#director wadsworth

[weshipyourride]

Our Look Back at a Historic Tour de France

As we look back on the 2024 Tour de France, to call it historic may sound like a cliché, but it happens to be accurate.

The Tour made history before it began by announcing its first start in Italy, and its first end not in Paris.

By stage 3 more history was made. And the history just kept on coming.

Photo by Ashley Gruber / Jered Gruber

Biniam Girmay, with his stage 3 win, became the first Black rider to win a Tour de France stage. And he didn’t stop there, winning two more stages and standing on the podium after the final stage wearing the green jersey.

One stage after Girmay’s historic win, history was made again with Sir Mark Cavendish crossing the line first for his record-breaking 35th career Tour de France stage win.

Photo by Ashley Gruber / Jered Gruber

On stage 17 Richard Carapaz became the first Ecuadorian rider to win a stage, and continued the history-making by standing on the podium at the end of the Tour in the polka-dot jersey.

While Tadej Pogačar’s no mercy style of riding seemed to make the yellow jersey a foregone conclusion well before the final stage, it did solidify one of the greatest Tour rivalries in, well, history. Over the past four Tours, Pogačar and Jonas Vingegaard have each won two yellow jerseys and are separated by a cumulative time of only 1 minute 25 seconds across all four Tours (it’s worth noting that Pogačar does have a third win in 2020, prior to Vingegaard’s Tour debut).

Photo by Ashley Gruber / Jered Gruber

Bikeflights Partnerships Director Michael Potter found that Girmay’s groundbreaking performance focused his attention on aspects of the Tour he might otherwise overlook.

“The green jersey competition was exceptional. Biniam Girmay's win is as historic as it was exciting. I enjoyed watching the sprint stages more this year because of him,” Michael said.

Customer Engagement Manager Gordon Wadsworth, perhaps channeling his event directing and racing experience, was taken by the Tour organization itself.

“I was really impressed with the route this year … Route finding can be such a challenge and the organizers did a great job in the context of the Paris insanity, keeping to areas of interest and creating incredible visuals,” Gordon said, continuing, “Bologna was a fabulous city for a start and I enjoyed the Italian countryside from some of my own racing there.”

Customer Experience Lead Lifan Irwin seemed to make a prediction about 2025 when we hope to see Vingegaard and Pogačar battle at full health.

“The tenacity of Jonas was hands down awe inspiring. I think given another month of training, things might have been different,” Lifan said.

And Customer Experience Associate Briana Valorosi, while enthralled by the Tour, reminds us that Tour de France racing is far from over in 2024.

“The Tour is always a special event to watch. And this year seemed record-breaking in many ways! Until next year… or, wait, until next month, when the Femmes take over for another go of Tour de France spectating!” Briana exclaimed.

We’ve been an official service of the Tour de France since 2019, and we’re proud to add Tour de France Femmes in 2024!

The Tour de France Femmes runs from Monday, August 12 to Sunday, August 18.

[stlhandyman]

This is a passage from General Kirillov’s briefing. Absolutely astonishing:

“We have previously presented materials confirming the involvement of Hunter Biden and his Rosemont Seneca Foundation, as well as other US Democratic Party-controlled entities, in funding the Pentagon's main contractors operating in Ukraine.

It has been shown how deeply the son of the current US president, Hunter Biden, is involved in funding the US DOD-controlled company Metabiota.

However, some participants in closed projects remain in the shadows, although they are key players in Ukraine's military-biological programme.

They include former DITRA director Kenneth Myers,

executive vice president of the CIA-controlled In-Q-Tel venture capital fund Tara O'Toole,

former head of the US Centers for Disease Control and Prevention Thomas Frieden,

former the National Institutes of Health director Francis Collins,

former Battelle Memorial Institute executive director Jeffrey Wadsworth,

chief scientist and president of international research, development and medicine at Pfizer and many others.

All of them, in one way or another, are beneficiaries of the Pentagon's biological projects and are linked to the US Democratic Party, whose leaders act as the masterminds of military- biological research and the creators of covert money-laundering schemes to benefit a narrow circle of US elites.

It is these people who should be asked why taxpayers' money is being spent on illegal military-biological research in Ukraine and other countries around the world.”

“Despite formal bans, the US budget is being spent on dual-use research. In this connection, the Republican Party has initiated an investigation into the director of the National Institute of Allergy and Infectious Diseases and President Biden's chief medical adviser Anthony Fauci. Public funding through an intermediary organisation was confirmed for experiments to enhance the pathogenicity of viruses, including coronaviruses, the incidence of which was not widespread until 2019.

The investigation found that Fauci openly lied and deliberately concealed US government involvement in the research programmes.

At the same time, his collusion with social media management to manipulate public opinion on the causes of COVID-19 was revealed.

Such revelations raise legitimate questions for the US about the causes of new human-caused pathogens and the patterns of pandemic spread.”

[thewarmestplacetohide]

Dread by the Decade: Mark of the Vampire

👻 You can support or commission me on Ko-Fi! ❤️

★★½

Plot: A vampiric father and daughter prey upon the residents of Prague, terrorizing a baron's daughter.

Review: While it should be applauded for attempting to subvert the vampire genre, this film's clumsy writing and neglect of Lugosi are its undoing.

Year: 1935 Genre: Vampires, Psychological Horror, Mystery Country: USA Language: English Runtime: 1 hour

Director: Tod Browning Writers: Guy Endore, Bernard Schubert Cinematographer: James Wong Howe Editor: Ben Lewis Cast: Lionel Barrymore, Elizabeth Allan, Lionel Atwill, Jean Hersholt, Hendry Wadsworth, Bela Lugosi, Carroll Borland

Story: 2/5 - What starts off as a decent vampire tale attempts shock the audience with a too-abrupt twist that leads to several gaping plot holes.

Performances: 3/5 - Of the speaking roles, Allan is likable while Barrymore quickly grows annoying as a quirky professor. Lugosi and Hersholt are silently haunting yet underused.

Cinematography: 3.5/5 - Creative framing and lighting, but not as memorable as much of Howe's other work.

Editing: 2.5/5 - The passage of time and order of events are sometimes unclear.

Effects: 4/5 - There's a brief but laudable effect involving Luna hovering as she transforms from a bat.

Sets: 4/5 - Atmospheric.

Costumes, Hair, & Make-Up: 3/5 - Luna (Hersholt)'s vampire make-up is great, but the bite wounds look cheap and little else is memorable.

Trigger Warnings:

Mild, off-screen violence

Animal cruelty (a bat is shot at and scared but not injured)

[manyfandomocs]

The Bright Sessions Fancast

(For my The Bright Sessions fanfics, here are the heard characters)

(for those that are actually familiar with The Bright Sessions, this is only for the original series so no AM Archives or College Tapes rn and I'm probably missing a few minor characters but maybe I'll do them another time) And as with my last fancast, anyone is free to use these

Joan Bryant Dr. Bright, therapist - Lucy Liu

Samantha Barnes, time traveler - Alycia Debnam-Carey

Chloe Turner, telepath - Ashleigh Murray

Caleb Michaels, empath - Mason Gooding

Robert Gorham Damien, mind manipulation - Jack Falahee

Mark Bryant, mimic - Harry Shum Jr

Frank Sawyer, empath - LaKeith Stanfield

Rose Atkinson, dreamwalker - Maisie Williams

Adam Hayes, student - Jordan Fisher

Owen Thompson Agent Green, bureaucrat - William Jackson Harper

Annabelle Whitney Ellie Wadsworth, director of the AM - Viola Davis

tagging @randomestfandoms-ocs @ginevrastilinski-ocs and @cecexwrites because Maddie and Cece convinced me I should do this and Greta wanted more fancasts lmao

[void-star]

i'm not sure whether it's necessarily meant to be viewed as odd particularly but it definitely feels like something we're supposed to think is indicative of him being Bad. like when he acts rashly because of it especially in the final stretch this is actively portrayed as him being Evil rather than like. very scared and under an ungodly amount of stress and lashing out because of it, which is very common behavior in those circumstances that like obviously isn't morally correct but doesn't make someone Inherently Irredeemable like we're supposed to think he is because of it. idk

Oh yeah, I would say there's a clear escalation born out of fear and the need for Damien to stay in control (to stay safe). I'm not sure it's particularly useful to try and look at it from a moral stand point, although it does feel like the whole series has a moral stand point, so...

Does Damien's response to the escalation harm people? Yes. Would I consider it a personal failing of his? Not really. I got a lot of feelings about the way people react to and talk about fight trauma responses that I think contribute to it, too.

But what gets me is that Wadsworth objectively has the most control in the series, and as a director of the super power torment nexus, made a call based entirely on her ego to provoke the traumatized guy with problems and control issues.

Like?

The person in charge of the psychological and scientific institution that surveils, classifies, imprisons, and tortures a class of people deemed to be inherently dangerous made a call with apparently little intel or thought. Why. That seems so unbelievably negligent.

I just keep thinking how Damien was never treated as actually dangerous, except to shade the actions he takes.

Like if he was legitimately believed to be a threat, that's a pretty bold fucking move for Wadsworth to make impulsively. Just to rattle him. Just to pick at him.

Alas, the narrative was too narrow and unaware of itself.

[pintsizeddeepthoughts]

25 of 250: Favorite Film Reviews - Clue

Not long ago, work colleagues and I got into a discussion about what our favorite films were. Given my categorical nature I could not resist writing down a list and, as a writing challenge, have decided to write 250 word reviews of my favorite 25 films of all-time. Note: these are my favorite films, not what I think are the best films of all time.

Directed by: Jonathan Lynn

Written by: Jonathan Lynn

Starring: Tim Curry, Madeline Kahn, Eileen Brennan, Christopher Lloyd, Michael McKean, Martin Mull, Lesley Ann Warren

Year/Country: 1985, United States

Inspired by the classic board game, Clue did poorly at the box office and received tepid reviews. So why did it become a beloved cult classic? Because, like many films that catch on after initial failure, repeated viewings reward the audience time and again with what this film does right. First, the film knows murder mysteries inside and out, which lends it credibility as it builds to a farce. Second, it somehow manages to successfully switch tones from straight faced black comedy to riotous slapstick. Third and most importantly, the casting is perfect.

Six dinner guests are invited to the spooky mansion of a mysterious Mr. Boddy. In quick succession the guest discover through the machinations of the Mr. Boddy’s butler, Wadsworth (Tim Curry), that they’re all being blackmailed by Mr. Boddy for crimes they wish to keep secret. Soon Mr. Boddy is dead and, like in the board game, the guests have to divine who killed him, with what weapon, and in which room.

Watching this movie you can tell the cast had an absolute blast making this movie (behind the scenes stories bear this out). Writer/director Jonathan Lynn’s lines are delivered with scene chewing verve by every cast member; they’re all in on the joke and the fun is infectious. Like all good cult films, the one liners are numerous and imminently repeatable (“I’m not shouting! Alright, I am!”, “What do you mean? Murder?”), which the audience knows and recites by heart lovingly during every annual viewing.

[byneddiedingo]

Myrna Loy and William Powell in The Thin Man (W.S. Van Dyke, 1934) Cast: William Powell, Myrna Loy, Maureen O'Sullivan, Nat Pendleton, Minna Gombell, Porter Hall, Henry Wadsworth, William Henry, Harold Huber, Cesar Romero, Natalie Moorhead, Edward Brophy, Edward Ellis, Cyril Thornton. Screenplay: Albert Hackett, Frances Goodrich, based on a novel by Dashiell Hammett. Cinematography: James Wong Howe. Art direction: Cedric Gibbons. Film editing: Robert Kern. Music: William Axt. I have seen W.S. Van Dyke's The Thin Man several times, and I've read Dashiell Hammett's novel, but I still can't remember whodunit. Which is, I think, because it doesn't really matter: The mystery is secondary to the banter of Nick and Nora and the eccentricity of the characters they encounter as her world of privilege marries with his world of cops and lowlifes. Most of the best mysteries, by which I mean those of Hammett and Raymond Chandler, are about atmosphere rather than crime: Those who want to try to solve the mystery along with the detective should read other writers who are more involved with planting clues and red herrings. The Thin Man may have benefited from MGM's lack of interest in the project, which could have been swamped with the kind of second-guessing from the front office that often stifled the studio's films. Instead, it was treated as a routine programmer whose stars, William Powell and Myrna Loy, were second-tier and whose director, known as "One-Take Woody" Van Dyke, was known for getting things done quick and dirty -- filming took only 16 days. But Powell and Loy became first-tier stars, and the movie earned four Oscar nominations (picture, actor, director, and screenplay) and was followed by five sequels. Powell has often struck me as a surprising star, with his big nose and his dubious chin, and I used to have trouble distinguishing him from Melvyn Douglas. Even now, if you asked me to say without hesitating whether it was Powell or Douglas in My Man Godfrey (Gregory La Cava, 1936), or Douglas or Powell in Ninotchka (Ernst Lubitsch, 1939), I might stumble a bit. But he had undeniable chemistry with Loy, so much so that they got re-teamed in movies outside the Thin Man series like The Great Ziegfeld (Robert Z. Leonard, 1936), Libeled Lady (Jack Conway, 1936), and others. The Thin Man also has a little more zip and zest than some of the films made after the Production Code clamped down, though Nick and Nora, like other married couples, were forced into twin beds. They still drink to an unholy excess, of course.

[myramglina]

Charli XCX & Troye Sivan - 1999 from Pomp&Clout on Vimeo.

Directed by Ryan Staake & Charli XCX

Production Company: Pomp&Clout Creative Direction: WP&A Executive Producer: Ryen Bartlett Head of Production: Kevin Staake Producer: Rich Salamone Prod Manager: Wojtek Stypko Associate Producer: Eric Margulies Prod Coordinator: Sam Skolnik 1st AD: Jesse Hays 2nd AD: Bryon Dormandy

Director of Photography: Santiago Gonzalez 1st AC: Nick Fischer 2nd AC: Nolan Berbano Gaffer: Alberto Alonso BBE: Greg Ladwig Electric: Joey Brown

Key Grip: Wadsworth Peters BBG: Aaron Burton Dolly Grip: Adam Shambour Grip: Ivan Garcia

Production Designer: Miles Ford Mullin Art Director: Jena Serbu Lead Man: Eligh Macias Set Dresser: Kevin Lopez Set Dresser: Daniel Oregel

Editor: Ryan Staake Online Editor: Ryosuke Tanzawa

VFX by Pomp&Clout VFX Artists: Pete Puskas, Aaron Vinton & Ryan Staake Machine Learning: Andrew Pouliot

Colorist: David Torcivia Makeup Artist: Danielle Kahlani Makeup Assistant: Trina White Hair Stylist: Nicole Kahlani Hair/Makeup (Troye and Extras): Carla Rosso and Steph Ruiz de Chávez Hair/Makeup Asst. (Troye and Extras): Gina Banic

Wardrobe Stylist: Rebecca Grice Wardrobe Assistant: Sonja Desai Seamstress: Aneta Velizar

Casting: Alex Chapman Choreographer: Erin Murray

Security: Sergio Orellana Trailer Driver: John Koenig Catering: Spartan Catering (Abel)

Production Assistant: Jacob Outsen Production Assistant: Katie Conboy Production Assistant: Nick Callas Production Assistant: Jose Ramos Production Assistant: Ray Fuentes Production Assistant: Fred Porras

Casting: Alex Chapman Choreographer: Erin Murray Security: Sergio Orellana Trailer Driver: John Koenig Catering: Spartan Catering (Abel)

Dancers: Engelstad, Megan Gibson, Myranda Jessen, Belle Reese, Katie Clay, Shane Dell, Luke Munson, Hunter Friedman, Joseph Havard, Cody Kline, Rex Reed, Joseph Guy, Kelsey McCarty, Bria Nesis, Tessa

[ippnoida]

INMA elects 12 media executives to Board of Directors

The International News Media Association (INMA) on 23 May elected 12 news executives to its governing Board of Directors during the organisation’s annual business meeting.

Gert Ysebaert, CEO of Mediahuis in Belgium, was elected INMA president for a two-year term. As president, Ysebaert will chair the association’s Board of Directors.

Siv Juvik Tveitnes, CEO of Schibsted Media in Norway, was elected as INMA’s new first vice president. She is scheduled to become INMA president in 2026.

Maribel Perez Wadsworth, president and CEO of the Knight Foundation in the United States, will serve as immediate past president the next two years.

Executives elected to new Board terms, which begin June 1, are:

Alexandra Beverfjord, executive vice president, Aller Media, Norway

Mark Campbell, chief marketing officer, Hearst, United States, as president of the North America Division

Lotta Edling, editorial director, Bonnier News, Sweden

Carlos Nuñez Murias, chairman and CEO, Prisa Media, Spain

Catherine So, CEO, South China Morning Post, Hong Kong

Praveen Someshwar, managing director and CEO, HT Media, India

Sivakumar Sundaram, CEO - publishing, Bennett Coleman and Co. Ltd. (BCCL), India

Two additional board appointments have been made since the last business meeting in the past year:

Bharat Gupta, CEO, Jagran New Media, India, as president of the South Asia Division

Anna-Katharina Kölbl, head of business development, Funke Medien, Germany, as chair of the Young Professionals Initiative Committee

Stepping down from the Board are:

Pawan Agarwal, deputy managing director, Dainik Bhaskar, India, as president of the South Asia Division

P.J. Browning, president of newspaper division, Evening Post Publishing, United States​

Damian Eales, CEO, Move Inc./Realtor.com, United States

Chris Janz, CEO, Capital Brief, Australia​

Troy Niday, chief operating officer, Sonoma Media Investments, United States​, as president of the North America Division

Martha Ortiz, former editor, El Colombiano, Colombia

The INMA Board of Directors is the fiduciary body overseeing the association’s activities worldwide.

[irishgop]

Portrait of Frances Hodgkins, Cedric Morris, Oil on Canvas, 1928 (Auckland Art Gallery Toi o Tāmaki)

She arrived in London in the spring of 1901 at the age of 32. By June she was sketching in Normandy before decamping to Paris and Italy. Hodgkins became an incessant traveler including within England and the British Empire, among the Low Countries, around the Mediterranean as well France on the Continent, and eventually The United Stares; who embraced “en plein air” sketching and painting.

As World WR I consumed continental Europe, Hodgkins settled in the village of St.Ives, Cornwall, having given up on a studio in Kensington which she had leased but found cold and cramped. She leased it to Cedric Morris and his friend Lett-Haines. They were the first of numerous English artists drawn into her circle. Ten years later Morris would paint the portrait of Hodgkins posted here. A year earlier Morris had introduced Hodgkins to Ben Nicholson, an abstract artist who had assumed the leadership of the Seven & Five Society of avant-garde artists in 1926, and began frequenting St.Ives in Cornwall in 1928.

Hodgkins would join other preeminent artists like Winifred Nicholson, Barbara Hepworth and Henry Moore in the Seven & Five Society. She exhibited her work in the Society’s 10th and 11th exhibitions and with the Society in their 1932 showing at the Leicester Gallery in London.

In 1938 her only lithograph, “An Arrangement of Jugs,” was produced and published by the Curwen Press of Plainfield, East London along with images done by Duncan Grant, Vanessa Bell, and John Piper. Kenneth Clarke, Director of the National Gallery in London had her exhibit at the British Pavilion of the 1939 NEw York World’s Fair, and subsequently she was invited to show at the 22nd Venice Biennale alongside Duncan Grant, Edward Wadsworth, Frank Dobson, Glyn Philpot, and Alfred Munnings.

In November of 1946, six months before her death, 64 of Hodgkins’ paintings and 17 drawings were shown in a critically acclaimed retrospective at the Lefevre Gallery. Francis Hodgkins passed away in May of 1947.

[Abstracted from writing by Jonathan Gooderham & Richard Wolfe, and edited by Grace Alty.]

[markredfield]

One Year Anniversary

The 1st Annual Coigney-Arnoult Global Theatre Awards 2023

Honoring Lifetime Achievements in Global Collaboration:

James C. Nicola, Robert J. Orchard, and Molly Smith

Wednesday 29 March 2023

Arena Stage Washington D.C.

Highlights from the Livestream video

Running Time: 34:34

The Center for International Theatre Development (CITD) and the Trust for Mutual Understanding held this awards event at Arena Stage in Washington, D.C. prior to the evening’s preview performance of “Angels in America, Part One: Millenium Approaches”, directed by János Szász. CITD founder and director Philip Arnoult presented the inaugural Coigney-Arnoult Global Theatre Awards to James C. Nicola, Robert J. Orchard, and Molly Smith in honor of their lifetime achievements in global collaboration. This virtual celebration united friends and supporters, along with Will Wadsworth, nephew of the late Martha Coigney.

Hosts:Philip Arnoult and Barbara Lanciers Friends and Theatre Artists Interviewed:

Robert J. Orchard

John Strausbaugh

James C. Nicola

Igor Golyak

Micheal Hurley

Janos Szasz

Will Wadsworth

Alisa Solomon

and

Molly Smith

Camera:

Mark Redfield

Video Editor:

Jennifer Rouse

Livestream HowlRoundTV:

Vijay Mathew

Music:

“Conowingo”

by Jennifer Rouse

Still Photos:

Mark Redfield

Alison Van Pelt

A very Special Thanks to all at Arena Stage for making this event possible. And a very warm thank you to all who attended the event.

Philip Arnoult

The Center For International Theatre Development

https://www.citd.us/

Barbara Lanciers

The Trust For Mutual Understanding

https://www.tmuny.org/

Arena Stage

https://www.arenastage.org/

https://markredfieldstudios.com/

Film-Audio-Theatre-Art Publishing

Remembering Martha Coigney

Please SUBSCRIBE to our channel for weekly content YouTube/@MarkRedfieldStudios

[mariannedonley]

ME AND MY BRIGHT BLUE PICKUP TRUCK by Kidd Wadsworth

I’d been invited to a posh dinner to honor director Martin Scorsese. I decided to drive to ‘The City.’ My friend recommended that I take the Lincoln Tunnel. Twilight found me approaching the entrance; I glanced at my gas gauge.

Photo by Misael Nevarez on Unsplash ME AND MY BRIGHT BLUE PICKUP TRUCK by Kidd Wadsworth I’d been invited to a posh dinner to honor director Martin Scorsese. I decided to drive to ‘The City.’ My friend recommended that I take the Lincoln Tunnel. Twilight found me approaching the entrance; I glanced at my gas gauge. I was young and naive, but I wasn’t worried. “Those New Yorkers are smart,” I…

[wutbju]

It is with heavy hearts we announce the passing of James Hartley Young (Jim) on October 17, 2023, in Sebring, Florida, at the age of 90. Jim was born on February 25, 1933, to Edwin and Elizabeth Young in Plymouth, Massachusetts and was the youngest of eight children.

After graduating from Bob Jones University in 1955, Jim began his 27-year military career as a chaplain in the United States Army. In the military he was awarded the Senior Parachutist Badge with the 82nd Airborne Division and the Bronze Star with the 20th Engineer Brigade in Vietnam. He also served with the 1st Cavalry Division, Korea; the 1st Infantry Division, Fort Riley, KS; Special Operations Command, Okinawa; and was in the 5th Signal Command, Germany. From 1970-1975 Jim was Chief of the Course Development Branch, Deputy Director of Correspondence Courses and Chief of Military History Writing Team at the U.S. Army Chaplain Center and School at both Fort Hamilton and Fort Wadsworth, New York. While stationed at Madigan Army Medical Center in Tacoma, Washington he was the Chief of the Department of Ministry and Pastoral Care. Over the course of his military career he earned numerous medals, citations and awards. He retired full colonel in 1982. But ever the patriot, Jim requested to be re-instated during the 1990's Gulf War. He was disappointed with being denied because of age.

Jim had a love for education and spent most of his adult life as a student. While serving in the Army he earned seven Masters degrees: an MA in Clinical Psychology, MA in Counseling Psychology, MST in Sacred Theology, MA Political Science, MA Journalism, THM Theology and MDiv Divinity. He also completed four doctorates: Doctor of Theology, Doctor of Political Science, Doctor of Ministry, and Doctor of Clinical Psychology.

While working on his last doctorate his wife, Janis, passed away. A year and a half later he met and married his second wife, Dolores Mallery Pies.

Preaching was the foremost of Jim's passions. The Conservative Baptist Association of America ordained him in 1956 in Middleboro, Massachusetts, and from that time on he endeavored to be in the pulpit at every opportunity. From serving as a U.S. Army Chaplain on the front lines in Vietnam to being an interim pastor at numerous local churches, Jim's desire was to be serving his Lord in ministry.

After retiring from the Army, he taught 17 different undergraduate and graduate courses at Bob Jones University in the span of just four years. He then moved to Gettysburg, Pennsylvania, and founded Christian Therapy Services where he as a clinical psychologist spent many years counseling and helping individuals who were experiencing spiritual, emotional or psychological battles. After the 9/11 attack, he volunteered and served as counselor to survivors in New York City.

Jim was an avid athlete, excelling in basketball, handball, swimming and tennis. He also loved music, especially the old hymns, and even took up playing the violin at the age of 68. He loved animals and had chickens, dogs, cows and a horse on his mini-farm in Gettysburg, PA. And nothing made the end of his day better than having a big bowl of ice cream, a love that he passed on to his many grandchildren!

Jim was preceded in death by his first wife, Janis Swanson Young, grandson Jason Robert Dayhoff, stepdaughter Lorrie Pies, and all his siblings. He is survived by his wife, Dolores Mallery Pies Young, and four children; James Young, Jr. (Mary Anne), Julia Young Fremont (Gil), Jorai Young Dayhoff (Bob) and Joy Young Bates (Tim). He is also survived by two stepsons; Kevin Pies (Lisi) and Jeff Pies (Leigh), 14 grandchildren, 23 great-grandchildren, six step-grandchildren and two step-great grandchildren. He was a beloved husband, father, grandfather and uncle and will be sorely missed by all who knew him.

Funeral will be on October 25, 2023. Feel free to send flowers; or better yet, honor his heart for preaching the gospel by donating money in his name to a gospel preaching or missions outreach ministry.

[wildsuncatchers]

Wild Sun Catchers two years later: Thoughts on worldmaking with AI

Dreamin' and schemin' in the Aquatic Universe

I'm exploring worldmaking and worldbuilding more intentionally by framing my life (and it's one fluid frame out of many) within the context of living, traveling and dreaming in thee or a Aquatic Universe. I was doing this already, it's just that I'm now starting to imagine and articulate my experience with these particular words.

Mermaid Awakening in the desert

In 2022 my interest in mermaids took off! I started:

🐚 Researching mermaids across cultures

🐚 Wrote Wild Sun Catchers, which turned into a short animation thanks to Media Artist Jennifer Parker who is also a Professor and founding Director of the OpenLab Collaborative Research Center at the University of California, Santa Cruz

🐚 Made a mixed media collage called "Venus"

🐚Co-organized a digital merfolk happening

🐚 Participated in Asia Dorsey's Winter Herbal Immersion where we learn about herbal medicine for the kidneys and explore mermaid archetypes. This has been a big deal for me; to experience being a mermaid through plants, food as medicine and embodiment.

🐚Watching "The Little Mermaid" starring Halle Bailey

🐚 (Currently) Reading my first fictional book about mermaids called "Skin of the Sea"

🐚 Listening to The Merwomanist Podcast when I can.

Whew! So much mermaid goodness. And it's only the beginning!

Worldbuilding with AI

Photo Description: A desert-sea spiral (above) made of rocks and soil in my Grandma's backyard + sea shells, beach rocks, seaglass, mussel shells and sprinkles of sand from Fort Wadsworth in Staten Island and Beach 44 in Far Rockaway, Queens. My mermaid awakening (lol) started while I was living in the desert lands of Arizona.

And NOW, two years later, I spiral back to Wild Sun Catchers to continue to imagine and build this dreamy underwater world through AI (artificial intelligence). I used Night Cafe for this project using two art generation models; SDXL 1.0 which is "the state-of-the-art in open-source image generation" and NC Hyperreal, which "adds detail, vivid colors and a hyperrealistic style". My username is PiscesAI.

Photo Description: Elk Kelp in Channel Islands National Park

To be honest, searching for AI art generation websites has felt overwhelming. There are a lot of exciting options, and many are free with premium plans. The possibilities of AI are endless, but what about the terms and conditions? How will my personal data be used? I will admit, my excitement got the best of me and I started generating images on NightCafe without thoroughly investigating the platform. I say this because, although AI promises to change the world in massive and incredible ways (it already is), a lot of the conversation around AI is how to use it ethically, and there are many examples of how its been extractive (i.e. Lensa debalacle).

I've imagined bringing three stories about merfolk to life through film and photography, but I don't have the resources right now to see my visions through. AI is a digital tool I can use now to share how I'm imagining these long term, maybe life long stories I'm writing. But the question is, at what cost?

The AI images produced from Wild Sun Catchers are now out in the world. What will happen to them? Will my contribution be erased? Will people remember where the mermaid wearing Hibiscus flowers in her hair came from? Anyone in any field sharing anything could ask these questions. These are relevant questions. What traces of extraction are in the images I'm showing you on this website? How does the image generation work anyway?! I don't actually know. As I've said before, I'm okay with being a learner in public. I don't have all the answers now about AI, even as I share this website. I would like to go back to what contributes to the foundation of my water art practice, and that is "an activism of inquiry" which I learned from writer Bayo Akomolafe. AI needs an activism of inquiry, and I'm sure that's already happening.

What I do think would be helpful for AI users or creators is if AI platforms could have labels similar to "organic", "Non-GMO" or "Fair Trade" that speak to the platform's values, ethics and AI practices. I think this could help people feel informed and make choices.

Research on Artificial Intelligence (AI)

So far, and unfortunately, AI is proving to be a problematic technology for many different reasons. Here are a few links from my ongoing research:

The 15 Biggest Risks Of Artificial Intelligence

Experts Doubt Ethical AI Design Will Be Broadly Adopted as the Norm Within the Next Decade

Indigenous knowledges informing ‘machine learning’ could prevent stolen art and other culturally unsafe AI practices

It's important to remember the ways AI exist and could exist are designed by human beings. I notice that there's a lot of distrust of AI itself, and not toward the companies who design and use it to take and extract, especially it seems, without consent. I also notice that I hardly encounter information about people working to address the ethical issues, and I think adding this to my perspective will help me understand what's going on in the worlds of AI more fully.

Besides my complicated feelings about AI, I do find that generating images from text-based prompts is really fun. There are a lot of ways to worldbuild, and I want to see how AI helps me and you (?) imagine the characters I'm creating and the stories I'm writing. I want to worldbuild using multiple approaches, so AI isn't my primary or final mode of expression. Although AI is really cool, I still believe some of the greatest technologies are our bodies, imagination, understanding that we can create (without AI), and community, among other things. We can't forget this. Nothing can replace these things.

As I learn more about this technology, which is changing the world, I think the way I use AI in my worldmaking with mermaids will continue to change and evolve.

And Action! Six moments in Wild Sun Catchers

🎞 Hibiscus flowers growing underwater and oceanic hair rituals among the mer-community who live in a kelp forest in/near the Channel Islands in California

🎬 A photo of the woman who sails up and down the Pacific sailing goods from her ocean shop

📽 Memoryworkers hanging out and laughing together, who remember how the kelp forests were before they started getting sick

🎞 Thoughts on gender and age expressed through three different versions of merfolk generated from one text-based prompt.

🎬 Underwater and subtidal dreamscapes: The dreaming lives of mermaids in the Pacific and beyond

📽 The healing, regenerative and creative work people are doing related to kelp forests, seaweed and algae.

Enjoy!

[wint3ris3m0]

club production chronicles 2 electric boogaloo

Director: green, scarlett, peacock, you go left, white, plum, mustard, you all go right.

Wadsworth: where do I go??

Director: you ascend.

[docrotten]

LUTHER THE GEEK (1989) – Episode 240 – Decades Of Horror 1980s

“Buk, buk, buk, buk, buk, ba-gawk, buk, ba-gawk!” You can say that again! Or can you? Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they try to answer the question, “What’s up with Luther the Geek (1989)?” (Hint: The answer is not, “Chicken butt.”)

Decades of Horror 1980s Episode 240 – Luther the Geek (1989)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1980s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A psychotic killer convicted of multiple murders is released on parole after spending twenty years in prison. His psychosis immediately takes over and he goes on a killing spree.

  Director: Carlton J. Albright

Writer: Carlton J. Albright (as Whitey Styles)

Special Effects: 

William Purcell (special effects) (as Bill Purcell)

Mike Tristano (special effects makeup) (uncredited) 

Selected Cast:

Edward Terry as The Freak

Joan Roth as Hilary

Stacy Haiduk as Beth

Thomas Mills as Rob

Jerry Clarke as Trooper (as J. Joseph Clarke)

Tom Brittingham as Geek

Carlton Williams as Little Luther

‘Chicken’ Klabunde as Carnival Woman

Gil Rogers as Walsh

Karen Maurise as Mrs. Butler

Jerome Borgos as Chairman

Michael Boyle as Board Member 4

David Pavlosky as Jason

Robert Caraballo as Cook

Nat KT as Teenage Clerk

Tom Wadsworth as Store Manager

Sigrid Norris as Teenage Girl

Gail Buxton as Old Lady at Bus Stop

Tris Brumbly as Police Officer

Martin Widener as Hunter

Writer/director Carlton J. Albright’s Luther the Geek is truly a freak show! The Grue-Crew dives into this often overlooked low-budget, gory splatter-fest. Does Luther the Geek disappoint or does it deliver the goods? Jeff, Chad, and Bill bravely explore the ghastly, gruesome slasher. Will they survive? Will they come out clucking like chickens? Will they go shopping for sharpened, metal dentures? Will they have an unnatural craving for chicken? Or even people?

At the time of this writing, Luther the Geek is available for streaming from Peacock, Tubi, Crackle, and Amazon PPV. It is also available on physical media in Blu-ray from Vinegar Syndrome.

As it turns out, The DoH 80s Grue Crew has covered Carlton Albright’s complete filmography as a writer and/or director. Check out what the crew had to say about The Children (1980): THE CHILDREN (1980) – Episode 192 – Decades of Horror 1980s

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Jeff, will be Alligator (1989), directed by Lewis Teague, written by John Sayles, and starring Robert Forster. Remember, PLEASE DO NOT FLUSH REPTILES DOWN THE TOILET!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!