#clark is the most influential person in his life

[invidentius]

still thinking about how giving him amnesia in the last episode was the dumbest thing that sm.allville could have done with lex and how erasing his history with and memories of clark not only defeated the whole purpose of the last ten years of lex’s character development, it also just. completely removes any reason lex had to hate superman in the first place

[felassan]

Article: 'If Anthem is the "anti-BioWare game", then James Ohlen is correcting the balance'

Text [quote]:

"The hugely influential design director talks Baldur’s Gate, his next RPG, and the abandonment of the BioWare model.

“Baldur’s Gate II set the model, and I obviously loved that model,” says James Ohlen. “But there were a ton of people at BioWare who didn’t like it.” During leadership meetings over the course of the Canadian designer’s 22 years at the RPG studio, he’d sometimes feel totally outnumbered when talking about the importance of story. “Game developers don’t get into the industry to create stories, they get into the industry to create games,” he says. “And so there’s this conflict between game developers and story - my entire career it's been a constant fight.”

Ohlen picked his side early. He was telling BioWare stories even before he joined the company. The meeting of Minsc and Boo, one of the most enduring partnerships in PC gaming, came about in a tabletop Dungeons & Dragons game he ran as a teenager. Then a comic book store manager, he took advantage of his premises to guide no fewer than three concurrent D&D groups through their campaigns. “I didn’t really have much of a life outside of Dungeons & Dragons,” he says.

BioWare programmer Cam Tofer played Minsc in one of those campaigns, “as a guy who’s basically been knocked on the head too many times in fights”. A merchant NPC of Ohlen’s invention sold him Boo, the miniature giant space hamster, in an apparent scam. Tofer ran with it, declaring that Boo would be Minsc’s animal companion, and holding one-sided conversations with the confidant that lived in his pocket. “In my campaign he was just a hamster,” Ohlen says. “I always thought of him as just a hamster.”

Back then, in the early 90s, there were no game design degrees, but Ohlen had dedicated himself to the next best thing. DMing proved to be an intensive training course in giving players agency and immersing them in another world - and his local reputation as a story wrangler landed him a job working on Baldur’s Gate. It’s a similar origin story to that of David Gaider, another D&D head who was plucked from the hotel industry to tell tales about vampires and druid groves.

“Have you ever read Malcolm Gladwell on the 10,000 hour rule? I think by the time I got hired by BioWare, I had done 20,000 hours of dungeon mastering,” Ohlen says. “It was ridiculous. I owe a lot to D&D. My friendships, my career, my mental stability.”

BioWare co-founder Ray Muzyka encouraged Ohlen to dig into the huge binders that contained the details of all the player characters and NPCs in his campaigns, and to let them spill out into the world of Baldur’s Gate. “I hadn’t intended to do that,” Ohlen says. “It seemed narcissistic. But he was right. Once I started using them, I started getting things done real fast. All the characters had personalities that I already knew.”

Those tabletop campaigns turned out to be accidental writers’ rooms - producing distinct personalities that reflected the voices of their individual players. From the binders came some of Baldur’s Gate’s most beloved companions, like Minsc and the egotistical conjurer Edwin, as well as its villains - leading all the way up to the sequel’s Hannibal Lector-esque antagonist, Jon Irenicus.

That said, inspiration for Baldur’s Gate II’s much deeper companion stories came from an unlikely source. During a freezing winter smoke break in Edmonton, an Interplay producer named Dermot Clarke mentioned that Baldur’s Gate’s characters weren’t nearly as developed as those in Final Fantasy VII.

“I’m very competitive,” Ohlen says. “I went and played Final Fantasy VII and was like, ‘Oh my good god, these characters make ours look like a bunch of cardboard cutouts. This is terrible.’” The disparity convinced BioWare to up their game, leading to the complex journeys of companions like Jaheira - the grieving wife and activist, whose sense of duty has been shaken by so much loss. Despite Ohlen’s distaste for the way SquareSoft’s RPGs played, he continued to be influenced by their character work - all the way up to Knights Of The Old Republic, which was partly inspired by the twist-laden Chrono Cross. That and Star Wars, of course.

“I actually totally, entirely ripped off The Empire Strikes Back in such blatant fashion,” Ohlen says. “You basically go to face the dark lord by yourself, and then you get into a lightsaber fight with him, and he kicks your ass. And then, after kicking your ass, he does the big twist. Then you don’t die because you’re rescued by your friends on the Millennium Falcon - I mean, the Ebon Hawk. It’s beat by beat the same thing.”

Of course, KOTOR’s plot twist didn’t feel familiar to players because it impacted not Luke Skywalker but them personally. For those who don’t know - and spoiler warning, if so - it revealed that your character was in fact a former Sith Lord, their memory wiped by the Jedi Council. In an RPG genre rooted by knowing your avatar down to their last stat, having your identity ripped out from under you felt genuinely radical. BioWare had succeeded in making its biggest setpiece not a battle, but a revelation. And in the process, it proved that BioWare storytelling was packed with the kind of explosive potential a publisher could bank on.

After the sale of the company to EA in 2007, Ohlen was put in charge of creative development on a Star Wars MMO, The Old Republic. It was BioWare’s next great hope, and an enormous undertaking - involving the founding of a brand new studio in Austin, Texas. At launch, it featured eight story campaigns which unfolded across 19 planets. In 2011, executive producer Rich Vogel told Fast Company that The Old Republic hosted “the most content in a video game ever”. Looking back, Ohlen views that as a fundamental problem.

“If open-world is the enemy of storytelling, multiplayer is the arch-villain,” Ohlen says. “If I was to go back in time to give my 2006 self some advice it would be, ‘Don’t try to make the game so long that you can fill up 200 hours. Instead, keep it shorter.’” With less ground to cover, the Austin team could have committed more resources to its Flashpoints - story-heavy missions which forefronted the difficult decision-making and tight encounter design that had elevated previous BioWare games. “Everyone wanted Knights of the Old Republic Online, and it felt more like World Of Warcraft with Star Wars spray-painted on it and some BioWare juice thrown in,” Ohlen says. “Even though the Metacritic was pretty good, it wasn’t new enough to really take off.”

At this point, a Knights Of The Old Republic 3 directed by Ohlen would be “not great”, he says. “Because I’m all Star Wars’d out. I have nothing else to say about Star Wars. But if a whole new studio does KOTOR 3 that loved KOTOR, that could be an amazing game. So hopefully Disney makes that happen. But probably not, because executives around there are all probably going, ‘It’s too hardcore.’” Ohlen still remembers the efforts he made to convince EA boss John Riccitiello that fantasy was a genre that could sell. “I had this whole PowerPoint presentation,” he says. “We have Lord Of The Rings! We have World Of Warcraft! We have Diablo!”

The year after The Old Republic’s launch, with the arch-villain of multiplayer still undefeated, development of Anthem began - and BioWare fought that increasingly costly battle for the better part of a decade. Those at the studio tired of the Baldur’s Gate model had the backing of EA, since a live service looter-shooter in the mode of Destiny could unlock years of long-term revenue beyond the reach of a single-player RPG. Or so the theory went. “It was always chasing the gigantic successes instead of leaning into what BioWare was good at,” Ohlen says. “It wasn’t just EA leaning on BioWare - there were lots of people in BioWare who wanted to do something different.”

Ohlen understood why others at the company would want to get away from a formula that empowered old hands like him and Gaider, and embrace one that empowered them instead. And he knew first-hand that freedom to experiment was what had set BioWare on the path to success decades before. Yet this new direction felt like an abandonment of the studio’s strengths. “Anthem was the ultimate expression of that,” Ohlen says. “It got away from everything. It’s kind of like the anti-BioWare game.”

Ohlen left in 2018, intending to retire from videogames altogether. “The big games have a formula and they don’t adjust it too much,” he says. “It’s very production driven, and I was like, ‘I’m not gonna get to make a game that I want to make at EA.’” He returned to the tabletop, putting together a new Baldur’s Gate adventure book featuring Minsc and the gang. But then Wizards Of The Coast called and flew him up to Seattle to discuss starting a new studio. Ohlen didn’t need or necessarily want a videogame development team under his wing - and that proved to be a perfect negotiating position.

“My demands were, ‘I only do this if I get to start my own studio in Austin, I get to choose who I hire, I get to choose exactly the kind of IP I want to make, no one’s gonna tell me anything about how to make the game.” At this point, Ohlen adopts a megalomaniacal tone, as if he were Baldur’s Gate baddy Sarevok, ascending to the throne of the dead god Bhaal. “I want control over absolutely everything! I want all the power!”

To his surprise, Wizards said yes, and Ohlen has been happily presiding over Archetype Entertainment ever since, building a new sci-fi RPG world without interference. “If you’ve seen the games I like to build, it’s that style of game,” he says. “But then it leans into the people and technology that I have available.” Ohlen won’t elaborate on what’s in his toybox, for fear of spilling secrets - but it’s worth noting that Mass Effect legend Drew Karpyshyn joined Archetype in 2020 as lead writer. “The feel in the studio reminds me of my early days at BioWare,” wrote Karpyshyn on his blog at the time. “I can feel the magic in the air.”

Magic and Wizards and science fiction - it’s the kind of atmosphere in which you could believe a hamster isn’t just a hamster, but something altogether sillier and more exciting. An act of collective imagination is happening, the binders are filled to bursting, and all we have to do is wait."

[source]

[coarsely]

(art; x x)

Anti-Chronicles; a WIP introduction

Set between the warring states of Bronze Eden and Nod, Anti-Chronicles is a non-linear, non-chronological anthology of stories taking place in these respective lands, aiming to explore the culture, history, politics and society and how they have changed over the years. Bronze Eden is a heavily controlled theocratic state filled with forced surveillance and religious fervour, led by the Potentate Dynasty who have been ruling Eden for millennia. Nod is the neighbouring anarchist state, post-apocalyptic and is completely free of any organised government or laws, dealing with the fallout of a nuclear weapon that distorted local time and space dropped on them by Bronze Eden.

STATUS; 1st draft, lore-building.

P.O.V.; 3rd person limited, with occasional chapter-specific exceptions.

GENRES;

Fantasy

Steampunk fiction

Post-apocalyptic science fiction

THEMES;

Religion as a tool of survellience and power

The politics of monarchies vs anarchism

War's impact on citizens

Nuclear post-apocalypse

Time-travel

Human connection in spite of hardship, violence, and colonialism

POTENTIAL TRIGGER WARNINGS;

Violence

Swearing and derogatory language

Sexuality

Religion and religious trauma, specifically Catholic based

Puritanism

Disordered eating

Child abuse

Cultural homophobia, misogyny, racism, etc

Death

Ableism

Potentially more which will be outlined when relevant.

INSPIRATIONS;

Love, Death + Robots

I, Robot by Issac Asimov

Æon Flux

Dishonored (video game series)

Bayonetta (video game series)

Akira

The Real and the Unreal by Ursula Le Guin

CHARACTERS;

by nature of being non-chronological and non-linear, we have a lot of characters! some are kept to their own corner of the world, others move around. here is a short list of the more familiar faces, but there are many more you'll meet as we develop. To meet the entire cast, please refer to this post!

The Potentate Dynasty, the rulers of Bronze Eden who are said to be descended from the Empyrean Itself. Currently ruled by the aged Potentate Magnus, who has fathered six children during his reign. Living in the floating palace in the center of Bronze Eden, they keep to themselves, but their power is absolute.

The Imperators are the divine soldiers of Bronze Eden, also with a link to the Empyrean who are trained from a young age to be the protectors of the Temple and of the Potenates and priests who live within.

Sal Soloman and Ed Edwards are two scientists in Bronze Eden, who's meeting and relationship is both legendary and tragic.

Nod's warriors are disorganised and many, but by far the most prolific is Ucalegon, a native of Old Rhapsody. She works with her own agenda in mind, but nontheless has Nod's best interests in mind... for the most part.

Lady Jezebel is a radio presenter, activist and DJ who's voice has become synonymous with the Land of Nod. She is a pillar of Nod culture and beliefs, hugely influential though nobody knows her face or who she is outside of her radio work. If you want to know of the latest news or listen to the blossoming music scene, her radio is who you tune in to.

Vítor Cadogan is a resident of Golden Glimpse, one of the cities in Nod. Known for running a youth center, he was once a vigilante detective who sought to fight the crime that grew in the golden city's underbelly. He's had a change of heart and has dedicated the remainder of his life to supporting the youths of Golden Glimpse, but many hold his crimefighting past against him.

Other names you'll want to remember are Saccade, Helene, Ive, Cerebellum, Hendrix, the Praeceptor family, and Niles Clarke.

Please feel free to ask in the replies, my inbox or my dm's if you would like to be added to the tag list. This means being tagged in snippets, character profiles, lore dumps and graphics, and anything else related in a major way! I will not tag you in ask games, picrew chains and the like, as I wouldn't consider these notable to the actual tangible lore. You can ask to be removed at any time.

[wolfblood-of-anubis]

pt. 2 the anubis house kids being demigods would include:

click here for part one

Nina being terrified of her Hades powers

she has a fear of skulls and doesnt like ghosts, for a long time she’s been burying her powers on the inside so she doesn’t really understand them

they’re so underutilized that whenever something does happen, it comes out in bursts, it’s scary and sudden and most of season 1 is her self-acceptance as a child of Hades

season 2 is mainly her trying to figure out a daily life now that she’s trying to embrace/control her powers

Fabian as a child of Athena is nothing new around school. though he’s not the head of his cabin, that’s Mara, he’s fine with it, she’s more of a drill sergeant than him anyway.

Fabian being very knowledgeable about not just their gods, but also different mythology in general. he likes to branch out in learning.

he also can’t help a mystery, he loves solving things, riddles or puzzles, once he’s in there’s no getting him out

while they all read/speak Ancient Greek, he does it better than all of them combined

he also has an astronomy passion

he secretly wants to know about the monsters that dwell in america, all he’s ever seen from the god world are a few woodland nymphs and the occasional satyrs.

he’s met his mother once in his life. unlike their american counterparts, they can’t always head off to new york city once a year to visit mount olympus.

their principal and caretakers have told them they’re welcome to it one day, they would be guided by a satyr for the journey. but they always warn them that there are monsters flooding the US and how dangerous it could be.

no one’s taken them up on the offer.

Amber, daughter of Aphrodite, can be very influential

while not possessing the power of charmspeak, people tend to get very relaxed and lightheaded around her. her easygoing and charming personality seem to make her easy to talk to and have a good time with.

everyone comes to her for dating advice, the same with makeup tips or a shoulder to cry on

Amber is very empathetic to people’s emotions, especially when it comes to love or heartache, she understands how the person feels on a deeper level

Patricia Williamson, daughter of Ares, and head of her cabin during the summer (though against her will)

she’s a born fighter and doesn’t stop when she want to know something or someone’s been wronged

does not get along well with people

her most recent choice of weapon: liquids.

specifically dumping various liquids atop peoples heads for any misdeeds or annoyances they caused her

but she can also make a decent weapon out of anything, from a cell phone to a hair clip to one of Amber’s high heeled shoes

she loves finding old weapons from the years that have been stashed under the house in the tunnels

Alfie Lewis and Jerome Clarke, sons of Hermes and the resident pranksters on campus

they’re also the most annoying on campus

Alfie is also an aspiring magician and the fastest runner in the academy, sprinting like he has wings on his feet (eh?)

he also possess a great memory, only fails to use it in classes. mainly it’s for remembering how to mix certain chemicals together for the smelliest stink bomb one could imagine.

his geography knowledge is not particularly known, but Hermes was also the god of travelers, and Alfie seems to be able to know about their little globe more than anyone they’ve met. even more than the Athena kids. he never gets lost, always knows where to go and which road to take.

it surprises no one that his pickpocketing skills improved upon meeting his brother

Jerome Clarke has been at this school since he was five years old, having been sent away from home and always regretting leaving behind his little sister Poppy (also a child of Hermes)

Jerome and his sister were the result of a relationship between their father, John Clarke and the god Hermes.

Their stepmother, Joan, was nice but a bit flighty. once John’s crimes caught up to him, suddenly his children felt they were all alone. Joan sent Jerome to boarding school, one they talked about once he’d be older but she decided to get it ahead of time. it wasn’t meant as something negative, at least in her eyes, but she saw the bad influence Jerome would become to Poppy and decided she’d try to raise the girl away from the idea of gods.

it was a useless attempt really. once Poppy would reach the age of thirteen, she’d be in trouble.

England doesn’t have much in unprotected half-bloods. so they don’t have many monsters either. except for a few spread out, and with an unprotected daughter of Hermes, she wouldn’t make it 24 hours.

Jerome himself is the fastest pickpocket there is.

he’s got the mind for growing commerce and how to manipulate it

he’s the most cunning person in the house

the best liar, though ironically because of this, no one believes him when he says the truth

this leads to Alfie, also ironically, becoming the best liar in the house

he likes snakes and is proud of who his dad is

regularly scams people with multiple quick money schemes

they succeed half of the time

more to come soon and more about the staff as well

[story-weavr]

A Reconciliation?

In reference to a previous post of mine:

This is sort of a mix of the previous chapter + Silver Age + Smallville + Modern versions of Lex Luthor

I still blame @andyboops

After the accident that blew up his lab and made him permanently bald, young Lex Luthor was even angrier at the world.

He pushed away his only friend and did everything he could to leave and never return to Smallville.

**********

Years later, Lex Luthor, one of the most powerful & influential men in the world, met his one-time friend again.

Clark Kent, once a boy whose intelligence rivaled that of Lex, was now a mere reporter. One who quietly trailed behind Lois Lane as she confidently interviews Luthor.

Lex pretends not to know this reminder of the most painful and pathetic period of his life.

Clark, not completely hopeless, followed his lead. That, however, did not stop him from asking questions as well.

Nor would it stop him in the future from sticking his nose where it didn't belong.

Clark Kent was categorized as an annoying reminder at best. At worst, he was Lois's attachment. One whose only independent work mainly stemmed from in-depth interviews of the individuals related to Superman cases.

... and then The Incident happened.

***********

One of his (now-former) employees decided to attempt an assassination on Lex disguised as a hostage/ terrorist attack.

And, even though he never leaves his home without some form of bulletproof attire, he ends up getting tackled.

Not by a member of the security staff at the event. Oh no, they are far too busy dealing with the obvious attackers and panicked guests to notice what seemed to be a guest taking out a gun.

Not by one of those vigilantes. The one who actually showed up was dealing with a meta and some thugs wielding rather impressive weapons.

Not by his hidden bodyguards. No, they got cut off or silenced at the beginning of the attack.

No, no, Lex Luthor got pushed away, onto the floor, by a person famous in his circles for his dumb luck at getting out of dangerous situations.

Dumb luck that had apparently run out for Clark Kent judging by the amount of blood coming out of the hole in his chest.

Lex barely noticed as the gunman went down to fire from security.

Surrounded by his remaining private security (who would receive pay cuts, at best), Lex could hear them urging him to move to a defensible position. Instead, Lex ordered them to cover him.

Lex found himself next to a pale Clark, pushing his custom-ordered Armani coat into the wound.

Despite all the noise, he could somehow hear his one-time friend:

"Lex? S-sorry... lo- I love-"

The slowed-down world suddenly sped back up when Lex was literally wrenched away from Clark.

In half a second, the man could only stare dumbfoundedly at the blood puddle where Clark Kent lay dying.

***************

The billionaire later learned that Supergirl had rushed the wounded to various medical institutions. Apparently, the extent of the reporter's injury was severe enough to warrant treatment at STAR Lab's medical research labs.

Due to the nature of the lab, visitors beyond family were not allowed. Law enforcement had to interview Kent via a telephone call which was barely allowed by the doctors.

Two. Very. Long. Weeks later:

Clark Kent left STAR Labs and returned to his apartment. Despite the Daily Planet's generous employee package, the barely recovered man still opted to return to work, albeit mostly sticking to his senior reporter office shared with Lois Lane.

Not missing an opportunity, Lex had his PR office arrange a private interview with Kent.

****************

In one of his private offices, Lex Luthor, for the first time in what seems a lifetime, faced Clark Kent one-on-one. With no one else but them.

At first, Clark, polite smile only slightly marred by pain and exhaustion, stuck to professionalism: asking questions about one of his transportation businesses that from Lois Lane would have been biting.

Eventually, the billionaire found a moment to ask the question that was bothering him: "Why did you save me?"

Clark, solemn and looking him straight in the eye, simply stated that it was the right thing to do.

Lex angrily asked, "Then what the hell was that about? What you said before?"

Clark calmly stated, "It's irrelevant."

Lex's eyes narrowed, "Excuse me?"

Clark sighs. Lex is five seconds from blowing up when Clark says something that startles him.

"I know you set up the attack. The man who organized it, your ‘missing’ employee, saw an opportunity to take you out. But the whole attack was a scheme for several purposes."

Lex could only watch silently as the reporter started calmly listing them.

"A distraction for the superheroes while LexCorp weaponry was smuggled to Santa Prisca for further distribution.

An advertisement for LexCorp's new securities acquisition.

A threat to the mayor to push for rezoning of one of the neighborhoods by Hob's River so that a new LexChem facility can be built which would serve the dual purpose of keeping up with legitimate business and a cover for smuggling.

Those are just a few reasons."

Clark and Lex just looked at each other silently. Lex breaks it first.

"A rather interesting theory. I suppose you have some proof to support that claim."

"I do not. And I do not write what I cannot prove."

Lex crosses his arms, smirking at the other man, "You think that lowly of me?"

"No, I just know you."

Lex's eye twitched. "Finally done pretending?"

"I didn't start it."

"Well then, Clark," Lex leaned forward, a nasty smile in place, "how have you been? I see the years haven't treated you well."

The other man just looks at him, quietly. Lex, irritated, sighed and leaned back in his chair.

"You still haven't answered my question. Why did you save me? Especially considering what you believe of me."

Clark looked sad, "You already know, Lex."

"And what? Are you expecting some type of reward?"

"You being alive is enough for me."

Lex snorted at the sentiment. Clark merely asked, "Are we done? Because I need to get back to the office."

Lex then asked something he himself did not realize he wanted to ask.

"Why did you never try to get back in touch? In all those years?"

Clark looked surprised... and hurt. Looking down, he seemed to be thinking back to their shared childhood. After a moment, he looked up.

"First, answer this question."

Lex looked at him.

"Did you... did you mean it? That you thought that I... that I was the one who set the fire? That I deliberately didn't help you?"

Lex regarded the man, pained quiet desperation on the journalist’s face.

"... No,” Lex answered seriously, “If I really thought that, I would have long since made you pay. No," his tone shifted to flippancy, "I knew it was dear old Dad who ordered the fire. He just didn't know that the arsonist was also hired by one of his senior executives to murder me."

At Clark's pained face, Lex continued, "And I know you couldn't have done anything. The chemical leak caused you to black out. You were lucky enough to be alive, much less without significant injury."

"Yeah, 'lucky'" Clark snorted.

"So," Lex questioned, "was that it? Some survivor's guilt and false accusations by an emotionally immature teenager?"

Clark looked at him. "Something like that."

"Well," Lex continued, "feel free to toss that as I have never truly blamed you for what happened."

"... Thank you."

There was a moment of awkward silence. It was broken by the reporter.

"I... I really do need to go back. Perry's asked me to mentor some of the new interns," the journalist said as he slowly raised himself from the seat.

"Ah, yes," Lex replied.

As the other man went to the door, Lex found himself speaking.

"You know, LexCom is always looking for talent. I'm sure you would be most welcome."

Clark, standing by the door, just stared at the man who wasn't looking at him at all.

".... Lex. I have... never given up hope. That you would become the man you always wanted to be. The man I still believe that you can be."

Lex turns his head to look at him.

"But I refuse to look away," Clark continued, "I'm not going to allow myself to be willfully blind to what you are doing. I know you, Lex. I know that you are better than this. And I pray, that someday. Someday, you'll know that too."

"Goodbye, Lex."

The man, once a farmboy who looked at Lex with shining eyes, softly closed the door behind him.

Lex just stared at the door, lost in memories of what had been... and thoughts of what could have been.

*********

So, where does it go from here?

[exhibit-of-the-century]

Lecture Notes MON 16th OCT

Masterlist

BUY ME A COFFEE

Doing Art History: Drawing/Works on paper.

Oeuvre: the artworld of that time. The body of work by a painter, composer, or author.

Drawing was and has always been the first step into becoming an artist, it is the most fundamental and important aspect of any artistic study or development. To know your fundamentals, the figure, perspective, and weight/shading. Historically this is the first step any artist took, before developing into their preferred medium.

Observe these drawings/sketches and paintings; consider the materials, their effect and product.

Jean-Auguste-Dominique Ingres, Vicomtesse Othenin d'Haussonville, nee Louise Albertine de Broglie, study, ca. 1845, graphite, with white heightening, on paper, France, Musée de Carpentras.

Colourism – (not to be confused with the discrimination based on skin colour) Specifically in painting, it is a style of painting characterised by the use of intense colour, which becomes the dominant feature of the resultant work of art, mostly influential in the French impressionism movement of the 19th century.

Also: a person who uses colour in s particular way, draws attention to the colour use.

HILAIRE-GERMAIN-EDGAR DEGAS, WOMAN STANDING IN A BATHTUB C. 1890–92, charcoal with stumping on beige wove paper, 43.2 x 29.5 cm, Sterling and Francine Clark Institute

Edgar Degas After the Bath, Woman Drying Herself, c. 1890-95 Pastel on wove paper laid on millboard. 103.5 x 98.5 cm. The National Gallery, London. Bought, 1959. Photo: © The National Gallery, London

Théodore Géricault, Study for the Raft of Medusa, 1818, charcoal on paper, Paris, Musée du Louvre.

Observe the contour line (the darker outline line), surrounding the body. Note the twist and strain of the muscles and exaggeration of line and pose to create drama on the paper. Also note the materials used. Charcoal: a material that possesses a short life on paper without additives to preserve it. Something that smudges easily. Perhaps to quickly capture the body and idea and shading.

The Male nude – which surprisingly are the most common nude that exists in the western world. And this is because the basic fundaments were learnt from drawing casts, from the ancient world, or drawing from other works of art. Sketching development and a skill development, meant drawing bodies and getting to access to more complex forms to keep learning.

The RA is doing an exhibition on Impressionist on paper, which from the photos of artworks in this post, I recommend going to and seeing and judging for yourself, the use of materials and their effects.

On Degas and pastels: you can over saturate paper with pastels, muddying the colour. Critics of Degas spoke out, how his portrayal of bodies appear bruised. Degas was less interested in accuracy, more into the exploration of light on the body, the illumination, and the space it inhabits.

Genres of painting: Landscape, Portrait, Still life, Genre, Historical, Allegorical:

Allegorical paintings covered mythos. These were most prominent and popular when the state collected paintings, rather than when commissions came into prominence, and private ownership of painting rose.

Impasto: when paint stands off from the canvas. An Italian word for “mixture,” used to describe a painting technique wherein paint is thickly laid on a surface, so that brushstrokes or palette knife marks are visible. A pastose surface is one that is thickly painted.

19th century: paints in tubes begin to make an appearance.

Plain air: painting outside, open air painting. A common impressionist's expression.

Claude Monet Cliffs at Etretat: The Needle Rock and Porte d’Aval, Pastel on wove paper, c. 1885. 39 x 23 cm. National Galleries of Scotland. Accepted in lieu of Inheritance Tax by H M Government from the estate of Miss Valerie Middleton and allocated to the Scottish National Gallery, 2016

Drawings always have a subjective idea of being ‘finished’ surrounding them. A rising problem surrounding the impressionist artists was critics perceptions of the artworks seeming unfinished, which could decrease a value of an artwork.

Berthe Morisot, At the Beach in Nice, 1882, pencil and watercolour, Stockholm, Nationalmuseum.

Note the signing of this particular artwork, in the bottom left corner. A tendency that arose after an artist died and their work became more famous or popular, their families would sign the work in their name.

Moreover, looking at this artwork it may surprise some to know that watercolour is considered a less prestigious material to use. As opposed to oil painting, which carries a greater prestige due to its difficulty to use and master. Leaving less room for imperfections. As a snide response to the impressionist movement, critics suggested that these artist under this movement, stick to and use watercolour.

Consider critics opinions of materials and how that translates to accessibility and intension.

Watercolour is actual a far more accessible material than oil painting and can give you a great finish, especially for artists that were painting on open air and their surroundings live.

[kxllerblond]

I'll preface this with Clark had no idea he was going to die when he did (murder tends to work like that) and he certainly had no idea he would come clawing his way out of his own coffin thirty years later. Any investing, any sort of nets he set up for himself in certain areas that would prove useful later were a mixture of luck and his typical 'Have a Plan A through D ready at all times' personality. I'll also remind everyone I'm a dirty little oc with that exists in the shared Alien/Bl*de Runner universe (with sprinkles of other futuristic franchises like D:BH)

By 2017, Clark was already dipping his hands quite heavily into the business world. His interest is genuine but there's also that beginning realization of knowing it's a necessity as well. Though nothing close to the noteworthy stockholder he'd be later, he takes out a small share in several up and coming corporations as well the Tyrell corp. This continues through the years with varying scandals, etc and an every shifting market. He moves his money around with purpose and really learns the ins and outs of the financial world. Cyberlife also comes into play at some point and this continues up until his murder in 2024 at the age of 50.

When he comes back, he pretty much goes into overdrive rebuilding and has more or less gone 0-60mph immediately and just stays there. I'm talking this man practically accomplishes more in 20 or so years than most would in two lifetimes. He barely sleeps, he's got no other thought. He's just fully focused on establishing himself and rebuilding his web. He becomes a notable stockholder (under numerous aliases) for quite a number of the large corps at the time including the Wallace and later Weyland Industries. By 2075 onward, he's practically Br*ce Wayne on steroids in terms of wealth and connection in the business world.

The 'tl;dr' of this all is Clark has consistently been there for the big technological life boom ( and space travel, etc). He's invested in it, encouraged it, help it grow in his more influential years all while KNOWING it was a bad idea. This is a man that was born in fucking '74. He lived through the boom of the Internet, social media, AI, etc. And he lived through it all in a capitalistic society. Anyone with a brain would know at that point what giving Man any semblance of power to create life would mean.

He watches his planet die. He watches market crash after market crash. He watches food shortages, wars, etc. If you live long enough, you notice the trends and notice how it's all just one big cycle and he gets very tired of living cycle after cycle very fast. That's the biggest theme of 'canon' timeline that's lost since I play him vaguely modern for the majority of the RPC. It's that fatigue. That wear and tear of being an anachronism, of seeing the same mistakes made over and over and at some point he stops taking joy in watching men realize their folly. He's just there to pick up the pieces and continue existing as he does until someone else comes along and does the same bullshit all over again.

That and also I lose the theme of him getting to kiss replicants and androids but that's a whole other monster.

[imajicaentertainment]

The Captivating Journey of Depeche Mode's "101" Live Album

The Captivating Journey of Depeche Mode's "101" Live Album

Music Night Experience - Depeche Mode: 101

Depeche Mode's live album and documentary "101" holds significant importance in the band's career and the history of electronic music. Released on 13 March 1989 under Mute Records, this masterpiece captures the final leg of Depeche Mode's highly successful "Music for the Masses Tour" and culminates with their final show on 18 June 1988 at the renowned Rose Bowl in Pasadena, California.

The title "101" holds a special meaning, credited to band member Alan Wilder. It represents both the number of the final performance of the tour and coincidentally matches the number of the famous highway in the area, the Hollywood Freeway. This synchronicity adds an intriguing layer to the album's overall concept.

Directed and produced by the acclaimed D. A. Pennebaker, the "101" documentary immerses viewers into the captivating world of Depeche Mode's live performances. Through Pennebaker's lens, fans are granted exclusive access to the band's electrifying stage presence, their passionate and devoted fan base, and intimate behind-the-scenes moments. The film authentically captures the essence of Depeche Mode's music and the energy they brought to their live shows.

What makes "101" truly special is its ability to transcend the typical live album experience. It serves as more than just a documentation of a band's tour; it becomes a cultural and musical time capsule. The album showcases Depeche Mode at the peak of their musical prowess, delivering electrifying renditions of their iconic hits such as "Enjoy the Silence," "Personal Jesus," and "Just Can't Get Enough." The raw energy and emotional depth of their performances are palpable, leaving a lasting impression on both die-hard fans and newcomers alike.

Furthermore, "101" provides a glimpse into the fervent dedication and loyalty of Depeche Mode's fanbase. The documentary features interviews with passionate fans, highlighting the band's impact on their lives and the sense of community that they share. This aspect further cements the importance of Depeche Mode as not just a band, but a cultural phenomenon that continues to inspire and connect people from all walks of life.

Ultimately, "101" remains a testament to the power of electronic music and Depeche Mode's enduring influence. It captures a milestone moment in the band's career, showcasing their musical prowess, stage presence, and the unwavering dedication of their fanbase. Whether you are a die-hard fan or a casual listener, "101" offers a captivating journey through the sonic and visual world of Depeche Mode, solidifying its place as a timeless piece of music history.

Depeche Mode

Depeche Mode: Shaping the Sound of Electronic Music

Formed in Basildon, England, in 1980, Depeche Mode quickly rose to prominence and became one of the most influential bands in the history of electronic music. Originally comprised of Dave Gahan, Martin Gore, Andy Fletcher, and Vince Clarke, their unique sound and captivating performances captivated audiences worldwide.

The band's debut album, "Speak & Spell," released in 1981, marked their entry into the British new wave scene. However, soon after, Vince Clarke decided to leave the band, and Alan Wilder joined as his replacement. This pivotal moment marked a turning point for Depeche Mode, as Martin Gore took over as the main songwriter, and the band embarked on a new musical journey.

With their second album, "A Broken Frame," released in 1982, Depeche Mode solidified their reputation as pioneers of electronic soundscapes. The album showcased a more mature and introspective side of the band, delving into themes of love, loss, and alienation. This trend continued with subsequent releases, including the critically acclaimed albums "Black Celebration" (1986) and "Music for the Masses" (1987), which firmly established Depeche Mode as a dominant force in the electronic and alternative music scenes.

Their music often combined dark, atmospheric melodies with introspective and poetic lyrics, creating a unique sonic experience. Depeche Mode's ability to connect emotionally with their audience resonated deeply, and their popularity soared to new heights. In fact, their concert at the Pasadena Rose Bowl in June 1988 drew a massive crowd of over 60,000 fans, solidifying their status as global icons.

In 1990, Depeche Mode released their seventh album, "Violator," which became a major international success. With hits like "Enjoy the Silence" and "Personal Jesus," the band reached new heights of commercial success and critical acclaim. Following the release of "Violator," Depeche Mode embarked on a groundbreaking worldwide tour, solidifying their reputation as an unparalleled live act.

However, the band faced internal struggles during the recording and touring of their next album, "Songs of Faith and Devotion" (1993). These challenges ultimately led to Alan Wilder's departure in 1995, leaving Depeche Mode as a trio consisting of Gahan, Gore, and Fletcher.

Despite the lineup change, Depeche Mode's artistic vision and musical ambition remained unwavering. They continued to release compelling music, experimenting with different styles and incorporating elements of rock and industrial music. Their influence on the electronic music genre and beyond continued to grow, inspiring countless artists in the process.

Throughout their career, Depeche Mode achieved remarkable chart success. They had an impressive 54 songs in the UK Singles Chart, with 17 albums reaching the Top 10. Their global impact was recognized by Q magazine, which included them in their list of the "50 Bands That Changed the World!" VH1 also acknowledged their significance, ranking them No. 98 on the "100 Greatest Artists of All Time." Billboard named Depeche Mode the 10th Greatest of All Time Top Dance Club Artists in 2016.

In 2020, Depeche Mode was finally inducted into the Rock and Roll Hall of Fame, cementing their enduring legacy. Their groundbreaking sound, thought-provoking lyrics, and mesmerizing stage presence continue to inspire generations of musicians and fans alike.

Depeche Mode's contribution to the evolution of electronic music cannot be overstated. With their daring experimentation, emotive performances, and timeless hits, they have shaped a genre and left an indelible mark on the history of music. As their music continues to resonate with listeners around the world, Depeche Mode remains a testament to the power of artistic vision and sonic innovation.

Viewing with Andrew Rogers of Depeche Mode: 101 is the following: The Critic, ‘Destroyer’, ‘Sentient, ‘Director Imajica Entertainment’, Detroit, ‘Destroyer’, ‘Sentient, ‘Director Imajica Entertainment’. Olivia Amber May ‘Mistress of Magic’, ‘Destroyer’, ‘Sentient, River Phoenix, ‘Destroyer’, ‘Sentient’, Heath ‘The Joker’ Ledger, ‘Destroyer’, ‘Sentient, Stan Lee ‘Comic Creator’, ‘Destroyer’, ‘Sentient, Ereshkigal ‘Sumerian Goddess of Kur’, ‘Destroyer’, Cronus ‘Titan God’, ‘Destroyer’, Empress, ‘Sentient’, ‘Destroyer’, Emperor, ‘Sentient’, ‘Destroyer’, Ronin ‘Destroyer’, ‘Samurai Sentient, plus additional representatives from otherworldly realm

Andrew Rogers: Destroyer Incarnate, Founder of Imajica Entertainment.

Review: Depeche Mode: 101 is the following: ‘The Critic’: Destroyer, Sentient, Director Imajica Entertainment

“A wonderous experience, but a shadow of darkness present” – ‘The Critic’: Destroyer, Sentient, Director Imajica Entertainment. 

Oracle: Andrew Rogers

Review:  Depeche Mode: 101 is the following: Detroit: Destroyer, Sentient, Director Imajica Entertainment. 

“Genuis music and band” – Detroit: Destroyer, Sentient, Director Imajica Entertainment.

Oracle: Andrew Rogers

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Olivia Amber May ‘Mistress of Magic, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: River Phoenix, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Heath ‘The Joker’ Ledger, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Stan Lee Comic Creator, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Ereshkigal Sumerian Goddess of Kur, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Cronus Titan God, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Empress, Sentient, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Emperor, Sentient, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Ronin Destroyer, ‘Samurai Sentient’.

World Shopping Centre will have Depeche Mode memorabilia and merchandise for sale in the centre and website.

[officialexhibitionposter]

Discover David Hockney Posters and Paintings for Sale

David Hockney is a British artist who is known for his vibrant, colorful paintings and portraits. He was born in Bradford, England, in 1937, and studied at the Bradford College of Art and the Royal College of Art in London. He has had a long and successful career as an artist, and has been recognized with numerous awards and honors.

A. Who is David Hockney? David Hockney is a British artist who is known for his unique style and use of color. He has been active in the art world for more than six decades, and has produced a wide range of paintings, drawings, prints, and photographs. He is considered one of the most influential artists of the 20th century.

B. What is David Hockney famous for? David Hockney is famous for his colorful paintings and portraits, which often feature his friends, family, and lovers. He is also known for his use of technology in his artwork, such as his iPad drawings and digital prints.

II. Early Life and Education David Hockney was born in Bradford, England, in 1937. He showed an early talent for art, and studied at the Bradford College of Art before attending the Royal College of Art in London. He quickly became known for his unique style and use of color, and began exhibiting his artwork in galleries and museums.

III. Career as an Artist

A. Art Style and Techniques David Hockney's art style is characterized by his use of bright colors, bold shapes, and playful compositions. He often works with acrylic paints and creates his own vibrant color combinations. He is also known for his use of perspective, often experimenting with different ways of depicting space and depth in his paintings.

In addition to traditional painting techniques, Hockney has also embraced technology in his art. He has created a number of digital prints using a variety of tools, including his iPad, and has explored the possibilities of video and photography in his artwork.

B. Notable Works and Exhibitions David Hockney has produced a vast body of work throughout his career, including paintings, drawings, prints, and photographs. Some of his most famous works include "A Bigger Splash," "Mr and Mrs Clark and Percy," and "Portrait of an Artist (Pool with Two Figures)."

Hockney has also had numerous exhibitions of his artwork, both in the UK and internationally. Some of his most notable exhibitions include a retrospective at the Tate Gallery in London in 2017, and a major retrospective at the Metropolitan Museum of Art in New York in 2018.

IV. Legacy and Influence A. Awards and Honors David Hockney has been recognized with numerous awards and honors throughout his career. He was awarded the Order of Merit by Queen Elizabeth II in 2012, and has also been honored with the Praemium Imperiale Award, the Royal Academy of Arts' Lifetime Achievement Award, and the Lifetime Achievement in Contemporary Sculpture Award, among others.

B. Impact on the Art World David Hockney's unique style and use of color have had a significant impact on the art world. He has influenced a generation of artists, and his work continues to be celebrated and studied today. He is considered one of the most important artists of the 20th century, and his legacy is sure to endure for many years to come.

V. David Hockney Poster and Painting A. Where to Buy David Hockney Posters and Paintings David Hockney posters and paintings can be found at a variety of online and brick-and-mortar retailers, including Merch Fuse, museum shops, and online marketplaces. Some popular retailers include Saatchi Art, Artsy, and Art.com.

B. How to Choose the Right David Hockney Artwork When choosing a David Hockney poster or painting, it's important to consider your personal taste and the style of your space. Think about the colors, shapes, and compositions that appeal to you, and consider the size and scale of the artwork as well. You may also want to research the different periods of Hockney's career and select a work from the era that speaks to you the most.

VI. Conclusion David Hockney is a celebrated artist who has had a significant impact on the art world. His unique style and use of color have influenced countless artists, and his legacy continues to be celebrated today. If you're interested in adding a piece of Hockney's artwork to your collection, consider exploring his posters and paintings and choosing a work that speaks to your personal style and taste.

Check out our website for buying exhibition posters and Paintings. Merch Fuse.

[digihindnews]

Clark Hunt Net Worth: Is He The Richest Businessman On Earth?

Clark Hunt is a name that resonates with football enthusiasts all over the world. As the Chairman and CEO of the Kansas City Chiefs, Hunt has made a lasting impact on the NFL, leading his team to multiple Super Bowl appearances and a coveted championship title. But his legacy goes beyond the football field, with his philanthropic efforts and contributions to sports and entertainment making him a prominent figure in the business world. From his family's ownership of the Dallas Texans, which eventually became the Chiefs, to his current position as one of the most respected owners in the league, Clark Hunt's influence is felt far and wide.

Net Worth Of Clark Hunt

The American businessman and sports team owner Clark Hunt is worth $2 billion. Clark Hunt is well-known in the sports world for his roles as Chairman and Chief Executive Officer of the NFL's Kansas City Chiefs. He also helped establish Major League Soccer and the FC Dallas franchise. Clark led the Chiefs to their first Super Bowl appearance since 1969 in 2020. When 2023 rolled around, the Chiefs repeated as champions.

Early Life Of Clark Hunt

Clark Hunt was born into a family of football royalty. His father, Lamar Hunt, was one of the founding members of the American Football League and a pioneer in the sports and entertainment industry. Growing up in Dallas, Texas, Clark was exposed to the game of football from an early age, often accompanying his father to games and meetings. Despite his family's legacy in football, Clark was a standout athlete in his own right, excelling in soccer and tennis. He attended SMU, where he played soccer and earned a degree in business.

Clark Hunt After graduation, he worked for several years in the oil and gas industry before joining the family business and becoming actively involved in the management of the Kansas City Chiefs. With his passion for the game and business acumen, Clark has continued his father's legacy and cemented his own place in the world of football. If You Are Interested In This Post: - Pete Davidson Ex Girlfriend List: How Many Girls He Has Been With? - On Rakhi Sawant Mother Death, Jackie Shroff And Manyata Dutt Offer Consolation

Career Of Clark Hunt

Clark Hunt's career has been defined by his leadership in the world of sports and entertainment. After joining the family business, he became actively involved in the management of the Kansas City Chiefs, serving in various capacities including General Manager, President, and ultimately Chairman and CEO. Under Hunt's leadership, the Chiefs have achieved significant success, including multiple division championships and Super Bowl appearances. In 2020, the team won its first Super Bowl in 50 years, a historic moment for the organization and the city of Kansas City. Outside of football, Hunt has also made significant contributions to the sports and entertainment industry. He played a key role in the development of Major League Soccer (MLS), serving as a founding investor and helping to launch several MLS teams, including FC Dallas, which he currently owns. Additionally, he has been involved in the development of several major entertainment venues, including the American Airlines Center in Dallas and AT&T Stadium, home of the Dallas Cowboys. Hunt is also a committed philanthropist, serving on the boards of several charitable organizations and making significant donations to causes related to education, healthcare, and sports. His impact on the world of sports and entertainment is far-reaching, and he continues to be a respected and influential figure in the industry. Read Next(:> Damon Welch Net Worth 2023: How Far His Wealth Have Reached in 2023?

Personal Life Clark Hunt

Clark Hunt is the chairman and CEO of the Kansas City Chiefs in the NFL. He was born in Dallas, Texas, in 1965 and earned a degree in business administration from Southern Methodist University. Hunt is also the founder of FC Dallas, a Major League Soccer team, and is involved in the Hunt Sports Group. He is married to Tavia Hunt and they have three children together. Hunt and his family are known for their philanthropy, supporting education, health, and sports programs. Follow us on Twitter to check out our latest updates on our social media pages. Read the full article

[nileqt87]

Some feelings I've had for a long time in regards to Anne Rice

The biggest crime of the later books is how Anne Rice completely threw away what would've been far more profound for Louis (and of course, Claudia was dead) because of her rampant author's pet blind spot. Ironically, Louis was her self-insert, while Lestat was her husband and Claudia was her dead daughter.

It's like it never occurred to her that the "Human Nature" trope (see Clark in Superman II, Angel in Angel: the Series, Clark again in Smallville, the Tenth Doctor in Doctor Who, Castiel in Supernatural, etc...) is so much more profound for the tragic inhuman character who actually desires most to be human, is at odds with their own species or wants to experience human belonging/family/love, rather than the one who would happily throw away that humanity they never really wanted (Lestat in The Tale of the Body Thief). Funnily enough, Brad Pitt’s Meet Joe Black is also this trope. Louis, not Lestat, is the character who belonged with this trope as it is in every other piece of fiction that uses it. Those medias understood it's best used as a heartbreaking gut punch instead of a comedy romp. It's something that hurts when it is cruelly snatched away or must be given up for the sake of a duty larger than oneself. The only Vampire Chronicles character who would prefer even more to be human than Louis because of the profound unhappiness in their physical form would be Claudia. It's the thing they most have in common together.

Merrick was yet another time when these characters' potential to continue on the center stage was woefully misused and under-realized in favor of endless new OCs and Lestat. Louis was written out of the starring role that put Anne Rice's career on the map the second she and the fandom wrote him off as a liar, despite never being able to fully retcon out Lestat's actions during Interview with the Vampire. There were certainly better uses for Claudia's ghost than as a cruel manipulation that then never gets closure for her or Louis' obviously continuing feelings for her. Given that he's still not over her death more than a century later, it's always the elephant in the room in regards to Louis in the present. It's the storyline that keeps Louis frozen in time, unable to continue his own story beyond the 19th century except as a series of vignettes and observations by other characters. Merrick completely failed both Louis and Claudia. He's as much of a ghost in the present story as she is.

Because of this, Louis' story now will always be incomplete; a profoundly influential character used as little more than a prop in the background of other characters' narration. And of course, Claudia's tragedy was being incomplete from the start.

Characters like Angel and many copycats (not only vampire characters either--Russell T Davies has fully admitted Buffy and Angel's influence on his Doctor Who revival and Torchwood spinoff, while the entire Fanged Four are Anne Rice's archetypal lineup) would directly not exist without Louis. And yet, Angel got the center stage as the deeply-flawed inhuman protagonist with a "human soul" that Louis never got again. Louis is Anne Rice's archetype (a massive influence on all inhuman creatures with human feelings ostracized from their own kinds, doomed to never belong to either world and the outsider looking in on a life they can never have) that has actually inspired more leads than Lestat ever did. Other media, in Interview with the Vampire's image, knew that the flashier, funnier, cooler Lestat archetype (which was likewise influential, but rarely an initial lead) is instead an antagonistic, often villainous foil to a more serious, introspective character's existential crisis and the greater philosophical and moral depth that this brings a story.

Anne Rice stumbled upon that when she wrote Interview with the Vampire, but seemingly didn't understand it. Or perhaps it was easier for her to avoid her personal trauma by focusing instead on an object of fantasy and fancy.

Unfortunately, she denigrated Louis to make Lestat palatable as an antihero instead of a villain or even antivillain. He and his POV became inconvenient to the change in narrative and Lestat's POV became rarely challenged, despite him being the more likely of the two to fit as the unreliable narrator with far more reasons to lie and make himself look better. His verifiable actions contradict lies like him only killing evildoers. Claudia being the most glaring refutation, but also the fact that Louis was targeted not because he was evil, but rather because he had wealth Lestat wanted. Louis was telling his story as a cautionary tale in which he wasn't sugarcoating himself (quite the opposite--he's the king of self-loathing) or anyone else, not a narcissistic ego trip disguised as a rebuttal.

The author's retcon and fandom buying into the narrative of Louis as the unreliable narrator is a huge mistake and it goes a long way to explain the fall in quality of the later series. Louis should never have been consigned to the role of Antonio Salieri.

[kemetic-dreams]

A slave name is the personal name given by others to an enslaved person, or a name inherited from enslaved ancestors. The modern use of the term applies mostly to African Americans and West Indians who are descended from enslaved Africans who retain their name given to their ancestors by the enslavers.

Changing from a slave name to a name embodying an African identity became common after emancipation in the 1960s by those in the African diaspora in the Americas seeking a reconnection to their African cultural roots

A number of African-Americans and Afro-Caribbeans have changed their names out of the belief that the names they were given at birth were slave names. An individual's name change often coincides with a religious conversion (Muhammad Ali changed his name from Cassius Clay, Malcolm X from Malcolm Little, and Louis Farrakhan changed his from Louis Eugene Walcott, for example) or involvement with the black nationalist movement (e.g., Amiri Baraka and Assata Shakur).

Some organizations encourage African-Americans to abandon their slave names. The Nation of Islam is perhaps the best-known of them. In his book, Message to the Blackman in America, Nation of Islam leader Elijah Muhammad writes often of slave names. Some of his comments include:

"You must remember that slave-names will keep you a slave in the eyes of the civilized world today. You have seen, and recently, that Africa and Asia will not honor you or give you any respect as long as you are called by the white man's name."

"You are still called by your slave-masters' names. By rights, by international rights, you belong to the white man of America. He knows that. You have never gotten out of the shackles of slavery. You are still in them."

The black nationalist US Organization also advocates for African-Americans to change their slave names

Assata Olugbala Shakur (born JoAnne Deborah Byron; July 16, 1947, sometimes referred to by her married surname Chesimard) is a former member of the Black Liberation Army, who was convicted of the first-degree murder of State Trooper Werner Foerster during a shootout on the New Jersey Turnpike in 1973. Shakur was also the target of the FBI's COINTELPRO program, a counterintelligence program directed towards Black Liberation groups and activists

Afeni Shakur (born Alice Faye Williams; January 10, 1947 – May 2, 2016) was an American activist and businesswoman who was the mother of American rapper and actor Tupac Shakur.

Chaka Adunne Aduffe Yemoja Hodarhi Karifi Khan.  Yvette Marie Stevens (born March 23, 1953), better known by her stage name Chaka Khan, is an American singer, songwriter and musician. Her career has spanned nearly five decades, beginning in the 1970s as the lead vocalist of the funk band Rufus. Khan received public attention for her vocals and image. Known as the Queen of Funk,Khan was the first R&B artist to have a crossover hit featuring a rapper, with "I Feel for You" in 1984. Khan has won ten Grammys and has sold an estimated 70 million records worldwide.

Mutulu Shakur (born Jeral Wayne Williams; August 8, 1950) is an American activist and former member of the Black Liberation Army, sentenced to sixty years in prison for his alleged involvement in a 1981 robbery of a Brinks armored truck in which a guard and two police officers were killed. Shakur was politically active as a teen with the Revolutionary Action Movement (RAM) and later the black separatist movement the Republic of New Afrika. He was stepfather to the late rap artist Tupac Shakur.

Sekou Odinga (born Nathanial Burns) is an American activist who was imprisoned for actions with the Black Liberation Army in the 1960s and 1970s. In 1965, Sekou joined the Organization of Afro-American Unity (OAAU), founded by Malcolm X. After Malcolm's death the OAAU was not going in the direction he wanted and in 1967 he was looking at the Black Panther Party. In early 1968 he helped build the Bronx Black Panther Party. On January 17, 1969 two Panthers had been killed by members of Organization Us (a rival Black Nationalist group) and a fellow New York Panther who was in police custody was brutally beaten. Sekou was informed that police were searching for him in connection with a police shooting. At that point, Sekou joined the black underground with the Black Liberation Army.

Yafeu Akiyele Fula (October 9, 1977 – November 10, 1996), better known by his stage name Yaki Kadafi, was an American rapper, and a founder and member of the rap groups Outlawz and Dramacydal. Kadafi's parents, Yaasmyn Fula and Sekou Odinga, were both members of the Black Panther Party. Fula and Tupac Shakur's mother, Afeni Shakur, were close friends, and Kadafi and Tupac were friends until their deaths in 1996.

Louis Farrakhan Sr. ( born Louis Eugene Walcott; May 11, 1933), formerly known as Louis X, is an American minister who is the leader of the religious group Nation of Islam (NOI), which the Southern Poverty Law Center describes as a black nationalist group. Previously, he served as the minister of mosques in Boston and Harlem and had been appointed National Representative of the Nation of Islam by former NOI leader Elijah Muhammad. 

Sundiata Acoli (born January 14, 1937, as Clark Edward Squire) is a former member of the Black Panther Party and the Black Liberation Army. He was sentenced to life in prison in 1974 for murdering a New Jersey state trooper

Prince.  Abdul-Rahman ibn Ibrahima Sori (Arabic: عبد الرحمن ابن ابراهيم سوري‎) (1762–1829) was a Fula nobleman and Amir (commander or governor) who was captured in the Fouta Jallon region of Guinea, West Africa, and sold to slave traders in the United States in 1788.[1] Upon discovering his noble lineage, his owner Thomas Foster began referring to him as "Prince",[2] a title he kept until his final days. After spending 40 years in slavery, he was freed in 1828 by order of U.S. President John Quincy Adams and Secretary of State Henry Clay, after the Sultan of Morocco requested his release.

Omowale or Malcolm X (May 19, 1925 – February 21, 1965) was an American Muslim minister and human rights activist who was a popular figure during the civil rights movement. He is best known for his controversial advocacy for the rights of blacks; some consider him a man who indicted white America in the harshest terms for its crimes against black Americans, while others accused him of preaching racism and violence. He has been called one of the greatest and most influential African Americans in history.

Born Malcolm Little in Omaha, Nebraska, he spent his teenage years living in a series of foster homes following his father's death and his mother's hospitalization. Little engaged in several illicit activities, and was eventually sentenced to ten years in prison in 1946 for larceny and breaking and entering. In prison, he joined the Nation of Islam (NOI) and changed his name to Malcolm X because, he later wrote, Little was the name that "the white slavemaster ... had imposed upon [his] paternal forebears". After being paroled in 1952, he quickly became one of the organization's most influential leaders.

Expressing many regrets about his time with them, which he had come to regard as largely wasted, he instead embraced Sunni Islam. Malcolm X then began to advocate for racial integration and disavowed racism after completing Hajj, whereby he also became known as el-Hajj Malik el-Shabazz

Tupac Amaru Shakur; born Lesane Parish Crooks, June 16, 1971 – September 13, 1996), also known by his stage names 2Pac and Makaveli, was an American rapper and actor.He is considered by many to be one of the greatest rappers of all time. Much of Shakur's work has been noted for addressing contemporary social issues that plagued inner cities, and he is considered a symbol of resistance and activism against inequality

Kareem Abdul-Jabbar (born Ferdinand Lewis Alcindor Jr.; April 16, 1947) is an American retired professional basketball player who played 20 seasons in the National Basketball Association (NBA) for the Milwaukee Bucks and the Los Angeles Lakers. During his career as a center, Abdul-Jabbar was a record six-time NBA Most Valuable Player (MVP), a record 19-time NBA All-Star, a 15-time All-NBA selection, and an 11-time NBA All-Defensive Team member. A member of six NBA championship teams as a player and two more as an assistant coach, Abdul-Jabbar twice was voted NBA Finals MVP. In 1996, he was honored as one of the 50 Greatest Players in NBA History. NBA coach Pat Riley and players Isiah Thomas and Julius Erving have called him the greatest basketball player of all time

Muhammad Ali (/ɑːˈliː/; born Cassius Marcellus Clay Jr.;January 17, 1942 – June 3, 2016) was an American professional boxer, activist, and philanthropist. Nicknamed "The Greatest," he is widely regarded as one of the most significant and celebrated sports figures of the 20th century and as one of the greatest boxers of all time.

Kwame Ture (/ˈkwɑːmeɪ ˈtʊəreɪ/; born Stokely Standiford Churchill Carmichael, June 29, 1941 – November 15, 1998) was a prominent American socialist organizer in the civil rights movement in the United States and the global Pan-African movement. Born in Trinidad, he grew up in the United States from the age of 11 and became an activist while attending Howard University. He eventually developed the Black Power movement, first while leading the Student Nonviolent Coordinating Committee (SNCC), later serving as the "Honorary Prime Minister" of the Black Panther Party (BPP), and lastly as a leader of the All-African People's Revolutionary Party (A-APRP).

Amiri Baraka (born Everett LeRoi Jones; October 7, 1934 – January 9, 2014), previously known as LeRoi Jones and Imamu Amear Baraka, was an American writer of poetry, drama, fiction, essays and music criticism. He was the author of numerous books of poetry and taught at several universities, including the State University of New York at Buffalo and the State University of New York at Stony Brook. He received the PEN/Beyond Margins Award, in 2008 for Tales of the Out and the Gone

As long as you around here wearing the white men’s name bragging about this so called democracy, you will always be looked down up, by the rest of the world-Malcom X

[nic-214]

On December 8th, 1943, Poet and singer Jim Morrison was born. Morrison was te lead vocalist of the rock band the Doors. He was to become one of the most iconic and influential frontmen in rock history.

James Douglas Morrison was an American singer, poet and songwriter who was the lead vocalist of the rock band the Doors.

Due to his wild personality, poetic lyrics, distinctive voice, unpredictable and erratic performances, and the dramatic circumstances surrounding his life and early death, Morrison is regarded by music critics and fans as one of the most iconic and influential frontmen in rock history.

Since his death, his fame has endured as one of popular culture's most rebellious and oft-displayed icons, representing the genre generation gap and youth counterculture.

Jim was born to Clare Virginia Clarke and Lt. George Stephen Morrison in Melbourne Florida on December 8th, 1943. He grew up in a strict military household alongside his sister and brother.

He died on July 3rd, 1971 in Paris France. He was only 27 years old when he died of heart failure. If alive today he would have been 78 years old. May you rest in peace

[timeless-hollywood-classics]

Hedy Lamarr, born Hedwig Eva Maria Kiesler (November or September 9, 1914 – January 19, 2000), was an Austrian-American actress, inventor, and film producer. She appeared in 30 films over a 28 year career, and co-invented an early version of frequency-hopping spread spectrum communication.

Lamarr was born in Vienna, Austria-Hungary, and acted in a number of Austrian, German, and Czech films in her brief early film career, including the controversial Ecstasy (1933). In 1937, she fled from her husband, a wealthy Austrian ammunition manufacturer, secretly moving to Paris and then on to London. There she met Louis B. Mayer, head of Metro-Goldwyn-Mayer (MGM) studio, who offered her a Hollywood movie contract, where he began promoting her as "the world's most beautiful woman".

She became a star through her performance in Algiers (1938), her first United States film.[5] She starred opposite Clark Gable in Boom Town and Comrade X (both 1940), and James Stewart in Come Live with Me and Ziegfeld Girl (both 1941). Her other MGM films include Lady of the Tropics (1939), H.M. Pulham, Esq. (1941), as well as Crossroads and White Cargo (both 1942); she was also borrowed by Warner Bros. for The Conspirators, and by RKO for Experiment Perilous (both 1944). Dismayed by being typecast, Lamarr co-founded a new production studio and starred in its films: The Strange Woman (1946), and Dishonored Lady (1947). Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960.

At the beginning of World War II, Lamarr and composer George Antheil developed a radio guidance system using frequency-hopping spread spectrum technology for Allied torpedoes, intended to defeat the threat of jamming by the Axis powers. She also helped improve aircraft aerodynamics for Howard Hughes while they dated during the war. Although the US Navy did not adopt Lamarr and Antheil's invention until 1957, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Recognition of the value of their work resulted in the pair being posthumously inducted into the National Inventors Hall of Fame in 2014.

Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Emil Kiesler (1880–1935) and Gertrud "Trude" Kiesler (née Lichtwitz; 1894–1977). Her father was born to a Galician-Jewish family in Lemberg (now Lviv, Ukraine), and was a successful bank manager. Her mother was a pianist, born in Budapest to an upper-class Hungarian-Jewish family. She converted to Catholicism as an adult, at the insistence of her first husband, and raised her daughter Hedy as a Catholic as well, though she was not formally baptized at the time.

As a child, Kiesler showed an interest in acting and was fascinated by theatre and film. At the age of 12, she won a beauty contest in Vienna. She also began to associate invention with her father, who would take her out on walks, explaining how various technologies in society functioned.

After the Anschluss, she helped get her mother out of Austria and to the United States, where Gertrud Kiesler later became an American citizen. She put "Hebrew" as her race on her petition for naturalization, a term that had been frequently used in Europe.

Still using her maiden name of Hedy Kiesler, she took acting classes in Vienna. One day, she forged a permission note from her mother and went to Sascha-Film, where she was hired at the age of 16 as a script girl. She gained a role as an extra in Money on the Street (1930), and then a small speaking part in Storm in a Water Glass (1931). Producer Max Reinhardt cast her in a play entitled The Weaker Sex, which was performed at the Theater in der Josefstadt. Reinhardt was so impressed with her that he arranged for her to return with him to Berlin, where he was based.

Kiesler never trained with Reinhardt nor appeared in any of his Berlin productions. After meeting Russian theatre producer Alexis Granowsky, she was cast in his film directorial debut, The Trunks of Mr. O.F. (1931), starring Walter Abel and Peter Lorre. Granowsky soon moved to Paris, but Kiesler stayed in Berlin to work. She was given the lead role in No Money Needed (1932), a comedy directed by Carl Boese. Her next film brought her international fame.

In early 1933, at age 18, Hedy Kiesler, still working under her maiden name, was given the lead in Gustav Machatý's film Ecstasy (Ekstase in German, Extase in Czech). She played the neglected young wife of an indifferent older man.

The film became both celebrated and notorious for showing the actress's face in the throes of an orgasm. According to Marie Benedict's book The Only Woman In The Room, Kiesler's expression resulted from someone sticking her with a pin. She was also shown in closeups and brief nude scenes, the latter reportedly a result of the actress being "duped" by the director and producer, who used high-power telephoto lenses.

Although Kiesler was dismayed and now disillusioned about taking other roles, Ecstasy gained world recognition after winning an award in Rome. Throughout Europe, the film was regarded as an artistic work. However, in the United States, it was banned, considered overly sexual, and made the target of negative publicity, especially among women's groups. It was also banned in Germany due to Kiesler's Jewish heritage. Her husband, Fritz Mandl, reportedly spent over $300,000 buying up and destroying copies of the film.

Kiesler also played a number of stage roles, including a starring one in Sissy, a play about Empress Elisabeth of Austria produced in Vienna in early 1933, just as Ecstasy premiered. It won accolades from critics.

Admirers sent roses to her dressing room and tried to get backstage to meet Kiesler. She sent most of them away, including an insistent Friedrich Mandl. He became obsessed with getting to know her. Mandl was a Viennese arms merchant and munitions manufacturer who was reputedly the third-richest man in Austria. She fell for his charming and fascinating personality, partly due to his immense wealth. Her parents, both of Jewish descent, did not approve, as Mandl had ties to Italian fascist leader Benito Mussolini, and later, German Führer Adolf Hitler, but they could not stop their headstrong daughter.

On August 10, 1933, at the age of 18, Kiesler married Mandl, then 33. The son of a Jewish father and a Catholic mother, Mandl insisted that she convert to Catholicism before their wedding in Vienna Karlskirche. In her autobiography Ecstasy and Me, Mandl is described as an extremely controlling husband. He strongly objected to her having been filmed in the simulated orgasm scene in Ecstasy and prevented her from pursuing her acting career. She claimed she was kept a virtual prisoner in their castle home, Castle Schwarzenau in the remote Waldviertel near the Czech border.

Mandl had close social and business ties to the Italian government, selling munitions to the country, and, despite his own part-Jewish descent, had ties to the Nazi regime of Germany. Kiesler accompanied Mandl to business meetings, where he conferred with scientists and other professionals involved in military technology. These conferences were her introduction to the field of applied science and she became interested in nurturing her latent talent in science.

Finding her marriage to Mandl eventually unbearable, Kiesler decided to flee her husband as well as her country. According to her autobiography, she disguised herself as her maid and fled to Paris. Friedrich Otto's account says that she persuaded Mandl to let her wear all of her jewelry for a dinner party where the influential austrofascist Ernst Stahremberg attended, then disappeared afterward. She writes about her marriage:

I knew very soon that I could never be an actress while I was his wife. ... He was the absolute monarch in his marriage. ... I was like a doll. I was like a thing, some object of art which had to be guarded—and imprisoned—having no mind, no life of its own.

After arriving in London in 1937, she met Louis B. Mayer, head of MGM, who was scouting for talent in Europe. She initially turned down the offer he made her (of $125 a week), but booked herself onto the same New York-bound liner as he. During the trip, she impressed him enough to secure a $500 a week contract. Mayer persuaded her to change her name from Hedwig Kiesler (to distance herself from "the Ecstasy lady" reputation associated with it). She chose the surname "Lamarr" in homage to the beautiful silent film star, Barbara La Marr, on the suggestion of Mayer's wife, Margaret Shenberg.

When Mayer brought Lamarr to Hollywood in 1938, he began promoting her as the "world's most beautiful woman". He introduced her to producer Walter Wanger, who was making Algiers (1938), an American version of the noted French film, Pépé le Moko (1937).

Lamarr was cast in the lead opposite Charles Boyer. The film created a "national sensation", says Shearer. Lamarr was billed as an unknown but well-publicized Austrian actress, which created anticipation in audiences. Mayer hoped she would become another Greta Garbo or Marlene Dietrich. According to one viewer, when her face first appeared on the screen, "everyone gasped ... Lamarr's beauty literally took one's breath away."

In future Hollywood films, Lamarr was often typecast as the archetypal glamorous seductress of exotic origin. Her second American film was I Take This Woman (1940), co-starring with Spencer Tracy under the direction of regular Dietrich collaborator, Josef von Sternberg. Von Sternberg was fired during the shoot, and replaced by Frank Borzage. The film was put on hold, and Lamarr was put into Lady of the Tropics (1939), where she played a mixed-race seductress in Saigon opposite Robert Taylor. She returned to I Take This Woman, re-shot by W. S. Van Dyke. The resulting film was a flop.

Far more popular was Boom Town (1940) with Clark Gable, Claudette Colbert and Spencer Tracy; it made $5 million MGM promptly reteamed Lamarr and Gable in Comrade X (1940), a comedy film in the vein of Ninotchka (1939), which was another hit.

She was teamed with James Stewart in Come Live with Me (1941), playing a Viennese refugee. Stewart was also featured in Ziegfeld Girl (1941), in which Lamarr, Judy Garland, and Lana Turner played aspiring showgirls; it was a big success.

Lamarr was top-billed in H. M. Pulham, Esq. (1941), although the film's protagonist was the title role played by Robert Young. She made a third film with Tracy, Tortilla Flat (1942). It was successful at the box office, as was Crossroads (1942) with William Powell.

She played the seductive native girl Tondelayo in White Cargo (1942), top-billed over Walter Pidgeon. It was a huge hit. White Cargo contains arguably her most memorable film quote, delivered with provocative invitation: "I am Tondelayo. I make tiffin for you?" This line typifies many of Lamarr's roles, which emphasized her beauty and sensuality while giving her relatively few lines. The lack of acting challenges bored Lamarr, and she reportedly took up inventing to relieve her boredom. In a 1970 interview, Lamarr also remarked that she was paid less because she would not sleep with Mayer.

Lamarr was reunited with Powell in a comedy, The Heavenly Body (1944). She was then borrowed by Warner Bros. for The Conspirators (1944), reuniting several of the actors of Casablanca (1942), which had been inspired in part by Algiers and written with Lamarr in mind as its female lead, though MGM would not lend her out. RKO later borrowed her for a melodrama, Experiment Perilous (1944), directed by Jacques Tourneur.

Back at MGM, Lamarr was teamed with Robert Walker in the romantic comedy Her Highness and the Bellboy (1945), playing a princess who falls in love with a New Yorker. It was very popular, but would be the last film she made under her MGM contract.

Her off-screen life and personality during those years was quite different from her screen image. She spent much of her time feeling lonely and homesick. She might swim at her agent's pool, but shunned the beaches and staring crowds. When asked for an autograph, she wondered why anyone would want it. Writer Howard Sharpe interviewed her and gave his impression:

Hedy has the most incredible personal sophistication. She knows the peculiarly European art of being womanly; she knows what men want in a beautiful woman, what attracts them, and she forces herself to be these things. She has magnetism with warmth, something that neither Dietrich nor Garbo has managed to achieve.

Author Richard Rhodes describes her assimilation into American culture:

Of all the European émigrés who escaped Nazi Germany and Nazi Austria, she was one of the very few who succeeded in moving to another culture and becoming a full-fledged star herself. There were so very few who could make the transition linguistically or culturally. She really was a resourceful human being–I think because of her father's strong influence on her as a child.

Lamarr also had a penchant for speaking about herself in the third person.

Lamarr wanted to join the National Inventors Council, but was reportedly told by NIC member Charles F. Kettering and others that she could better help the war effort by using her celebrity status to sell war bonds.

She participated in a war bond-selling campaign with a sailor named Eddie Rhodes. Rhodes was in the crowd at each Lamarr appearance, and she would call him up on stage. She would briefly flirt with him before asking the audience if she should give him a kiss. The crowd would say yes, to which Hedy would reply that she would if enough people bought war bonds. After enough bonds were purchased, she would kiss Rhodes and he would head back into the audience. Then they would head off to the next war bond rally. In total, Lamarr sold approximately $25 million (over $350 million when adjusted for inflation in 2020) worth of war bonds during a period of 10 days.

After leaving MGM in 1945, Lamarr formed production company Mars Film Corporation with Jack Chertok and Hunt Stromberg, producing two film noir motion pictures which she also starred in: The Strange Woman (1946) as a manipulative seductress leading a son to murder his father, and Dishonored Lady (1947) as a formerly suicidal fashion designer[verification needed] trying to start a new life but gets accused of murder. Her initiative was unwelcomed by the Hollywood establishment, as they were against actors (especially female actors) producing their films independently. Both films grossed over their budgets, but were not large commercial successes.

In 1948, she tried a comedy with Robert Cummings, called Let's Live a Little.

Lamarr enjoyed her greatest success playing Delilah opposite Victor Mature as the biblical strongman in Cecil B. DeMille's Samson and Delilah (1949). A massive critical and commercial success, the film became the highest-grossing picture of 1950 and won two Academy Awards (Best Art Direction and Best Costume Design) of its five nominations. She won critical acclaim for her portrayal of Delilah. Showmen's Trade Review previewed the film before its release and commended Lamarr's performance: "Miss Lamarr is just about everyone's conception of the fair-skinned, dark-haired, beauteous Delilah, a role tailor-made for her, and her best acting chore to date."[48] Photoplay wrote, "As Delilah, Hedy Lamarr is treacherous and tantalizing, her charms enhanced by Technicolor."[49]

Lamarr returned to MGM for a film noir with John Hodiak, A Lady Without Passport (1950), which flopped. More popular were two pictures she made at Paramount, a Western with Ray Milland, Copper Canyon (1950), and a Bob Hope spy spoof, My Favorite Spy (1951).

Her career went into decline. She went to Italy to play multiple roles in Loves of Three Queens (1954), which she also produced. However she lacked the experience necessary to make a success of such an epic production, and lost millions of dollars when she was unable to secure distribution of the picture.

She was Joan of Arc in Irwin Allen's critically panned epic, The Story of Mankind (1957) and did episodes of Zane Grey Theatre ("Proud Woman") and Shower of Stars ("Cloak and Dagger"). Her last film was a thriller The Female Animal (1958).

Lamarr was signed to act in the 1966 film Picture Mommy Dead, but was let go when she collapsed during filming from nervous exhaustion. She was replaced in the role of Jessica Flagmore Shelley by Zsa Zsa Gabor.

Although Lamarr had no formal training and was primarily self-taught, she worked in her spare time on various hobbies and inventions, which included an improved traffic stoplight and a tablet that would dissolve in water to create a carbonated drink. The beverage was unsuccessful; Lamarr herself said it tasted like Alka-Seltzer.

Among the few who knew of Lamarr's inventiveness was aviation tycoon Howard Hughes. She suggested he change the rather square design of his aeroplanes (which she thought looked too slow) to a more streamlined shape, based on pictures of the fastest birds and fish she could find. Lamarr discussed her relationship with Hughes during an interview, saying that while they dated, he actively supported her inventive "tinkering" hobbies. He put his team of scientists and engineers at her disposal, saying they would do or make anything she asked for.

During World War II, Lamarr learned that radio-controlled torpedoes, an emerging technology in naval war, could easily be jammed and set off course.[53] She thought of creating a frequency-hopping signal that could not be tracked or jammed. She conceived an idea and contacted her friend, composer and pianist George Antheil, to help her implement it.[54] Together they developed a device for doing that, when he succeeded by synchronizing a miniaturized player-piano mechanism with radio signals.[40] They drafted designs for the frequency-hopping system, which they patented.[55][56] Antheil recalled:

We began talking about the war, which, in the late summer of 1940, was looking most extremely black. Hedy said that she did not feel very comfortable, sitting there in Hollywood and making lots of money when things were in such a state. She said that she knew a good deal about munitions and various secret weapons ... and that she was thinking seriously of quitting MGM and going to Washington, D.C., to offer her services to the newly established National Inventors Council.

As quoted from a 1945 Stars and Stripes interview, "Hedy modestly admitted she did only 'creative work on the invention', while the composer and author George Antheil, 'did the really important chemical part'. Hedy was not too clear about how the device worked, but she remembered that she and Antheil sat down on her living room rug and were using a silver match box with the matches simulating the wiring of the invented 'thing'. She said that at the start of the war 'British fliers were over hostile territory as soon as they crossed the channel, but German aviators were over friendly territory most of the way to England... I got the idea for my invention when I tried to think of some way to even the balance for the British. A radio controlled torpedo, I thought would do it.'"

Their invention was granted a patent under U.S. Patent 2,292,387 on August 11, 1942 (filed using her married name Hedy Kiesler Markey).[58] However, it was technologically difficult to implement, and at the time the US Navy was not receptive to considering inventions coming from outside the military.[35] Nevertheless, it was classified in the "red hot" category.[59] It was first adapted in 1957 to develop a sonobuoy before the expiration of the patent, although this was denied by the Navy. At the time of the Cuban Missile Crisis in 1962, an updated version of their design was installed on Navy ships.[60] Today, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Lamarr and Antheil's contributions were formally recognized in the late twentieth and early twenty-first centuries.

Lamarr was married and divorced six times and had three children:

Friedrich Mandl (married 1933–37), chairman of the Hirtenberger Patronen-Fabrik

Gene Markey (married 1939–41), screenwriter and producer. She adopted a boy, James Lamarr Markey (born January 9, 1939) during her marriage with Markey. In 2001, James found out he was the out-of-wedlock son of Lamarr and actor John Loder, whom she later married as her third husband.

John Loder (married 1943–47), actor. James Lamarr Markey was adopted by Loder as James Lamarr Loder. During the marriage, Lamarr and Loder also had two further children: Denise Loder (born January 19, 1945), married Larry Colton, a writer and former baseball player; and Anthony Loder (born February 1, 1947), married Roxanne who worked for illustrator James McMullan. They both appeared in the documentary films Calling Hedy Lamarr (2004), and Bombshell: The Hedy Lamarr Story (2017).

Ernest "Ted" Stauffer (married 1951–52), nightclub owner, restaurateur, and former bandleader

W. Howard Lee (married 1953–60), a Texas oilman (he later married film actress Gene Tierney)

Lewis J. Boies (married 1963–65), Lamarr's divorce lawyer

Following her sixth and final divorce in 1965, Lamarr remained unmarried for the last 35 years of her life.

Lamarr became a naturalized citizen of the United States at age 38 on April 10, 1953. Her autobiography, Ecstasy and Me, was published in 1966. In a 1969 interview on The Merv Griffin Show, she said that she did not write it and claimed that much was fictional. Lamarr sued the publisher in 1966 to halt publication, saying that many details were fabricated by its ghost writer, Leo Guild. She lost the suit. In 1967, Lamarr was sued by Gene Ringgold, who asserted that the book plagiarized material from an article he had written in 1965 for Screen Facts magazine.

In the late 1950s, Lamarr designed and, with husband W. Howard Lee, developed the Villa LaMarr ski resort in Aspen, Colorado. After their divorce, her husband gained this resort

In 1966, Lamarr was arrested in Los Angeles for shoplifting. The charges were eventually dropped. In 1991, she was arrested on the same charge in Florida, this time for stealing $21.48 worth of laxatives and eye drops. She pleaded no contest to avoid a court appearance, and the charges were dropped in return for her promise to refrain from breaking any laws for a year.

During the 1970s, Lamarr lived in increasing seclusion. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name ("Hedley Lamarr") featured in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered; the studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for "almost using her name". Brooks said that Lamarr "never got the joke". With her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida, in 1981.

In 1996, a large Corel-drawn image of Lamarr won the annual cover design contest for the CorelDRAW's yearly software suite. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998.

In 1997, Canadian company WiLAN signed an agreement with Lamarr to acquire 49% of the marketing rights of her patent, and a right of first refusal for the remaining 51% for ten quarterly payments. This was the only financial compensation she received for her frequency-hopping spread spectrum invention. A friendship ensued between her and the company's CEO, Hatim Zaghloul.

Lamarr became estranged from her son, James Lamarr Loder (who believed he was adopted until 2001), when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. James Loder was the Omaha, Nebraska police officer who was charged but then acquitted of the killing of 14 year old Vivian Strong in 1969.

In the last decades of her life, Lamarr communicated only by telephone with the outside world, even with her children and close friends. She often talked up to six or seven hours a day on the phone, but she spent hardly any time with anyone in person in her final years. A documentary film, Calling Hedy Lamarr, was released in 2004 and features her children Anthony Loder and Denise Loder-DeLuca.

Lamarr died in Casselberry, Florida, on January 19, 2000, of heart disease, aged 85. According to her wishes, she was cremated and her son Anthony Loder spread her ashes in Austria's Vienna Woods.

In 1939, Lamarr was voted the "most promising new actress" of 1938 in a poll of area voters conducted by a Philadelphia Record film critic.[95]

In 1951, British moviegoers voted Lamarr the tenth best actress of 1950,[96] for her performance in Samson and Delilah.

In 1960, Lamarr was honored with a star on the Hollywood Walk of Fame for her contribution to the motion picture industry, at 6247 Hollywood Blvd adjacent to Vine Street where the walk is centered.

In 1997, Lamarr and George Antheil were jointly honored with the Electronic Frontier Foundation's Pioneer Award.

Also in 1997, Lamarr was the first woman to receive the Invention Convention's BULBIE Gnass Spirit of Achievement Award, known as the "Oscars of inventing".

In 2014, Lamarr and Antheil were posthumously inducted into the National Inventors Hall of Fame for frequency-hopping spread spectrum technology.

Also in 2014, Lamarr was given an honorary grave in Vienna's Central Cemetery, where the remaining portion of her ashes were buried in November, shortly before her 100th birthday.

Asteroid 32730 Lamarr, discovered by Karl Reinmuth at Heidelberg Observatory in 1951, was named in her memory. The official naming citation was published by the Minor Planet Center on August 27, 2019 (M.P.C. 115894).

On 6 November 2020, a satellite named after her (ÑuSat 14 or "Hedy", COSPAR 2020-079F) was launched into space.

The 2004 documentary film Calling Hedy Lamarr features her children, Anthony Loder and Denise Loder-DeLuca.

In 2010, Lamarr was selected out of 150 IT people to be featured in a short film launched by the British Computer Society on May 20.

Also during 2010, the New York Public Library exhibit Thirty Years of Photography at the New York Public Library included a photo of a topless Lamarr (c. 1930) by Austrian-born American photographer Trude Fleischmann.

The 2017 documentary film Bombshell: The Hedy Lamarr Story, written and directed by Alexandra Dean and produced by Susan Sarandon,[108] about Lamarr's life and career as an actress and inventor, also featuring her children Anthony and Denise, among others, premiered at the 2017 Tribeca Film Festival.[40] It was released in theaters on November 24, 2017, and aired on the PBS series American Masters in May 2018. As of April 2020, it is also available on Netflix.

During World War II, the Office of Strategic Services invented a pyrotechnic device meant to help agents operating behind enemy lines to escape if capture seemed imminent. When the pin was pulled, it made the whistle of a falling bomb followed by a loud explosion and a large cloud of smoke, enabling the agent to make his escape. It saved the life of at least one agent. The device was codenamed the Hedy Lamarr.[109]

The Mel Brooks 1974 western parody Blazing Saddles features a male villain named "Hedley Lamarr". As a running gag, various characters mistakenly refer to him as "Hedy Lamarr" prompting him to testily reply "That's Hedley."

In the 1982 off-Broadway musical Little Shop of Horrors and subsequent film adaptation (1986), Audrey II says to Seymour in the song "Feed Me" that he can get Seymour anything he wants, including "A date with Hedy Lamarr."

On the Nickelodeon show Hey Arnold!, there is a running gag in which whenever something unfortunate happens to Arnold's grandfather, Phil, he constantly states how things would have been different if he had "married Hedy Lamarr instead!". In one episode, it is revealed that he carries a photo of her in his wallet.

In the 2003 video game Half-Life 2, Dr. Kleiner's pet headcrab, Lamarr, is named after Hedy Lamarr.

In 2008, an off-Broadway play, Frequency Hopping, features the lives of Lamarr and Antheil. The play was written and staged by Elyse Singer, and the script won a prize for best new play about science and technology from STAGE.

In 2011, the story of Lamarr's frequency-hopping spread spectrum invention was explored in an episode of the Science Channel show Dark Matters: Twisted But True, a series that explores the darker side of scientific discovery and experimentation, which premiered on September 7.

Batman co-creator Bob Kane was a great movie fan and his love for film provided the impetus for several Batman characters, among them, Catwoman. Among Kane's inspiration for Catwoman were Lamarr and actress Jean Harlow. Also in 2011, Anne Hathaway revealed that she had learned that the original Catwoman was based on Lamarr, so she studied all of Lamarr's films and incorporated some of her breathing techniques into her portrayal of Catwoman in the 2012 film The Dark Knight Rises.

In 2013, her work in improving wireless security was part of the premiere episode of the Discovery Channel show How We Invented the World.

In 2015, on November 9, the 101st anniversary of Lamarr's birth, Google paid tribute to Lamarr's work in film and her contributions to scientific advancement with an animated Google Doodle.

In 2016, Lamarr was depicted in an off-Broadway play, HEDY! The Life and Inventions of Hedy Lamarr, a one-woman show written and performed by Heather Massie.

Also in 2016, the off-Broadway, one-actor show Stand Still and Look Stupid: The Life Story of Hedy Lamarr starring Emily Ebertz and written by Mike Broemmel went into production.

Also in 2016, Whitney Frost, a character in the TV show Agent Carter, was inspired by Lamarr and Lauren Bacall.

In 2017, actress Celia Massingham portrayed Lamarr on The CW television series Legends of Tomorrow in the sixth episode of the third season, titled "Helen Hunt". The episode is set in 1937 "Hollywoodland" and references Lamarr's reputation as an inventor. The episode aired on November 14, 2017.

In 2018, actress Alyssa Sutherland portrayed Lamarr on the NBC television series Timeless in the third episode of the second season, titled "Hollywoodland". The episode aired March 25, 2018.

Gal Gadot is set to portray Lamarr in an Apple TV+ limited series based on her life story.

A novelization of her life, The Only Woman in the Room by Marie Benedict, was published in 2019.

[dwellordream]

“Certain characteristics of the new nation had important consequences for how children and parents treated each other, as well as for politics and economics. The American Constitution had made no provisions for political parties of the kind that brought Jefferson to office peacefully in 1801. But it did foresee the immense expansion of the economy and the possibilities for territorial growth that defined the United States during its first century of existence. A limited population, largely hovering along the Atlantic coast, exploded in size and in ambition after the Constitution took effect in 1789. New territories, resulting from treaties, purchase, and conquest, brought the United States to the limits of its contiguous continental expanse by the beginning of the Civil War in 1861 (Alaska would be added during the war).

Rural expansion and a vigorous and voraciously expanding farming population that spread onto the rapidly acquired new territory meant that there was always more work to do than workers available to do it. This gave young people opportunities to test their independence. But working on the land was not the only option. Young people began also to look to new industrial production as manufacturing and the factory system expanded choices for young laborers in towns and cities on the East Coast. Even young women were rapidly absorbed into these new occupations. Despite the existence of poverty and inequality, the United States opened doors for young workers from among its own people and from abroad, tantalizing and welcoming immigrants from countries such as Germany, Norway, Switzerland, Ireland, and the rest of the British Isles.

Catherine Beecher, an educator, pioneer in ideas about household efficiency, daughter of an influential preacher, and sister of the famous novelist, described the buzzing and humming consequences. “Everything is moving and changing. Persons in poverty, are rising to opulence, and persons of wealth are sinking to poverty. The children of common laborers, by their talents and enterprise, are becoming nobles in intellect, or wealth, or station; while the children of the wealthy, enervated by indulgence, are sinking to humbler stations.” It is worth noting that even in this early period, some Americans were concerned about “indulgence” and its baneful effect on children and their future success. Beecher was concerned especially with the “domestic economy,” and she quickly focused on children as the necessary beneficiaries (or victims) of this loosened social system. 

The uncertainties of station were directly influenced by the tumult of the economy. Children could not expect to follow in their fathers’ paths, nor could fathers’ influence be too heavy- handed, if they were not to squash their children’s potentials— or lose their willingness to reside at home. Beecher also recognized the consequences of the labor shortage that defined the times. Her own concern centered on domestic service. “There is such a disproportion between those who wish to hire, and those who are willing to go to domestic service, that . . . were it not for the supply of poverty- stricken foreigners, there would not be one domestic for each family.” 

The absence of adequate domestics and their sloppy service would be a constant plaint of middle- class housewives of the time, whose many duties and many children made some kind of assistance a necessity. The absence of help from a permanently designated servant class would have significance for the kinds of work that the children in the house, even middle- class children, could be expected to perform. This shortage helps to explain why young Henry Clarke Wright, with no sisters available, could be found alongside his stepmother at various domestic tasks. American labor shortages made gender as well as age assignments more fluid in the household. Labor shortages both for in- home tasks and for those on the land and in the factory made youthful work profitable and desirable. 

It also meant that young people would move often from one kind of work to another. Young female school teachers became mill workers when factories opened up in places like Lowell, Lawrence, and Chicopee, Massachusetts. Men became clerks, taught school for a while, and then studied law or medicine. The fluidity of occupations and the scarcity of labor destroyed older apprenticeships, since few people wanted to invest years in such training when work was unstable and new options beckoned. It was a young person’s world— full of opportunities and risks. This economic pattern helped to make young people more independent of their parents. It also gave them a sturdy sense of their ability to take chances and to exercise their judgment. 

Another source for the changes in domestic relations was the nature of American law. Starting early in his career, Thomas Jefferson had actively opposed the kinds of inheritance laws that stymied personal independence and success, laws that maintained family order, hierarchy, and prestige at the cost of the future of children. He was vehement in rejecting primogeniture and entail, two aspects of British property law that put land in permanent and deeply undemocratic patterns of family descent. By the time Jefferson wrote against them in the 1780s, they were fast declining in practice, but he understood how important even lingering remnants of this older landbased family system could be, and he was vociferous in denouncing them where they still applied. 

As one historian of the law has noted, “It is significant that at least one influential Revolutionary American perceived that the logic of republican revolution pointed toward radical reevaluation of the law of inheritance.” By 1800, not only sons but also daughters inherited equally. In the new United States, the traditional obstacles created by laws that governed inheritance and the relationship between parents and children were removed. These impediments had maintained both patriarchy and hierarchical distinctions within the family. Jefferson’s thoughts on this matter appeared in a letter to James Madison in 1789 (at the point that the new constitution was going into effect): “ ‘that the earth belongs in usufruct to the living’: that the dead have neither powers nor rights over it.”

For those unfamiliar with the quaint term “usufruct,” it means the fruits of property gained through labor. Jefferson embraced the right of future generations to acquire and work the land equally and to own it in full. The land, for Jefferson, was the basis for all economic prosperity as well as independence; it should not be withdrawn from usage by laws that upheld the rights of past or present generations. Not held hostage to family tradition, or to the laws that supported it, children could venture forth to enjoy the fruits of the new society. To grasp what the new legal regime meant for children in the new nation, it is hardly necessary to cross the Atlantic. 

Even in North America, some of these older patterns persisted— but not in territory contained in the new republic. In Alta California, still under Mexican jurisdiction and Mexican law, land was not divided equally among all children, as the law allowed in the United States. Mexican law still kept land in entail, holding it within the family estate, even after the father’s death. This upheld a vision of the family as an institution with substance and traditions of its own, whose honor and prestige took precedence over the individual needs or desires of its members. Indeed, the power of patriarchy was unchallenged as fathers in Alta California determined whom their children should marry in order to increase family power and prestige, and constrained the choices their sons made about their future occupations.

In fact, wherever the law codes enacted in the Napoleonic period were adopted, they defined the responsibilities of parents and the obligations of children through inheritance, and these laws affected much of Europe and South America. Americans did not attempt to restrain children or impose an older view of the family through inheritance laws. Even children born out of wedlock found conditions much more flexible in the United States as brutal laws (once applied in the American colonies and still potent in other places such as Latin America) were relaxed so that children born outside of marriage could inherit and be recognized by their fathers. 

As one Texas court noted in 1850, “the rights of the children do not depend on the legality or illegality of the marriage of the parents. If there be a crime . . . they are considered unconscious of the guilt, and not the proper subject for the infliction of its retributive consequences.” And Timothy Walker, one of the most significant legal scholars of the first half of the nineteenth century, thought the old common law practices (no longer applied in the United States) in this regard were devoid of “justice and humanity” because “the sins of the parents” were imposed on the “unoffending offspring.”

Law in the United States also had few provisions regarding the specific obligations of children to their parents. Parents were free to use inheritance for their purposes, and children could reject the offer. Walker, who found few laws that obligated children at the time he produced his legal compilation in 1837, was impressed by how much had changed since the colonial period. “From unlimited authority over the person, property, and even life of the child, the parent is now curtailed to a very guarded and qualified authority during the years of minority. And even this authority finds but little aid in the law in case of resistance.” 

Where previously a child “might be whipped if he presumed to strike a parent,” there was no longer any “legal provision for compelling even an affluent child, after majority, to support an indigent parent. . . . [F]ilial, like parental, duty is left as they should be by the legislature to depend upon natural affection.” In the United States, inheritance of land that defined obligations within families and relations between generations were no longer regulated as in the Old World in ways that upheld patriarchal authority and subordinated the children’s future to the will of the family. Outside of the South— where in the nineteenth century the desire to maintain the patriarchal order that underwrote slavery affected laws regarding families and children— American laws did not enforce traditional hierarchical obligations.”

- Paula S. Fass, “Childhood and Parenting in the New Republic: Sowing the Seeds of Independence, 1800–1860.” in The End of American Childhood: A History of Parenting from Life on the Frontier to the Managed Child

[thewreckkelly]

Watch "Could Only Happen In Ireland" on YouTube

GOOD GOLLY IT’S DOLLY (My Mother Myself) 

I love my Mum – loved her when I was under her care, loved her throughout my independence, love her now she’s in someone else’s care. Of course I’m aware such maternal love is by no means exclusive and undoubtedly, while the expression of such love tends to soften with distance and age, it remains an emotional bond that is a true unbreakable.

Recently I’ve been helping a florist – who also happens to be a great friend - with an online marketing campaign for ‘Mothers Day’ and, (during the course of concocting and plagiarising four line sentiments and graphic displays of floral fawning) , got to thinking of my Mum and what we have shared throughout a lifetime of mutual love.

A strange highlight dominated my walk through that particular past!

-o- 

The year was 1980 (I think) and I was slowly ridding myself of the adolescent petulance properly associated with teenage angst while also - willingly and without excuse or apology – continuing to embrace the evolutionary revolutionary mindset of ‘Punk’.

Don’t get me wrong I had never fallen into the ‘Mohawk’, ‘Piercings’, ‘Gobbing’, ‘Pogoing’ or ‘Safety Pin’ syndrome - not this good Catholic boy. It was more than enough for me that the freedom of expression associated with the genre felt ridiculously  inspirational and challenging in its raw depth – ‘Never Mind the Bollox’ proving a universally perfect mantra of how to be young in that very beneficial yet restrictive first world of change and changelings.

My Mum was the polar opposite in her musical taste and, (with a small ‘c’), conservative view of people, society and trends. Perry Como was more her cup of tea than the subversive Sinatra or Elvis while country music provided the stories of life she could relate to. Her idea of rocking out was to blare the Ray Conniff’ big band singers through my Da’s good stereo speakers on Sunday mornings - after mass - while letting go of any dancing inhibitions as she prepared the traditional roast.

The funny thing is; I sort of liked her music – without ever admitting such a ‘terrible’ thing to my friends and so called musical peers of course. There is an argument I liked the stuff she liked in much the same way liking anything that defines a good person has a habit of doing, but I don’t believe that was the reason.

I was too young and self-obsessed to understand that all was not simple and simple was, most certainly, not all – yet somehow aware enough to know without really knowing. Later I would realise my Mum had a terrific universal ear for much of what was good and great but back then ...... well .......

My Mum’s life, at the time, was neat and tidy by design - honed from a lifetime of consideration for others and struggle against an incomplete education, social gender relegation and being without too often. Mine was naturally a mess - a snap semi considered series of decisions and influences borne out of immediacy and yearning coloured by arrogance and naivety – a rebel searching for a ‘because’ if you like.

I had spent the summer just gone in London immersing myself in a musical and literary culture that was maturing from the raucous irregular  nature of punk and had taken in lots of pub and small venue gigs that ranged in influence from ‘The Jam’ to ‘Elvis Costello’ to ‘John Cooper Clarke’ to ‘Jimmy Pursey’ to ‘Billy Bragg’ to 'Kafka' to 'Tom Wolfe' to 'Philip Larkin' .

It was my coming of age moment when all of such seemed terribly exciting and dangerous to the person I was and surely massively influential in opening up my, (up till then), purposely covert disdain for authority and establishment

In the autumn of that year, weighed down by the morass of all such personal contradictions, I secured two front row seats for a Country & Western show at the RDS - with some degree of trepidation – to treat and play chaperone to my Mum, who was a big fan and unlikely - at that time - to actually enjoy or have the opportunity to avail of such an occasion.

And so it came to pass the two of us left the semi in the suburbs and drove to a monolith in the better part of town to see Dolly Parton do her thing.

-o- 

The Royal Dublin Showgrounds in Ballsbridge, Dublin, was, and probably still is, a throwback statement in architecture and class driven membership designed to promote and embrace all of what was good from the Protestant protectorate time of Victoria - while actually succeeding in highlighting much of what was insidious about those whom believed in a realm upon which the sun would never be expected to set. A venue where aspiring middle-class Dubliners and those beyond the pale could, on occasion, sample and digest possibilities their betters expected them to aspire to but rarely achieve.

The entrance to the RDS is signature and a facade of understated power – inviting and intimidating in measure and construction. I hadn’t been in the exhibition hall before and was hugely underwhelmed by its ordinariness, the starkness of the concrete floors and rows of institutional collapsible chairs set out in slightly skewed rows. The room was cavernous, very bright with a stage that looked more suited to a communist political convention than a glitzy C&W extravaganza.

Mum was dressed to the nines, which had worried me slightly to begin with only for such fear to rapidly evaporate upon arrival - it was twenty year old me, dressed as conservatively as I could allow in Wrangler jeans, Polo shirt and black suit jacket, that looked out of place among the throngs of Sunday best middle aged men and women taking their seats in an excited, orderly and happy manner. I felt like the proverbial fish out of water and had to reach deep to marry myself to my Mother’s mounting excitement and sense of occasion.

The support act that night was a solo artist called Kevin Johnson. Here I was on relatively safe ground as his big song was; ‘Rock & Roll I Gave You All the Best Years of My Life’ to which I knew all the lyrics and felt some level of identification with. He was a good competent performer with the troubadour’s presence and I remember being impressed at his professionalism along with enjoying the Americana folksiness of the set. I relaxed a touch and, when he finished off with that song, felt at least I’d got my money’s worth and anything else would be a bonus.

A sense of fervent excitement in the hall grew as we waited for the headliner and, to a point, became infectious. I genuinely had no idea what to expect and the sense of expectation bordering on privilege emanating from this packed venue caused me to doubt any possibly disingenuous pre-conceptions I had inwardly held since I’d bought the tickets and surprised Mum.

The lights went down, the band silently took to the stage as shadows. A fanfare of guitars, fiddle, bass and drums in galloping beat broke the deafening silence of the seated audience and then .......

‘GOOD GOLLY IT’S DOLLY’ issued forth from a disembodied deep male voice - in the pronounced accent of a Southern American State - to rapturous applause.

A spotlight broke the darkness and concentrated its stardust on the wings from which a tiny giant bounded and danced her way to centre stage with more energy than Sellafield.

Clad in a very revealing figure hugging silver diamantes laden dress, sporting perfect make-up on cheeky cultured facial features pronounced with ruby red lipstick – all artistically framed by an abundance of perfectly coffered Dixie blonde tresses.

This would be first lady of country music lit the auditorium miles beyond the ability of mere electricity.... Oh yes Ms Dolly Parton made an entrance you couldn’t beat with a stick.

The show is a blur – I do remember her doing ‘Applejack’ on the banjo, with ridiculous big painted nails not being a bother at all – and the best I can actually recall for the most part is before you could wail ‘Jolene’  I found myself cheering, clapping, dancing and singing along with songs I didn’t know in the company of equally uninhibited people I didn’t know and wising the show would never end. This was new to me; this was a living example of the best at what they do, doing it for me along with everyone else and delivering on every level.

The famous composer of melodies, Thomas Moore, once wrote:

‘And the best works of nature can only improve – when we see them reflected in looks that we love’ 

When Dolly caused us all to settle down, mid set, and invited each and every one present to relive a childhood memory of Motherly love with her soft ballad; ‘Coat of Many Colours’, I glanced smilingly at my Mum and her returned look allowed an understanding of exactly what Tom Moore was getting at.

Thanks for giving me Dolly Mum, (I’ve held on to her ever since), and, of course, all the rest of the other stuff.

Happy Mother’s Day