

[theuniversitychallengereview]

UC 50.31 - Balliol, Ox vs Durham

This match is the seventh quarter final of this year’s series, and is probably one of the toughest to call (should these ‘is’s be ‘was’s? My tenses are always all over the place in this blog). Both teams had very impresive second rounds, with Balliol besting a strong St John’s side 200 to 155, and Durham squeezing Edinburgh 165 to 145. And although they each won their opening QFs, I think they both flattered to deceive in a pair of low-scoring affairs. Perhaps the promise of a semi final place will be enough for them to up their games to the levels displayed in round two.

For Balliol this would mean a return to the last four in what has been their first appearance on the show since winning it (and beating one Eric Monkman in the final) in 2017. Durham meanwhile, have made the semi finals for the past two years, and will be looking to replicate Edinburgh, who were the last team to make it to that stage three times in a row (winning the title in 2019 as part of the third in this run).

Michael O’Connor, the Balliol captain, was notable in his sartorial choices in his last appearance (dungarees, or was that in his previous episode?), and has on a nice yellow shirt with fastenings like a fisherman’s raincoat this time. Three of Durham’s quartet are rocking knitwear, with skipper Parkinson’s red sweater-vest the highlight.

Anyway, let’s not bother with the rules; here’s your first starter for ten.

Balliol’s Crowther takes the opening starter, with O’Brien, and they get two bonuses on cities associated with the letters PA. Crowther comes in super early on the next one for a double, and another two bonuses followed on Horaces. Its not often you get to use the plural of Horace in a sentence, so you have to take them when they arise.

O’Connor completes a hat-trick of starters for the Oxonians, who are looking very much like their second round selves. Durham are not, but Crowther hands them the initiative with a neg of Tristram Shandy, which Banbury picks up with a speculative guess of Don Quixote.

One of the bonuses asks for the author of the book ‘Men Explain Things to Me’, which Holly Parkinson has read, though she can’t remember it was Rebecca Solnit, and she amusingly asks her teammates to explain the answer to her, but they can’t either.

Balliol get the first picture starter, but none of the bonuses, and Regan is delighted with his buzz of Montpellier next time around, glancing to both sides for congratulations even though he is on the end of the table.

Somewhat brilliantly, Crowther buzzes in with Tristram Shandy again, and is right this time. Balliol extend their lead to fifty, and Scholefield stretches it further, after a long pause from both teams on a numerical starter. Their run continues with the music starter, which O’Connor takes, though they struggle on the bonuses. He tries to end the run with a neg, but Durham can’t pick up the scraps, and Scholefield gets them going again.

This is turning into a bit of a pasting for the Wearsiders, who won’t want to take a trouncing into their play-off. Wilkening wakes them up, with nudibranch. 

They miss their first two bonuses, and then Banbury starts hissing ‘whore’ at Parkinson, which seems incredibly rude, and she is initially unwilling to take such abuse, but he’s actually saying ‘hoar’, which is the right answer, so she passes it on to Paxman, who gives a trademark wry smile.

The match is over as a contest by now, and Balliol, like Imperial last week, spend the last few minutes having some fun on the buzzer.

Final Score: Balliol 175 - 75 Durham

So it wasn’t that close, after all. I guess thats what I deserve for trying to make predictions. Depending on which version of this Balliol side show up in the semis we could be in for a great match, while Durham will need to improve in the play-off to continue their streak of semis.

[thekingofgear]

The gear behind Radiohead’s ‘Kid A’ sound in Dublin

Highlight: Jonny’s original ondes Martenot

Radiohead’s tour dates in 2000 were the first time that Jonny publicly performed with an ondes Martenot, and also one of the few tours he performed with the original 80s Martenot played on Kid A and Amnesiac. Although today Jonny is known for popularizing the ondes Martenot in the english-speaking world, until the late-90s he hadn’t so much as seen a picture of one. He only knew it from the sweet melodies and dramatic electronic glissandi in recordings of Olivier Messiaen’s Turangalîla-Symphony. It wasn’t until 1999, when he learned of one for sale in Paris and purchased it with its Palme diffuseur, that Jonny finally became acquainted with the instrument. This acquisition would be pivotal for the recording of Kid A and Amnesiac, and in no short time Jonny was teaching himself the instrument (hence his unusual playing technique) and using it to define the sound of those albums. The songs Kid A, The National Anthem, How to Disappear Completely, Optimistic, Motion Picture Soundtrack, Pyramid Song, You and Whose Army, and Morning Bell / Amnesiac all feature the ondes Martenot – and that doesn’t include the b-sides from this era!

What differentiates the Martenot from other electronic instruments is its interface, the way that the player controls the sound. The Martenot features a very sensitive button (called the “touche”) to control volume, while pitch can be controlled by either a keyboard or a ring on a ribbon. Both the keyboard and the ring can create vibrato by rocking the hand back and forth, and one can hear Jonny play with keyboard vibrato on the album recording of Optimistic.  the ring has full control of pitch over the range of the instrument, allowing anything from minute microtones to mutli-octave slides. When using a simple waveform, sliding between notes using the ring creates a sound similar to a theremin – but with greater control – which is why Jonny is often mistaken for playing one on songs like The National Anthem and Pyramid Song.

The ondes Martenot’s sound generators changed over the decades, so different versions are capable of different timbres. While the earliest versions used vacuum tubes, and the version most common today uses transistors, Jonny’s original Martenot is from a briefly made digital version. The digital version uses additive synthesis, and Jonny generally plays with setting that has relatively few overtones, which is why it’s often mistaken for a sine wave. Although monophonic, the Martenot is capable not only of melody but also of many special effects – in fact, most people unwittingly know the Martenot from the soundtracks of films like Ghostbusters and Journey to the Far Side of the Sun.

The 2000 tour was also one of the few times that fans could hear songs performed with the same instrument used on the recordings, since Jonny quickly obtained a replica for touring purposes. Jonny was nervous about the rare Martenot being damaged, so he commissioned a replica that could control the same eurorack synth modules that he uses on Idioteque. The result was the Analogue Systems French Connection, a controller with a less sensitive interface emulating the touche and ring of the Martenot. Jonny would use the French Connection all Radiohead tours from 2001 to 2012, as well as for some recordings and tv performances. And although Jonny did tour with his original Martenot again in 2016 (he had less reason to be nervous of it breaking after getting an ondes Musicales Dierstein in 2011), that too was short lived, because Jonny ceased using the Martenot for touring once he acquired the Asaden Ondomo.

A closeup of Jonny’s ondes Martenot from The National Anthem. The Martenot’s distinctive short-depth (but full width) keys can be seen, as well as the pitch-controlling ring on Jonny’s finger.

Other notable bits:

Radiohead’s 2000 tour saw the first public uses of a ton of instruments that the band had only started using during the sessions for Kid A and Amnesiac. Perhaps most notably, it was the first time that Radiohead used looping and live sampling on tour. This was enabled by a host of performance oriented samplers, like the Korg Kaoss Pad, Line 6 DL4, and Akai Headrush, all of which were released only a year earlier in 1999. Colin bowed a double bass for the first time on Pyramid Song and Motion Picture Soundtrack – a rare treat, as Colin soon after switched to a Steinberger electric upright bass, followed in 2006 by Jonny taking over bowing on Pyramid Song with his guitar (most likely inspired by Jónsi of Sigur Ros, who opened for Radiohead on this very tour). Another rarity was the Vox Super Continental organ which Thom plays on Motion Picture Soundtrack, with the sound distorted through an Electro-Harmonix Micro Synthesizer pedal. Jonny brought his recently acquired Analogue Systems RS8000 on tour to perform Idioteque, marking the first time he’d performed with a eurorack modular synthesizer. It was also the first time Ed performed with a guitar modified to include a sustainer system. The heavily modified Eric Clapton Signature Stratocaster used for the Dublin show would be Ed’s favorite for more than a decade before becoming the inspiration for Ed’s current Fender EOB Signature Stratocaster.

A screenshot of Jonny sampling Thom’s vocals with his Korg Kaoss Pad KP1 during Everything In Its Right Place. One can also see his ondes Martenot atop his Fatar MIDI control, and the Martenot’s Akai Headrush E1 (that light grey rectangle) can be seen below them both.

Song by song:

This lists all gear used for the songs included in the official video of Radiohead’s performance at the Punchestown Race Course in Dublin on October 7, 2000. It does not include other gear used for other songs at the same show, or for the rest of the 2000 tour.

The National Anthem

Thom Yorke‘s gear for The National Anthem in Dublin

Shure Beta 87 vocal microphone

Ring modulator vocal effect from FOH mixing desk

Rickenbacker 330 in Fireglo finish

Tech 21 XXL distortion (most likely, might be another distortion pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for The National Anthem in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

Roberts R737 radio (processed by Jonny’s guitar pedals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien‘s gear for The National Anthem in Dublin

Fender Eric Clapton Signature Stratocaster (ST1) “Sustainer Strat”

Crowther Hotcake and/or BOSS SD1 overdrive

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special

Colin Greenwood‘s gear for The National Anthem in Dublin

1972 Fender Precision Bass in Olympic White finish

Lovetone Big Cheese fuzz

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway - see end of article.

Jonny adjusting the frequency on his radio while adjusting a pedal (likely his Digitech Whammy) with his right foot.

Thom with his Fireglo Rickenbacker 330 during The National Anthem.

How To Disappear Completely

Thom Yorke‘s gear for How To Disappear Completely in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for How To Disappear Completely in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

BOSS FV300 (used to mute Jonny’s playing for silent looping)

Ed O’Brien‘s gear for How To Disappear Completely in Dublin

Rickenbacker 360 12-String in Jetglo finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter ?

Line 6 DL4 delay/looper (as looper) ?

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for How To Disappear Completely in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway‘s gear for How To Disappear Completely in Dublin

Lemon shaker

In this screenshot from How To Disappear Completely, one can see Ed’s Jetglo Rickenbacker 360/12 guitar and his BOSS PN-2 tremolo/pan pedal.

Morning Bell

Thom Yorke‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood‘s gear for Morning Bell in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Coin (an actual coin, scrapped against the guitar’s strings to create the sound effects at the end of the song)

Electro-Harmonix Small Stone V2 phaser

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Line 6 DL4 delay/looper (as looper, using reverse function)

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Morning Bell in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A closeup of Thom’s hands at the Rhodes piano during Morning Bell.

Idioteque

Thom Yorke‘s gear for Idioteque in Dublin

Shure Beta 87 vocal microphone

Jonny Greenwood‘s gear for Idioteque in Dublin

Analogue Systems Sequencer System in RS10 cabinet

Analogue Systems RS8000 Integrator modular synthesizer

Ed O’Brien‘s gear for Idioteque in Dublin

Metal percussion shaker (possibly a guiro shaker)

Fender Telecaste Standard guitar

Crowther Hotcake and/or BOSS SD1 overdrive

Lovetone Ring Stinger ?

Line 6 DL4 delay/looper (as looper)

BOSS DD5

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Idioteque in Dublin

Yamaha CBX-K1XG keyboard (sends MIDI notes to a sampler)

Ed with his metal shaker during Idioteque.

Colin triggering samples with the Yamaha CBX-K1XG during Idioteque.

Optimistic

Thom Yorke‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Gibson ES-125 electric guitar

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Optimistic in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for Optimistic in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier hea

Ampeg SVT 8x10 cabinet

In this screenshot from Optimistic, Ed can be seen singing into a Shure Beta 87, while Jonny plays his 70s Fender Starcaster in the background.

In Limbo

Thom Yorke‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Tambourine

Jonny Greenwood‘s gear for In Limbo in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Colin Greenwood‘s gear for In Limbo in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Thom with his tambourine during In Limbo.

Thom at the Rhodes piano and Jonny with his Fender Telecaster and arm brace during In Limbo.

Paranoid Android

Thom Yorke‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone (“ugly”, “piggy”)

Young Chang upright piano

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger synth string samples)

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter

BOSS LS2 Line Selector

BOSS DD5 delay

Vox AC30TBX Dave Petersen Special amplifier

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Paranoid Android in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Jonny at the Young Chang upright piano during Paranoid Android – a rare instance of Jonny not using the Rhodes piano for this section.

Motion Picture Soundtrack

Thom Yorke‘s gear for Motion Picture Soundtrack in Dublin

Shure Beta 87 vocal microphone

Vox Super Continental organ

Electro-Harmonix Micro Synthesizer (vintage "big box" version used to distort the organ’s sound)

BSS Audio AR-133 Active D.I. Box (used to connect the pedal to the PA mixer)

Jonny Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger harp and choir samples)

Colin Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Double bass

Thom playing the Vox Super Continental organ. The EHX Micro Synth and BSS Audio DI box can be seen on top of the organ, along with a power strip with power supplies.

Colin with his double bass and bow, presumably checking to ensure he has enough rosin and tension on the bow.

Everything In Its Right Place

Thom Yorke’s gear for Everything In Its Right Place in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood’s gear for Everything In Its Right Place in Dublin

Korg Kaoss Pad KP1 sampler (fed from Thom’s vocals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien’s gear for Everything In Its Right Place

Pedals are fed from Thom’s Rhodes Piano.

Line 6 DL4 delay/looper (as looper)

Akai Headrush E1 delay/looper (as looper)

BOSS DD5 delay

BOSS FV300 volume pedal

misc others

Colin Greenwood‘s gear for Everything In Its Right Place in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A screenshot of Thom at the Rhodes piano during . One can also see the distinctive red control panel of Jonny’s Vox AC30TB Dave Petersen Special.

Ed adjusting his Line 6 DL4 and Akai Headrush E1 – both configured as loopers – during Everything In Its Right Place.

In this screenshot from Everything In Its Right Place, one can see Jonny’s 80s ondes Martenot and Fatar CMS-61 (left), as well as his BOSS SD1 and BOSS RV3 pedals (right).

Just

Thom Yorke‘s gear for Just in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Deluxe guitar (vintage 1970s)

Thom uses the guitar’s pickup selector as cutoff switch during outro section.

Proco Turbo Rat distortion (most likely, might be another dirt pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Just in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

Digitech Whammy WH1 pitch shifter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Just in Dublin

Fender Stratocaster (70’s) in white finish with black pickguard

Crowther Hotcake and/or BOSS SD1

BOSS FV300 volume pedal

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Just in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ed can be seen with his white 70s Strat in this screenshot from Just.

Phil Selway’s Drum Setup

Phil’s drum kit is not especially visible in footage from the show. However, he described his setup at the time in the July, 2001 issue of Rhythm magazine:

“I don’t have my whole kit set up here today. I generally have 12”, 14” and 16” toms and a Noble & Cooley snare that I put on my left-hand side. I’d normally have drum triggers and a pad on the kit too, to the right of my 12” tom. The kick drum and both snares have triggers on – just for individual samples, because we don’t tend to use loops live.

“My acoustic drums are all premier Signia Marquis. They look after me really well and have done for six years – they sent me a Club kit recently, which I love. Cymbals are a mix of Zildjian Ks and As usually. I like quite dry cymbals – things that sound quite contained. It’s quite a simple set-up, really, and I don’t want for anything. Apart from snares. You can never have too many snares.”

The Zildjian K Cymbals are as follows:

13” Hi-Hats

12” Splash

15” Thin Crash

16” Crash

18” Ride

The triggers are by ddrum, and are used to control Phil’s Clavia Nord Drum 1.

Phil’s Nord Drum can be seen in this screenshot from Idioteque.

[archaeologicalnews]

Ancient Romans Used Molten Iron to Repair Streets Before Vesuvius Erupted

Ancient workers used molten iron to repair Pompeii's streets before the historic and devastating eruption of Mount Vesuvius in A.D. 79, a team of archaeologists has discovered.

The discovery reveals a previously unknown method of ancient Roman street repair and represents "the first large-scale attestation of the Roman use of molten iron," wrote researchers Eric Poehler, a classics professor at the University of Massachusetts Amherst; Juliana van Roggen, an independent researcher; and Benjamin Crowther, a doctoral student at the University of Texas at Austin, in a paper recently published in the American Journal of Archaeology.

When Mount Vesuvius erupted, it covered the city in ash and lava; though the eruption killed many of Pompeii's inhabitants, it also preserved the city in time. Read more.

[ozma914]

The Heroes of 9/11

Much as I tried, I couldn't write anything new this year to memorialize the events of 9/11.

I was so heartsick over our horribly bungled and costly withdrawal from Afghanistan, I found myself unable to say anything that wouldn't just attract pointless political arguing. Oh, I found words--I'd even go so far to say they were eloquent. But despite the obvious connection, writing about it now would only take away from remembrance of the terrorist attacks.

So I deleted the whole thing, thus saving the internet another corner of hate throwing and name calling. Instead, I'm reprinting here the column I wrote for the 10th anniversary of 9/11. Sadly, I didn't need to make many changes.

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              I've mentioned before that I’m uncomfortable using the word “hero”. Like many words, it’s overused and clichéd. What is a hero? Not a sports star. Being tough doesn’t make a hero. Not a skydiver. That may make you brave, but not heroic.  

Ronald Bucca was a member of the 101st Airborne, then served in the Special Forces and Green Berets while on active duty in the army. He became a New York City firefighter in 1978, and on September 11, 2001, became the only FDNY fire marshal ever killed in the line of duty.

           Does somebody become a hero when they take on a dangerous occupation? I don’t know … the flagger who controls traffic during road construction has an especially dangerous job, but I don’t know if you’d call it heroic. You could even argue that a firefighter or police officer doesn’t automatically become a hero the moment he puts on the badge. Maybe – potential hero?  

           But then, isn’t everyone a potential hero?  

           Steve DeChiaro is a businessman, and was just entering the Pentagon for a meeting when the building was struck by an airplane. No one would have blamed him for saving himself; he had no legal responsibility to act. Certainly he never thought he’d end up winning the Defense Department’s highest civilian award, the Medal of Valor, for his actions in rescuing and treating people that day.

           Sometimes, maybe, a hero is just someone who overcomes their fear and acts – not on a lark, but to do something important, something vital.  

Tom Burnett was the vice president of a medical devices company. He found himself on United Airlines Flight 93, and after his plane was hijacked he learned, in a cell phone call to his wife, of the attacks on the World Trade Center. He didn’t know for sure what the hijackers were planning, but it must have quickly become clear they also wanted to kill.

           Burnett must have also known that an attempt to take the plane back would likely be fatal … but that if it failed, they still might keep the hijackers from taking a large number of civilians on the ground with them.

           Sometimes being a hero is a matter of relativity. A firefighter might do something on a day to day basis that others see as heroic, while he just calls it another day on the job. But others wouldn’t normally expect to see a crisis, beyond a paper jam in the copy machine.  

Welles Crowther was an equities trader. The biggest risk for him on the job was a paper cut, or a coffee burn. He was on the 104th floor of the South Tower when the first plane hit.

           Witnesses described how Crowther, a former volunteer firefighter, took control, organized people, and got dozens out of the building before it collapsed.

           Sometimes it’s the call of duty, of course.  

Moira Smith, a 13 year veteran of the NYPD, had already been decorated for heroism. It’s hardly surprising that she headed into the World Trade Center to rescue people, and became the only female member of the force killed that day.

           Her daughter would be 22 now. I hope people tell her about her mom.

           Or … maybe heroism just runs in the family?  

Eric Moreland was a George Washington University student at the time, but also a volunteer firefighter and paramedic. As often happens to off duty emergency personnel, he was just happening by when an airplane crashed into the Pentagon.

           Moreland, at great risk, charged into the burning building and carried injured people to safety. Then he stayed to help remove the dead. Then he drove all the way to New York to help out at the world Trade Center.

           Moreland’s grandfather, Lt. Col. Conway Jones, was one of the famous Tuskegee Airmen of World War II. His father flew 80 combat missions in Vietnam.

           Whether it runs in the family or not, some people are just born to serve.  

Special Agent Leonard Hatton fought crime as an FBI agent, fought fires as a volunteer, and fought for freedom as a US Marine. He reported the second plan crashing into the south Tower – not from inside the World Trade Center, but from the roof of a nearby hotel. Then he went in. What else could he do? He died that day, but if he’d turned his back on the call for help, he wouldn’t have been able to live with himself.

           There will always be some who suffer for their service.  

Jim Ryan survived, but was still a victim of 9/11. A New York City firefighter, he came back to the WTC site again and again, for months. He helped search for survivors, then victims, and as time went by there was nothing left but to search out bits of what were once people.

           What else could he do? Over three hundred of his brother firefighters were there.

           The cancer diagnosis came in 2006. His lungs finally failed him on Christmas, 2009. He was 48, and died on the same day that someone else grabbed the headlines by trying to bring down another plane, with a chemical bomb strapped to his leg.

           On September 11, 2001, 341 FDNY firefighters and 2 Fire Department paramedics were killed; 23 NYPD officers died, along with 37 Port Authority PD officers and 8 private EMS medics.  

           On 9/11 at least 200 people, faced with the horrors of burning to death, jumped from the Twin Towers. Among the almost 3,000 who died in the four sites linked in the attack were citizens of over 70 nations. I don’t know how many of those people qualified as heroes. A lot of them, certainly. And just as certainly, the dead from that day are only a fraction of the victims.  

           Every now and then some short sighted person will suggest we stop obsessing so much about 9/11, that we “let it go”. After all, it’s been twenty years, right?  

           They’re wrong. They’ll always be wrong. Ten times twenty years, they’ll be wrong. Not only because we must keep this from happening again, but because heroes vanish too quickly, in the flotsam and jetsam of pop culture and the concerns of everyday life. Their memory goes too quickly, just as they do.  

           Be inspired by their stories. Saddened. Enraged. But never forget.

[justjoelkinnaman]

Carl Edmond Launches First Global Advertising Campaign

 Everything Tech News

by Daryl Crowther

March 19, 2018

http://everythingtech.news/carl-edmond-launches-first-global-advertising-campaign-793/ 

Luxury Swedish watch brand Carl Edmond launched their first global campaign today. The advert features Joel Kinnaman as the face of the brand.

The company launched in September last year with an aim to bring together Swiss sophistication and Swedish heritage. To design the watches they brought in Swiss watch designer Eric Giroud along with his protégée Adrian Glessing. Together these highly respected designers created a minimalist aesthetic and a series of classy colour palettes.

To market the watches the company have created namesake character Carl Edmond, a man who personifies the watches. Swedish actor Joel Kinnaman was brought on board straight away to portray the character. The campaign launched today with the release of the full video in which a series of people talk of their admiration for Carl Edmond. He is portrayed as a man of almost mythical status.

“Carl Edmond is an adventurer, an explorer, a vagabond and a diplomat living a life extraordinary to the fullest deluxe.” Carl Edmond Founder Ali Nouri says, “I’d love to be more like Carl.”

In recent years Swedish actor Joel Kinnaman has been making a name for himself stateside. After landing a starring role in AMC’s the killing he went on to play the titular role in the 2014 Robocop remake. He currently plays Will Conway in House of Cards, joining the successful Netflix series for its 4th season as well as playing the lead role in another Netflix series, the sci-fi themed Altered Carbon.

“If I was stranded on a deserted island and could bring one thing only. I would bring Carl Edmond. And if it was the other way around. I would beg Carl to bring me”, says Joel.

In designing the range of Carl Edmond watches Giroud and Glessing took inspiration from Swedish furniture of the 1960s and 70s. Unlike Swedish furniture however, I am assured the watches will not need assembly once purchased.The leather used to create the wristbands is Swedish Tärnsjö. This 140 year old institution is part of a small minority of tanning houses that use the environmentally friendly vegetable-based tanning method.

The watches utilise Swiss quartz movement and sapphire crystal available in two shapes: the round classic “Ryolit” and the bold, square “Granit”. The dials are available in a range of colours including white, black, gunmetal, cameo, navy and limed spruce.

[cooldididesign]

nature retreats: 4 public architecture that provides health and wellness therapy

providing practical and emotional support for every architect or designer is essential when about to create a health and wellness center. these include designing a space for people with cancer, to meditate, and a wide range of public space for the generosity of fun, which extensively aim to help them achieve a better mind and therapy, health, and wellness.of course, under supportive treatment by the atmosphere of the building and its surrounding too! from the beautiful mushroom-shaped interior alike maggie's leeds to the very sustainable bamboo-designed dental clinic in jakarta' residential neighborhood, read on the design story's best pickups for health and wellness of the year! maggie's leeds cancer center for maggie's healthcare centre, which is situated in harehills, within the campus of st. james's university hospital in leeds, the 462 sq meter center is the charity's 26th center in the uk the first completed healthcare project designed by heatherwick studio. maggie's leeds center building's exterior. credits by hufton+crowinspired by the philosophy of maggie's, and the belief that great design can help people feel better, the design of maggie's centre added several materials in supporting the essence of wellness and energy-saving techniques. the mushroom-shaped interior, which looked like enota architect's banja vrućica spa in bosnia and herzegovina, has a group of large-scale planters built on a sloped site presented as a counseling room. on the other corner is where people can find the "heart" of the centre, the kitchen, and additional space to socialize, including a library and exercising room. maggie's leeds center interior. credits by hufton+crowhere, at the center of maggie's leeds, explores what is often missed when designing a healing environment: the natural and tactile materials, soft lighting, and variant public space that encourage interactions and other social opportunities - as well as a room to contemplate for quiet meditation. there are window sills and shelves, where visitors can place their objects and belongings upon them as if they were at home. the studio has two main tables: which were inspired by the building's timber fins and built from cork and engineered beech timber makes reside the heart of the center. maggie's leeds center interior. credits by hufton+crowthere is also a garden nestled secretly on the top of the building. designed by balston agius, an award-winning landscape designer, agius earned his inspiration from yorkshire woodlands when he was about to design the stunning rooftop. to boost more sense of wellness, he featured native english species of plants throughout the area to provide extra warmth when winter comes. the whole attempt was also inspired by maggie keswick jencks' love of gardening, where visitors are encouraged to participate in the care of the 23,000 bulbs and 17,000 plants on site. maggie's leeds center building's exterior. credits by hufton+crowas for the overall structure, the architect clearly exposed a prefabricated and sustainably-sourced spruce timber system. along with several porous materials such as lime plaster to maintain internal humidity of the naturally ventilated building, considering the space should reflect a fresh and refreshing outdoorsy vibes in accordance to the center's orientation. maggie's cancer centre manchestermeanwhile in maggie's cancer center manchester, a welcoming "home away from home" has been set to make a place of refuge where people with cancer can find their tranquility for wellbeing. designed by the famous world-renowned architect, foster + partners, maggie's manchester centre was inspired by the blueprint for a new type of care set out by maggie keswick jencks. similar to maggie's leeds, maggie's manchester places a great value through the power of architecture to lift the spirits and increase a sense of healing therapy. maggie's cancer center in manchester building's exterior. credits by nigel young / foster + partnerssurrounded by a lush garden, greener than the one in leeds, the design of maggie's manchester has been brushed in a domestic atmosphere - a garden setting that would the first glimpse the inside of the building. the building occupies a sunny site and is arranged over a single storey, keeping its profile low and reflecting the residential scale of the surrounding streets. similar to maggie's leeds, the roof rises in the centre to create a mezzanine level, naturally illuminated by triangular roof lights and lightweight timber lattice beams support it. the beams came as natural partitions between many internal areas that visually dissolve the architecture to surrounding gardens. maggie's cancer center in manchester. credits by nigel young / foster + partnersa similar approach to provide intimate private niches to a library, exercise room, space to gather around and share a cup of tea, the kitchen is the heart of the building. set on center with a large communal table, one can always join in for waves of laughter or two, sharing what they have for lunchtime. reflecting a homey home ambiance, selection of material palette such as warm tone, natural wood, and tactile surface has been applied. natural light, greenery, and garden views are the focus of the centre. here, where the patients can enjoy the entire western elevation, the landscaped courtyard, under the deep overhang of the roof, extends into a beautiful veranda. maggie's cancer center in manchester. credits by nigel young / foster + partnersfor maggie's manchester garden, the architect collaborated with dan pearson studio who to beautifies the garden setting and make it more vibing and refreshing at all season of time. through the sliding glass door, each treatment and counseling room on the eastern façade faces its own private garden. embrace a greenhouse – a celebration of light and nature – which provides a garden retreat, space for people to gather, work with their hands, and enjoy the therapeutic qualities of nature and the outdoors. maggie's cancer center in manchester building's exterior. credits by nigel young / foster + partnersin maggie's manchester, the patient can take some time to grow flowers with a sense of growing hope for them when they feel at their most vulnerable stage. norwegian outdoor care retreat in ris, norway, snøhetta has also provided a beautiful outdoor care retreat nestled in the middle of lush green forest in only a 35-meter area, only a hundred meters from the entrance of oslo university hospital. set among the oak trees, birch, and overlook a beautiful pond, outdoor care was developed in collaboration with the department of psychosomatics and cl-child psychiatry at oslo university hospital. to host a peaceful space where visitors can benefit from the therapeutic qualities of nature. outdoor care retreat building's exterior in oslo. credits by ivar kvaalby design, snøhetta made its commitment to socially sustainable public space design, resulting in a very accessible cabin for a wheelchair, and the angled entrance of black zinc is large enough to make the room even for hospital beds. outdoor care retreat interior in oslo. credits by ivar kvaalthe space is private and can be used as private treatment and contemplation - just a moment away from the outside crowds and the hospital ambiance. the cabin designed building performed a very generous design, as it took a reference to a playful construction of wooden tree cabins usually made for children, the blocks of wood were extended into the landscape through the asymmetrical branches. here, the massive wood of the cabin's main structure will turn gray over time, blending naturally into the surroundings. outdoor care retreat building's exterior in oslo. credits by ivar kvaal"nature provides spontaneous joy and helps patients relax. being in natural surroundings brings them a renewed calm that they can bring back with them into the hospital. in this sense, the outdoor care retreat helps motivate patients to get through treatment and contribute to better disease management", states children's psychologist maren østvold lindheim at the oslo university hospital, one of the initiators of the project. the guild + guha bamboo public spacefrom northern europe to tropical island of indonesia, guha has made a combination of a dental clinic, library, bookstore, residence, and the workshop for local-based raw architecture contemplative public space nestled in a residential neighborhood, taman villa meruya, jakarta. the project was a renovation program to the previously known "the guild", which currently has blended into the additional facilities added throughout the building. the guild + guha bamboo public space in jakarta. credits by eric dinardi, ernst theofilusbamboo structures, green lush, east-asian inspired window style can be open during a sunny day to allow natural light to incorporate with the natural interior. people who wish to come can either visit the library and bookstore, pay a visit for dental care, or solely only for a short escape to blend in the beautiful, sustainable, and natural design scheme. the guild + guha bamboo public space in jakarta. credits by eric dinardi, ernst theofilusaccording to the architect, the new project, named guha bambu, is on the east side and consisted of a new 3 storey bamboo structure and 2 storeys of the basement. by design, the technique is to build and elaborated structure based on the school experiment at the alfa omega project. hence the architect separates the steel plane structure as a roof and bamboo structure to hold the three-floor plate under the steel roof. the guild + guha bamboo public space in jakarta. credits by eric dinardi, ernst theofilusconstruction of guha is elaborated into nine materials, to sum up, craftsmanship experimentation in realrich architecture workshop, such as steel, wood, glass, metal, gypsum, bamboo, plastic, stone, and stone concrete. the layout is flexible and open, while some of the rooms are opened by a minimum of two doors, allowing further scenarios while the program can be changed. the idea is addressing the tropical climate to open north-south and close the facade on the west side. the guild + guha bamboo public space in jakarta. credits by eric dinardi, ernst theofilusall images were taken from archdaily https://bit.ly/2BCIwX9

[darthhope999]

OC intro day one!

I thought it would be a good idea to write up some introductions to my OCs so i’m not the only one in the whole entire world who knows who they are. If you want to see headcannons or a story written for one of them send me an ask!

(May be subject to change… no, let’s not say that, it sounds like a commercial. What I meant is that I’ll probably forget my own lore and change something about them)

Check out the rest right here!

James Fires (AKA: The Wolf)

James is a 23-24 year old male with dark brown hair, sometimes mistaken as black, and cold gray eyes, he normally wears any cheap clothes he can find, meaning they are normally much to big for him. He is an outlaw and has escaped the police for years. He normally commits minor crimes such as theft and vandalism, though he will resort to assault and kidnapping to get what he wants. He has an uncaring nature and tends to always go right to the point, no pleasantries or rambling about random things. He is very precise and likes people to get things right (grammar, vocabulary…) just think an evil Sherlock Holmes. He hates nicknames and gets frustrated whenever someone calls him “Jamie” or “Jim”. He has an acquaintance, Ben, and insists that they are not friends. James has a pet, (Ben owns him too) Bink the orange cat. He lives with Bink and Ben in a dilapidated old building that used to house multiple families. However, after a fire rendered half of it unusable, the previous owner sold it for cheap to the two of them. There they found Bink and took him in.

James’s brother is Leon Fires, a teacher at a university, and the two have not spoken for years. Though he does watch over his older brother to make sure no one tries to harm him. He knows of the existence of one Eric Crowther but, as of the beginning of Don’t Trust Them, has not yet confronted him.

Others: He has celiac disease (or something along those lines, obviously, a felon has not been diagnosed), has loved pets (mostly cats) since he was younger. He has a knife that symbolizes something very important to him…

Moodboard

Picrew

[surejaya]

The White Cottage Mystery

Download : The White Cottage Mystery More Book at: Zaqist Book

The White Cottage Mystery by Margery Allingham

The mysterious recluse Eric Crowther was murdered, he lived in the gaunt house whose shadow fell across the White Cottage, much as the man himself overshadowed the lives of the occupants of the little white house. Indeed, as Detective Chief Inspector W.T. Challoner soon discovered, seven people had good cause to murder him. Everyone ought to have done it, but by the evidence nobody had. The seven suspects, all with excellent motives for killing the hateful Eric Crowther. So it was not lack of evidence but rather a surfeit of it which sent Challoner and his son Jerry half across Europe in pursuit of the trail. He collected their secrets. And he used them. But whick of these long-time sufferers had found the courage to pull the trigger? And should this benefactor really be prosecuted?NOTE: White Cottage Mystery was her first mystery, published as newspaper serial 1927; first published in book form 1975.

Download : The White Cottage Mystery More Book at: Zaqist Book

[jaitrends]

Kirk Douglas - Hollywood Golden Star Dies Aged 103

Kirk Douglas - Hollywood Star Dies Aged 103

Kirk Douglas, one of the last surviving movie stars from Hollywood’s golden age, whose rugged good looks and muscular intensity made him a commanding presence in celebrated films like “Lust for Life,” “Spartacus” and “Paths of Glory,” died on Wednesday at his home in Beverly Hills, Calif. He was 103. His rugged good looks and muscular intensity made him a commanding presence in films like “Lust for Life,” “Spartacus” and “Paths of Glory.” His son the actor Michael Douglas announced the death in a statement on his Facebook page. Mr. Douglas had made a long and difficult recovery from the effects of a severe stroke he suffered in 1996. In 2011, cane in hand, he came onstage at the Academy Awards ceremony, good-naturedly flirted with the co-host Anne Hathaway and jokingly stretched out his presentation of the Oscar for best supporting actress. By then, and even more so as he approached 100 and largely dropped out of sight, he was one of the last flickering stars in a Hollywood firmament that few in Hollywood’s Kodak Theater on that Oscars evening could have known except through viewings of old movies now called classics. A vast number filling the hall had not even been born when he was at his screen-star peak, the 1950s and ’60s. https://www.youtube.com/watch?v=z0iymWOw8_M But in those years Kirk Douglas was as big a star as there was — a member of a pantheon of leading men, among them Burt Lancaster, Gregory Peck, Steve McQueen and Paul Newman, who rose to fame in the postwar years.

Kirk Douglas in 1974 on the set of the movie “Once Is Not Enough” in Central Park. At the height of his career he was as big a star as there was.Credit...Jack Manning/The New York Times And like the others he was instantly recognizable: the jutting jaw, the dimpled chin, the piercing gaze and the breaking voice, the last making him irresistible fodder for comedians who specialized in impressions.

Three Movies a Year

In his heyday Mr. Douglas appeared in as many as three movies a year, often delivering critically acclaimed performances. In his first 11 years of film acting, he was nominated three times for the Academy Award for best actor. He was known for manly roles, in westerns, war movies and Roman-era spectacles, most notably “Spartacus” (1960). But in 80 movies across a half-century he was equally at home on mean city streets, in smoky jazz clubs and, as Vincent van Gogh, amid the flowers of Arles in the south of France. Many of his earlier films were forgettable — variations on well-worn Hollywood themes — and moviegoers were slow to recognize some of his best work. But when he found the right role, he proved he could be very good indeed. Early on he was hailed for his performances as an unprincipled Hollywood producer, opposite Lana Turner, in “The Bad and the Beautiful” (1952), and as van Gogh in “Lust for Life” (1956). Each brought an Oscar nomination. Many critics thought he should have gotten more recognition for his work in two films in particular: Stanley Kubrick’s “Paths of Glory” (1957), in which he played a French colonel in World War I trying vainly to prevent the execution of three innocent soldiers, and “Lonely Are the Brave” (1962), an offbeat western about an aging cowboy.

Mr. Douglas was nominated for an Oscar for his role as Vincent van Gogh in the 1956 movie “Lust for Life.” “I felt myself going over the line, into the skin of van Gogh,” he wrote in his autobiography. The experience was so frightening, he said, that for a long time he was reluctant to watch the film. Credit...Metro-Goldwyn-Mayer, via Associated Press. Early on Mr. Douglas created a niche for himself, specializing in characters with a hard edge and something a little unsavory about them. His scheming Hollywood producer in “The Bad and the Beautiful” was “a perfect Kirk Douglas-type bum,” Bosley Crowther of The New York Times wrote. Mr. Douglas did not disagree. “I’ve always been attracted to characters who are part scoundrel,” he told The Times in an interview in 1984. “I don’t find virtue photogenic.”  Yet he often managed to win audiences’ sympathy for even the blackest of his characters by suggesting an element of weakness or torment beneath the surface. “To me, acting is creating an illusion, showing tremendous discipline, not losing yourself in the character that you’re portraying,” he wrote in his best-selling autobiography, “The Ragman’s Son” (1988). “The actor never gets lost in the character he’s playing; the audience does.”

‘Going Over the Line’

The only time that discipline nearly cracked was during the filming of “Lust for Life.” “I felt myself going over the line, into the skin of van Gogh,” he wrote. “Not only did I look like him, I was the same age he had been when he committed suicide.” The experience was so frightening, he added, that for a long time he was reluctant to watch the film. “While we were shooting,” he said, “I wore heavy shoes like the ones van Gogh wore. I always kept one untied, so that I would feel unkempt, off balance, in danger of tripping. It was loose; it gave him — and me — a shuffling gait.” Most people who worked with Mr. Douglas were either awed by his self-confident intensity or put off by it. He was proud of his muscular physique and physical prowess and regularly rejected the use of stuntmen and stand-ins, convinced he could do almost anything the situation required.

It was the 1949 film “Champion” that made Mr. Douglas a star. Preparing for the movie, he trained for months with a retired prizefighter. Credit...United Artists, via Associated Press Preparing for “Champion,” he trained for months with a retired prizefighter. He took trumpet lessons with Harry James for “Young Man With a Horn” (although James did the actual playing on the film’s soundtrack). He became a skilled horseman and learned to draw a six-shooter with impressive speed, lending authenticity to his Doc Holliday when he and Lancaster, as Wyatt Earp, blazed away at the Clanton gang in the final shootout in “Gunfight at the O.K. Corral” (1957). The engine that drove Mr. Douglas to achieve, again and again, was his family history.

The Ragman’s Son

He was born Issur Danielovitch on Dec. 9, 1916, in Amsterdam, N.Y., a small city about 35 miles northwest of Albany. As he put it in his autobiography, he was “the son of illiterate Russian Jewish immigrants in the WASP town of Amsterdam,” one of seven children, six of them sisters. By the time he began attending school, the family name had been changed to Demsky and Issur had become Isadore, promptly earning him the nickname Izzy. The town’s mills did not hire Jews, so his father, Herschel (known as Harry), became a ragman, a collector and seller of discarded goods. “Even on Eagle Street, in the poorest section of town, where all the families were struggling, the ragman was on the lowest rung on the ladder,” Mr. Douglas wrote. “And I was the ragman’s son.” A powerful man who drank heavily and got into fights, the elder Demsky was often an absentee father, letting his family fend for itself. Money for food was desperately short much of the time, and young Izzy learned that survival meant hard work. He also learned about anti-Semitism. “Kids on every street corner beat you up,” he wrote. Mr. Douglas once estimated that he had held down at least 40 different jobs — among them delivering newspapers and washing dishes — before he found success in Hollywood. After graduating from high school, he hitchhiked north to St. Lawrence University in Canton, N.Y., and was admitted and given a college loan. He became a varsity wrestler there and, despite being rejected by fraternities because he was Jewish, was elected president of the student body in his junior year — a first for the St. Lawrence campus.

Mr. Douglas in 1959 with his sons, clockwise from top left, Michael, Joel, Peter and Eric. All his sons went into the film business.Credit...Associated Press By that time he had decided that he wanted to be an actor. He got a summer job as a stagehand at the Tamarack Playhouse in the Adirondacks and was given some minor roles. He traveled to New York City to try out for the American Academy of Dramatic Arts and performed well, but he was told no scholarships were available. It was at the Tamarack, the summer after he graduated from college, that he decided to change his name legally to something he thought more befitting an actor than Isadore Demsky. (When he chose Douglas, he wrote, “I didn’t realize what a Scottish name I was taking.”) Returning to New York, he studied acting for two years, played in summer stock and made his Broadway debut in 1941 as a singing Western Union messenger in “Spring Again.” The next year he enlisted in the Navy and was trained in antisubmarine warfare. He also renewed his friendship with Diana Dill, a young actress he had met at the American Academy. They married in 1943, just before he shipped out during World War II as the communications officer of Patrol Craft 1139. They had two sons, Michael and Joel, before divorcing in 1951. She died in 2015. In 1954 Mr. Douglas married Anne Buydens, and they too had two sons, Peter and Eric. All his sons went into the film business, either acting or producing. Michael did both. Eric Douglas died of an accidental overdose of alcohol and prescription pills in 2004 at the age of 46. In addition to his son Michael, Mr. Douglas is survived by his wife and his two other sons, as well as five grandchildren and a great-grandchild. After being injured in an accidental explosion, Mr. Douglas was discharged from the Navy in 1944. He returned to New York, did some stage work and then headed for Hollywood. He made his screen debut in 1946 in “The Strange Love of Martha Ivers,” playing a weakling who is witness to a murder. In a big-name cast that also included Barbara Stanwyck, Van Heflin and Judith Anderson, Mr. Douglas more than held his own. He was equally solid in “I Walk Alone,” a 1948 film noir in which he played the heavy in the first of his half-dozen pairings with his close friend Burt Lancaster.

From left, Horace McMahon, William Bendix and Mr. Douglas in the 1951 film “Detective Story.” Mr. Douglas was praised for his portrayal of an overzealous New York detective who invites his own destruction.Credit...Paramount Pictures, via Associated Press

First Shot at an Oscar

But it was the 1949 film “Champion,” produced by the young Stanley Kramer, that made him a star. As Midge Kelly, a ruthless young prizefighter, he presented a chilling portrait of ambition run wild and earned his first Oscar nomination. He had to wait nearly 50 years, however, before he actually received the golden statuette, for lifetime achievement. He never won a competitive Oscar. The doors opened wide for him after “Champion.” A year later he appeared in “Young Man With a Horn,” in the title role of a troubled jazz trumpet player modeled on Bix Beiderbecke. In short order came “The Glass Menagerie” (1950), the screen adaptation of Tennessee Williams’s play about a timid young woman (Jane Wyman) who finds solace in her fantasies, with Mr. Douglas as the gentleman caller; “Ace in the Hole” (1951), in which he played a cynical reporter manipulating a life-or-death situation; and, also in 1951, “Detective Story,” based on Sidney Kingsley’s play, in which Mr. Douglas played an overzealous New York detective who invites his own destruction. Mr. Crowther of The Times wrote that Mr. Douglas’s performance was, “detective-wise, superb.” Despite his film-star status and all the trappings that came with it — his autobiography chronicles his many sexual conquests — Mr. Douglas still hungered for success in the theater. As it turned out he had only one more opportunity. In 1963 he seized the chance to play the lead role in the Broadway adaptation of “One Flew Over the Cuckoo’s Nest,” Ken Kesey’s novel about authority and individual freedom, set in a mental hospital. Mr. Douglas, to mixed reviews, played Randle P. McMurphy, the all-too-sane patient who is ultimately destroyed by the system. (Jack Nicholson played the part in Milos Forman’s 1975 film adaptation.) A few years earlier Mr. Douglas, who had worked his way free of a studio contract and formed his own company, Bryna Productions, made waves in Hollywood when he embarked on a film version of “Spartacus,” Howard Fast’s novel of slave revolt in ancient Rome. He decided not only to hire Dalton Trumbo — who had been blacklisted during the McCarthy era on suspicion of Communist sympathies — to write the screenplay, but also to put Mr. Trumbo’s name in the credits rather than one of the pseudonyms he had been using.

Mr. Douglas, left, and Woody Strode in “Spartacus,” one of Mr. Douglas’s best-known films and one of the last cast-of-thousands spectacles to come out of Hollywood.Credit...Universal Pictures, via Associated Press “We all had been employing the blacklisted writers,” Mr. Douglas wrote in a 2012 memoir, “I Am Spartacus!: Making a Film, Breaking the Blacklist.” “It was an open secret and an act of hypocrisy, as well as a way to get the best talent at bargain prices. I hated being part of such a system.” “Spartacus,” released in 1960, was Mr. Douglas’s third blood-and-thunder spectacle set in the ancient past. In “Ulysses” (1955), as Homer’s wandering hero, he survived legendary perils to return to his faithful Penelope (Silvana Mangano). In “The Vikings” (1958), he and Tony Curtis were cast as half brothers who, ignorant of their blood ties, battle for control of a Norse kingdom. And in “Spartacus” it was Mr. Douglas, in the title role, who led his rebellious fellow slaves against the Roman legions (played by 5,000 Spanish soldiers). One of the last cast-of-thousands spectacles to come out of Hollywood, “Spartacus” was notable as well for its international cast, which included Laurence Olivier, Charles Laughton, Jean Simmons and Peter Ustinov, and for its talented young director, Stanley Kubrick, who had also directed Mr. Douglas in “Paths of Glory.” Most critics were not impressed, but the movie’s popularity has been long lasting. It was restored and rereleased in 1991.

Critics praised Mr. Douglas’s work in “Paths of Glory” as a French colonel in World War I trying vainly to prevent the execution of three innocent soldiers.Credit...United Artists, via Photofest Of all his films, Mr. Douglas was proudest of “Lonely Are the Brave,” also written by Mr. Trumbo, which Mr. Douglas insisted on making on a small budget and against studio advice. “I love the theme,” he said, “that if you try to be an individual, society will crush you.” Mr. Douglas made many more films in the years ahead, but none quite lived up to his work of the 1950s and early ’60s. There were more westerns: “The Way West” (1967), with Robert Mitchum and Richard Widmark; “There Was a Crooked Man ...” (1970), with Henry Fonda; and “A Gunfight” (1971), with Johnny Cash. “Tough Guys” (1986), a comedy, was the last movie he made with Burt Lancaster. There were more military roles. Kirk Douglas was an Air Force colonel who foils an antigovernment plot in “Seven Days in May,” a 1964 Cold War thriller that also starred Lancaster. He was a naval aviator in “In Harm’s Way” (1965) and a Norwegian saboteur in “The Heroes of Telemark” (1966). In “Is Paris Burning?” (1966) he played Gen. George S. Patton, and in “The Final Countdown” (1980) he commanded a nuclear-powered aircraft carrier. As fewer film roles came his way, Kirk Douglas turned to television. In the HBO movie “Draw!” (1984), he was an aging outlaw pitted against James Coburn as a drunken sheriff. In the CBS movie “Amos” (1985), he was a feisty nursing-home resident battling a tyrannical nurse played by Elizabeth Montgomery.

Setbacks and Triumphs

There were setbacks in his personal life. In 1986 Mr. Douglas was fitted with a pacemaker to correct an irregular heartbeat. In 1991 he survived a helicopter crash that left two other people dead. In January 1996 he suffered a debilitating stroke that left him with seriously impaired speech and depression so deep, he later said, that he considered suicide.

President Jimmy Carter awarded Mr. Douglas the Medal of Freedom, the nation’s highest civilian honor, during a ceremony at the White House in 1981.Credit...Ira Schwarz/Associated Press But he fought his way back, and by March he was able to appear at the Academy Awards ceremony, speaking haltingly, to accept an honorary Oscar for lifetime achievement. By then he could add that statuette to his other lifetime awards: the Presidential Medal of Freedom, presented by President Jimmy Carter just days before Mr. Carter left office in 1981, and a Kennedy Center Honors award, presented in 1994 by President Bill Clinton. In addition to acting and producing, Mr. Douglas found time to write. Besides “The Ragman’s Son,” he was the author of a number of books, including the novels “Dance With the Devil,” “The Gift” and “Last Tango in Brooklyn.” Besides his book on “Spartacus,” his memoirs include “My Stroke of Luck” (2001), about his recovery and comeback, and “Let’s Face It: 90 Years of Living, Loving, and Learning” (2007). In his later years Kirk Douglas devoted his time to charity, campaigning with his wife to build 400 playgrounds in Los Angeles and establishing the Anne Douglas Center for Homeless Women, for the treatment of drug and alcohol addiction; the Kirk Douglas High School, a program to help troubled students finish their education; and the Kirk Douglas Theater, to nurture young theatrical artists. In 2015, on his 99th birthday, he and his wife donated $15 million to the Motion Picture & Television Fund in Woodland Hills toward the construction of the Kirk Douglas Care Pavilion, a $35 million facility for the care of people in the industry with Alzheimer’s disease.

Mr. Douglas suffered a debilitating stroke in January 1996. But he fought his way back, and by March of that year he was able to appear at the Academy Awards ceremony to accept an honorary Oscar for lifetime achievement.Credit...Tim Clary/Agence France-Presse — Getty Images Mr. Douglas’s comeback from illness extended to acting as well. In 1999, at 83, he starred in the comedy “Diamonds,” playing a former boxing champion who, while recovering from a stroke, embarks on a hunt for missing jewels. It was his first film appearance since his illness. Critics judged the movie forgettable, but Stephen Holden, writing in The Times, found Mr. Douglas’s “hard, gleaming performance” a saving grace. The last films in which he starred shared something of a theme: the reconciliation between fathers and sons. One was a comedy, “It Runs in the Family” (2003), in which his son was played by his actual son Michael. The other was the drama “Illusion” (2004), in which he played an ailing father in search of his estranged son. Perhaps, together, they were a fitting finale for the ragman’s son, an actor whose boyhood poverty and absent father were never far from his mind. “That’s what it’s all about,” he said in describing what had driven him. “That’s the core, that early part of you.” Kirk Douglas also reconciled himself to advanced age. In 2008, in an essay in Newsweek (“What Old Age Taught Me”), Kirk Douglas wrote: “Years ago I was at the bedside of my dying mother, an illiterate Russian peasant. Terrified, I held her hand. She opened her eyes and looked at me. The last thing she said to me was, ‘Don’t be afraid, son, it happens to everyone.’ As I got older, I became comforted by those words.” Source: NYTimes Read the full article

[oosteven-universe]

Exciting Comics #2

Exciting Comics #2 Antarctic Press 2019 BlackJaq Written by Bradley Golden & John Crowther Illustrated Carlos Tron Coloured by Mickey Clausen Lettered by Hector Negrete Crimson Scorpion Written & Lettered by David Furr Illustrated by Salvatore Cuffari Coloured by Shannon Smith Madam Mask Written by David Doub Pencilled by Spike Jarrell Inks/Finishes by Bill Marimon Coloured by Eric Ealons Lettered by David Furr     Previously...     Fats, the Crime Boss thought he could enforce his will on the neighbourhood until the female fury, BlackJaq arrived. An ancient potion created from the very dawn of Egyptian civilisation is thought lost to time until an unwitting archaeologist and a special OPS team reawakens its deadly power.     I am really enjoying this so far. Granted we are only at issue two but still with any anthology series you get a feel for how they are going to be pretty early on. It all depends on the page count for each story and how the writer is able to handle the pacing as the reveal the story & plot development. What I am seeing here from each of the writers is a nice understanding how to utilise the allotted space so that they can get the maximum amount of story with the greatest impact. This is what is going to make or break an anthology series so I am thrilled that we are getting to see some good, talented writers here working on this book.     I understand the need to update characters, turn them into legacy characters and all that jazz in bringing them into the modern age. If I am going to be honest it’s too bad we aren’t seeing the originals in adventures first so we get to see them in all their glory before seeing this whole bring them into the present thing. This way people would be able to better understand that there were characters these are based off of and this is as much an homage to them as it is to good storytelling. That and I am a rare individual that adores the forgotten heroes of the past and wants to see as many of them make a return to prominence.     Blackjaq starts us off today and I am completely and utterly intrigued by this young woman. We also get to see the villains here and what they’ve got in store so it is a complete look a them while moving the story forward and allowing us to get to know them better. What a feeling, Bein’s believin. This followed by the Crimson Scorpion and it literally picks up where we left off and I like that. No lag time and while everyone is acting and reacting to their current situation we get to see how action sequences can also show us some amazing characterisation. Also this is when the “origin story” comes to a close in a sense and you’ll have to see what i’m talking about but the pacing and structure of this is bloody marvellous.     The interiors for the first two are marvellous! I love the linework and the way that we see page layouts and how we see the angles and perspective in the panels which show some strong eyes for storytelling. When backgrounds are utilised in Blackjaq it really does enhance the moments and I’d like to see more being done with them. Oh Crimson wow are these panels gorgeous, the composition we see in them and the amount of detail we see in everything is stupendous! The Colour work all around has been phenomenal with seeing how light sources create shading and even some gradation effects. The last one however has some issues. Body proportions are all out of whack and it’s distracting, if you look at the cemetery scene they are basically little people, also in the blue dress that body doesn’t exist even with breast augmentation. Oof no this is going to need work if they are going to carry their weight here. ​     It is a little harder doing a review for an anthology series because the creative teams are all different. However, what I am seeing here is that the writing throughout is strong and shows gifted, talented writers who know exactly what and how to do this in a limited page count. I am excited for this, pun intended, because it shows promise and it has that electricity that charges the reader with that sense of something big is here. Antarctic Press is staking their claim right now establishing a sensational superhero line of books. This is where you are going to find the superheroes you’ve been missing and longing to see again. The names and costumes may have changed but the essence is still here and it’s shining brighter than ever before.

[whileiamdying]

Written & Directed by Dean Fleischer-Camp Produced by Riel Roch Decter & Sebastian Pardo CAST: Abraham- Ben Sinclair Sarah- Veronica Osorio Isaac- Ronin Thompson Villager- Myles Cranford Farmer- Kat Purgal Brother- Noel Arthur Servant 1- Nelson Cheng Servant 2- William Walton Angel- Brandi Austin CAMERA DP- James Wall 1st AC- Travis Daking 2nd AC- Jeanna Kim DIT- Timothy Gaer SOUND Sound Mixer- Blake Christian Boom Operator ELECTRIC Gaffer- Robert Oliva Best Boy- Matthew Martinez GRIP Key Grip- Danny Barfield BB Grip- Travis Huston Grip- Brian Dumois Grip- Robert Richards Grip- Gabriel Borquez Grip- Josh Sides Grip Driver- Dave Blackman PRODUCTION Script Supervisor- Vaughn Greve First AD- Bryan Goeres Second AD- Mike Tsucalas Line Producer- Nick Batchelder Production Supervisor- Maria Felix Oviedo Office PA- Will Crowther MAKE-UP Key HMU Artist- Marina Coria HMU Assistant- Emily Mefford WARDROBE Wardrobe- Natasha Noorvash Wardrobe Assistant- Amanda Lee ART Production Designer- Almitra Corey Prop Master- Elana Farley Leadman- Davey Cooperwasser CASTING Doyle/Fiorilli Casting POST Post Supervisor- Grant Keiner Post Coordinator- Karen Rodriguez Editing- Aaron Beckum & Dean Fleischer-Camp Sound Mixing and Design- Brent Kiser, Unbridled Sound VFX- Eric Overton ORIGINAL SCORE by Will Wiesenfeld TITLE DESIGN by Teddy Blanks FOR SUPER DELUXE: SVP Originals- Winnie Kemp Head of Prod- Josef Lieck EP, Web Series- Mia Di Pasquale SD Line Producer- Scott Keiner

[artwalktv]

Written & Directed by Dean Fleischer-Camp Produced by Riel Roch Decter & Sebastian Pardo CAST: Abraham- Ben Sinclair Sarah- Veronica Osorio Isaac- Ronin Thompson Villager- Myles Cranford Farmer- Kat Purgal Brother- Noel Arthur Servant 1- Nelson Cheng Servant 2- William Walton Angel- Brandi Austin CAMERA DP- James Wall 1st AC- Travis Daking 2nd AC- Jeanna Kim DIT- Timothy Gaer SOUND Sound Mixer- Blake Christian Boom Operator ELECTRIC Gaffer- Robert Oliva Best Boy- Matthew Martinez GRIP Key Grip- Danny Barfield BB Grip- Travis Huston Grip- Brian Dumois Grip- Robert Richards Grip- Gabriel Borquez Grip- Josh Sides Grip Driver- Dave Blackman PRODUCTION Script Supervisor- Vaughn Greve First AD- Bryan Goeres Second AD- Mike Tsucalas Line Producer- Nick Batchelder Production Supervisor- Maria Felix Oviedo Office PA- Will Crowther MAKE-UP Key HMU Artist- Marina Coria HMU Assistant- Emily Mefford WARDROBE Wardrobe- Natasha Noorvash Wardrobe Assistant- Amanda Lee ART Production Designer- Almitra Corey Prop Master- Elana Farley Leadman- Davey Cooperwasser CASTING Doyle/Fiorilli Casting POST Post Supervisor- Grant Keiner Post Coordinator- Karen Rodriguez Editing- Aaron Beckum & Dean Fleischer-Camp Sound Mixing and Design- Brent Kiser, Unbridled Sound VFX- Eric Overton ORIGINAL SCORE by Will Wiesenfeld TITLE DESIGN by Teddy Blanks FOR SUPER DELUXE: SVP Originals- Winnie Kemp Head of Prod- Josef Lieck EP, Web Series- Mia Di Pasquale SD Line Producer- Scott Keiner

[cantbuymemeth]

1 “The Sacrifice” 3/5 Directed by Breck Eisner and based on Del Howinson’s short story titled “The Lost Herd.” The plot revolves around four men who become stranded in an old fort—to find that it is home to an ancient vampire.

2 “Spooked” 3/5 Eric Roberts plays Harry Siegal, a private detective whom is haunted by a suspect that he murdered during an interrogation fifteen years ago. Directed by Brad Anderson.

3 “Family Man” 3/5 Colin Ferguson plays Dennis Mahoney, a responsible husband and father who switches bodies with a serial killer named the “Family Man” after a car accident. Directed by Ronny Yu.

4 “In Sickness and in Health” 3/5 Samantha (Maggie Lawson) is about to be married to Carlos (James Roday), a man whom she loves deeply despite the fact that she has only known him for a short while. On her wedding day she received a typewritten note which reads: "The person you are marrying is a serial killer.” Directed by John Landis.

5 “Eater” 2/5 Directed by Stuart Gordon and based on a story by Peter Crowther. Elisabeth Moss plays Officer Danny Bannerman, a rookie police officer. Bannerman is part of a detail guarding Mellor, a Cajun serial killer and cannibal nicknamed "Eater.” As the night wears on, she begins to recognize that her all-male colleague’s behavior is getting stranger by the minute and that they are being killed one-by-one.

6 “New Year’s Day” 5/5 Briana Evigan plays Helen, a young woman who wakes up with a hangover on New Year’s Day. Alarms are going off all over the city. It is revealed that a cataclysmic event at a local chemical plant has turned a large part of the population into zombies. Directed by Darren Lynn Bousman and based on the short story The Dead Time by Paul Kane.

7. "Community” 1/5 The plot revolves around a young couple move into a secure gated community and discover its horrifying secret. Directed by Mary Harron.

8 “Skin & Bones” 4/5 Rancher Grady Edlund returns home to his family after being lost in the forest for a number of days. He is possessed by a Wendigo. Directed by Larry Fessenden.

9 “Something with Bite” 4/5 Wilbur is a veterinarian who begins to turn into a werewolf after being bitten by a large animal brought to his clinic. Directed by Ernest Dickerson and never aired on network television.

10 “Chance” 1/5 Chance Miller is a down-on-his-luck guy whose luck goes even worse when he finds himself dealing with his evil doppelganger. Directed by John Dahl and never aired on network television.

11 “The Spirit Box” 4/5 Emily D'Angelo is a dead schoolgirl who speaks to her classmates from beyond the grave. She reveals that she was murdered and she wants her friends help to seek revenge. This episode was directed by Rob Schmidt and never made it to broadcast.

12 “Echoes” 3/5 A friendly man discovers that he was a sadistic murderer in a previous life. Directed by Rupert Wainwright and never aired on network television.

13 “The Circle” 5/5 A writer heads to a small town to try and recharge his creative juices. Unfortunately for him, the story he’s working on seems to be happening to him and his wife, and it seems the darkness itself around their cabin is out to get them. Directed by Eduardo Rodríguez and never aired on network television.