#oldham coupling

[justforbooks]

Marianne Faithfull

Singer who found pop fame and tabloid infamy in the 60s but returned to music in the 70s with Broken English, a statement of bloody-minded survival

Those who first glimpsed Marianne Faithfull in the 1960s as Mick Jagger’s angelic girlfriend, or the winsome singer of As Tears Go By, probably did not imagine she would go on to forge a career of more than 50 years as a songwriter and recording artist in her own right. Faithfull, who has died aged 78, released 22 solo albums and collaborated with many big names in music. She also had some success as an actor. All of it was achieved against a backdrop of addiction and personal struggles that she did not hide.

When the 17-year-old Faithfull was spotted by the Rolling Stones’ manager, Andrew Loog Oldham, at a Stones launch party in 1964, she had already been taking tentative steps as a folk singer. Oldham’s antennae sensed the potential.

Her upbringing had equipped her for the bubbling social laboratory of the mid-60s. Marianne’s mother, Eva Erisso, was a Viennese baroness descended from the Habsburg dynasty, and had performed as a ballet dancer with the Max Reinhardt Company in her youth. Her father, Glynn Faithfull, a major in British army intelligence, met Eva in Vienna and brought her back to postwar Britain. Born in Hampstead, north London, Marianne spent her early years at a commune with which her father had become involved at Braziers Park in south Oxfordshire. After her parents divorced, she attended St Joseph’s convent school in Reading, Berkshire.

Oldham paired Faithfull up with the Jagger-Richards composition As Tears Go By, which the Stones themselves had not yet recorded. Her pop career lifted off immediately. She cut a string of successful singles, including Come and Stay With Me, This Little Bird and Summer Nights. She reached the UK Top 10 four times in 1964-65 and scored a Top 40 success with a cover of the Beatles’ Yesterday.

However, her progress was impeded by her marriage to the gallerist and cultural scene-maker John Dunbar in 1965. The couple had a son, Nicholas, when Faithfull was 18, but the union was short-lived. Faithfull took her baby and sought refuge with the Rolling Stones guitarist Brian Jones and his girlfriend, the model Anita Pallenberg, in London. She was drawn into the Stones’ inner circle, and soon began her affair with Jagger. The 1967 drugs raid on Keith Richards’ West Sussex home, Redlands, brought her tabloid infamy as “girl in a fur skin rug”.

Faithfull’s creative ambitions extended into acting, where she achieved notable successes. On stage, she appeared in Chekhov’s Three Sisters and played Ophelia to Nicol Williamson’s Hamlet. On celluloid, she provoked shivers of excitement as the leather-clad heroine of The Girl on a Motorcycle (1968), and was cast as the demonic Lilith in Kenneth Anger’s Lucifer Rising. In later life, she played the Empress Maria Theresa in Sofia Coppola’s film Marie Antoinette (2006) and appeared in the sitcom Absolutely Fabulous in 2001 playing God, with Pallenberg as the Devil.

Her relationship with Jagger disintegrated in 1970, the year she suffered a miscarriage. When she also lost custody of Nicholas, she attempted suicide and fell into heroin addiction. In 1969 she had written the song Sister Morphine, later recorded by the Stones for the album Sticky Fingers, apparently before she had ever tried the drug. Now she spent two years as an addict, living on the streets of Soho.

With help from various friends, and enrolled in an NHS treatment programme, she persevered with efforts to restart her singing career, and after moving to Ireland she hit the top of the Irish charts with her 1976 single Dreamin’ My Dreams.

In 1979 she married the musician Ben Brierly, the same year in which she recorded her highly praised comeback album, Broken English. The disc introduced a startlingly transformed Faithfull, singing songs of rage and disgust. Why D’Ya Do It, an obscene tirade of sexual jealousy (with words by Heathcote Williams), still stands as one of rock music’s most shockingly taboo-busting moments. As a statement of bloody-minded survival from a woman written off by many as beautiful but doomed, it was hard to beat.

The turn of the 80s brought another album, Dangerous Acquaintances, and a move to New York. She struck up a rapport with the producer Hal Willner, who recruited her to sing Ballad of the Soldier’s Wife for his Kurt Weill tribute album, Lost in the Stars (1985). Two years later Willner produced Faithfull’s album Strange Weather, on which she displayed her still-expanding artistry via covers of songs by Jerome Kern, Tom Waits and Bob Dylan, as well as a new version of As Tears Go By.

But her emotional life continued to be wreckage-strewn, as she underwent more rehab treatment for her continuing addiction and conducted an affair with a fellow-addict, Howard Tose, who died after jumping out of a window when it ended. She divorced Brierly in 1986 and married the actor Giorgio della Terza in 1988. They divorced in 1991.

In 1994 she delivered Faithfull: An Autobiography, which bristled with gripping yarns about her past, her famous friends and her addictions. “I really have been as honest as I possibly could,” she said. “Truth is terribly relative, of course.” In 1995 she collaborated with the composer Angelo Badalamenti on A Secret Life, but then found herself developing an increasing interest in Weill and Germany’s Weimar Republic era. On the live album 20th Century Blues (1996) she performed Weill (as well as Harry Nilsson and Noël Coward) with just piano and string bass, then cemented her claim to be a new Lotte Lenya by performing Brecht and Weill’s The Seven Deadly Sins at the Salzburg festival. A recording of the piece followed.

Daniel Lanois was in the producer’s chair for her next project, Vagabond Ways (1999), on which she contrasted her own material with pieces by Leonard Cohen, Elton John and Pink Floyd’s Roger Waters. Waters had recruited her for his 1990 performance of The Wall in Berlin. She described the material as “dark, dark, dark”, and commented that “I sing my shadow. I’m singing the dark side of myself.” Abuzz with creative energy, she cut Kissin’ Time in 2002 with several fashionable collaborators, including Beck and Jarvis Cocker, then teamed up with PJ Harvey and Nick Cave for Before the Poison (2005).

In 2006 a diagnosis of breast cancer forced her to cancel a concert tour. Then, living in Paris with her manager and boyfriend, François Ravard, she underwent treatment and was back onstage in early 2007 with her touring show Songs of Innocence and Experience. In October that year she announced that she had been suffering from the liver-threatening disease hepatitis C for more than a decade. The following month, she released a second volume of autobiography, Memories, Dreams and Reflections, and was nominated for the best actress award by the European Film Academy for her portrayal of Maggie, a 60-year-old widow working in the sex industry in Sam Garbarski’s film Irina Palm.

A diverse album of cover versions recorded with Willner, Easy Come, Easy Go, appeared in Europe in 2008, and in the UK and the US the following year. Faithfull had taken much of that year off to recuperate from “mental, physical and nervous exhaustion”, but in 2009 she began a string of concert dates across Europe and the US.

Horses and High Heels (2011) contrasted 60s classics with a batch of new songs. In 2012, Faithfull performed in a fully staged production of The Seven Deadly Sins in Linz. During the show’s run she explored further her roots in Mitteleuropa when she was the subject of the BBC TV show Who Do You Think You Are?, investigating her mother’s history in 1920s Berlin and wartime Vienna.

A performance in 2013 at the Meltdown festival in London, curated by Yoko Ono, was followed by a burst of songwriting activity in which Faithfull collaborated with Waters, Steve Earle, Tom McRae and others, resulting in her 20th solo album, Give My Love to London (2014).

Marianne Faithfull: A Life on Record, telling her life story through a selection of pictures by renowned photographers, was published in 2014. A live album, No Exit (2016), was recorded on a tour marking her 50th anniversary as a recording artist, which continued despite disruptions to the schedule caused by Faithfull suffering complications from a broken hip. On Negative Capability (2018), she co-wrote eight of the songs, as well as re-recording old favourites.

In April 2020 Faithfull spent three weeks in hospital suffering from Covid-19. She was seriously ill and the virus did lasting damage to her lungs. She admitted it was possible she would never sing again, but told the Guardian: “I do believe in miracles.” She was able to finish a new album, She Walks in Beauty, on which she recited the poetry of Keats, Shelley and Wordsworth, and which was released in 2021.

She is survived by her son.

🔔 Marianne Evelyn Gabriel Faithfull, singer, songwriter and actor, born 29 December 1946; died 30 January 2025

Daily inspiration. Discover more photos at Just for Books…?

[singeratlarge]

HAPPY HEAVENLY BIRTHDAY ALEX CHILTON + SATURDAY MATINEE MUSIC VIDEO: “Soul Deep” – A Salute to The Box Tops, Alex Chilton, & Memphis Bubblegum Soul https://www.youtube.com/watch?v=s0PeiKGpEsQ ... ...“Soul Deep” came out when I was 12 years old. When this song came on the radio it wrapped me up in a safe and happy zone. The definitive version is by The Box Tops, whose classic line-up launched out of Memphis in 1967. Barely out of high school, they charted big with “The Letter” (Alex was 16) and “Cry Like a Baby.” Their sound has been called “bubblegum soul” as they mixed classic soul covers with psychedelic rock (covering “Whiter Shade of Pale”) and songs written by their producers Dan Penn, Spooner Oldham, and Chips Moman. “Soul Deep” was their last Top 10 hit in 1969 before they abruptly broke up due to constant ill-treatment from their managers (who cranked out a fake Box Tops for a couple of years). Vocalist Alex Chilton went on to become a legend. He formed the influential power pop band Big Star, then embarked on a tempestuous solo career, occasionally performing Box Tops songs and oddball covers (like Brian Wilson’s “Solar System”). He produced The Cramps his career intersected with Cheap Trick, The dbs, Tav Falco’s Panther Burns, REM, and other notables. The Box Tops did reunions over the years. Sadly, Alex died in 2010, but members of the original band are carrying on.

“Soul Deep” was written by Wayne Carson Thompson, who also wrote “The Letter,” “Neon Rainbow,” and “Always on my Mind.” “Soul Deep” has been covered by Eddy Arnold (charted in 1970), Gary U.S. Bonds (charted in 1982), Canadian soulsters Robbie Lane & The Disciples (who did it first), Roberta Flack, and The Gin Blossoms…and now you have my version. https://www.youtube.com/watch?v=s0PeiKGpEsQMeanwhile, Happy Heavenly Birthday Alex.

#boxtops #alexchilton #bubblegumsoul #memphis #waynecarsonthompson #theletter #danpenn #spooneroldham #chipsmoman #bigstar #thecramps #johnnyjblair #singeratlarge #sanfrancisco

[dustedmagazine]

The Innocence Mission — Midwinter Swimmers (Bella Union/Thérèse)

Karen Peris sings in a piercing way that is also very soft. She draws you in with whispered confidences, the kind of intimate communication that stirs the little hairs in your ears. She mouths the words with a little slur, a slide, a lisp, so that you think of little children singing for joy, but the words themselves are complex and elusive, adult meditations couched in girlish simplicity. You’ll hear and connect with her voice first when you listen to the Innocence Mission, before you strain for the lyrics, before you catch on to the 1960s pop rock sway of the instrumentals. The voice comes first because it is so unusual, curling up like a kitten, fluttering away like a fledgling bird.

The Innocence Mission has been around for three decades. Formed around a couple — the now long married Karen and Don Peris — the band had a big major label start, recording their first three records on A&M. As the 1990s wore on, prospects for commercial dominance dimmed, but the band kept making music, on indies and self-release labels; Peris even recorded a charming children’s record in 2021, A Song Is Above the Lawn. This one is Innocence Mission’s 13th full-length, and it is a beauty, full of wistful dream pop arrangements and insurgent melodies that seem slight until you try to stop humming them.  

Consider, the opener, “Thread Is a Green Street.” It’s a 1960s-style girl ballad that might remind you of Vashti Bunyan’s Andrew Loog Oldham dalliance “Some Things Just Stick in Your Mind.” Both frame fragile, girlish voices in expansive settings, Vashti’s hemmed in by thumping percussion and brass, Peris’ by slow strummed guitars, slack tambourines and lots of echo. Peris is vulnerable and tender, a luminous spirit in cavernous space, yet when the light comes in near the end, in a billowing crescendo, she continues to outshine her surroundings.

The music has the same baroque pop lilt as the Clientele, a light touch but not exactly simple. Every element is sharp and distinct, the clatter of drums, the radiance of keyboards, the gentle buoyance of guitar, and yet they jostle together softly, a tipsy balance of exactitude and blurry grace. You might also draw parallels to Jessica Pratt’s urbane songcraft, though there’s a wide-eyed wonder in these songs that’s very different from Pratt’s knowing sophistication. Indeed, after half a lifetime in the music business, the Innocence Mission delivers its tunes with an uncalculated freshness, still innocent, even now.

Jennifer Kelly

[toldstorie]

MEI SHINOHARA ; 38 / 216 year-old gorgon . ( mari yamamoto, agender, they/them )

always seen w/ leather-bound notebook, stuffed to overflowing with daily observations, musings and the names of those who have wronged them.

enjoys people-watching by the beach, sharing a meal with friends, speaking to snakes amongst grass and trees on the outskirts of town.

known to have turned half a town to stone in defence of a young woman, only to be chased out of town by the one they saved ; spent half a century wandering the world ; published two books under different aliases.

( tw : death )

born in 1808 in tokugawa japan, the only child of a merchant family, mei shinohara thought themself ordinary for a long time. sure, they never really got the whole ' gender ' thing other people had going on, but other than that they were just another kid running around nagasaki.

and then. then, a rōnin gang broke into the family's home and threatened them at swordpoint, demanding they hand over all their valuables and food. mei's parents, from whom their intractable nature springs, refused — and paid the price. but before the gang could turn their swords on mei, something happened, and the men turned to stone.

it took mei nearly three decades of wandering japan to master their newfound abilities. for much of this time, they travelled blindfolded, unwilling to risk innocent lives, becoming something of a legend amongst their fellow travelers — a mysterious, blindfolded figure who would step between innocents and bandits without hesitation, cursing the bandits to turn to stones.

after the sakoku decree ended, mei left japan, looking for a change of scenery. they spent the next fifty years or so travelling the world, never staying anywhere long enough for people to notice their far too slow ageing. they took up writing during their travels, collecting notebooks and filling them with everything from sketches to poetry to short stories and essays.

finally, in the early 1900s, they moved to america, where they published their first book : a collection of poetry and sketches that they made whilst travelling. memoirs of a wanderer, the book was called, the author's name claimed to be yuusuke nakano. countless publishers and journalists vied to meet with the enigmatic author, but mei had already shed that identity and moved on to other things.

not long after this, seeking somewhere they could simply be themself, mei found oldham. to finally be amongst people they could be themself around was nothing short of a miracle, and they reveled in it. able to use their real name, able to wander the shore with a snake curled around one arm and not receive weird looks.

their second book was published fairly recently, in the 2010s, during a brief trip outside of oldham. the stones of aokawa, a youth fantasy novel about a girl who discovers that her supposedly-dead mother is actually a yōkai and embarks on a journey of self-discovery, its author listed as chihiro sumamoto.

these days, mei spends their time writing another book — this one drawing on their own experiences as a child — and patrolling the town, their notebook with the names of troublemakers who might benefit from a couple of hours as a statue carefully jotted down.

quick stats :

mei shinohara

38 / 216

agender & they/them

b. april 14, 1808 in nagasaki, japan

gorgon, awoken by break in @ shinohara family home in 1826

author

fluent in japanese, dutch & english, speaks passable mandarin & limited cantonese

plot thoughts :

fellow creatives who understand the struggles of writer's block / similar afflictions

people they absolutely do not vibe with

friends

[alphaman99]

Black American Old Photo

Jim Perry (1858–1918)

Jim Perry was an African American cowboy and top hand, the highest-ranked cowboy, on the three million-acre XIT Ranch near Dalhart, Texas. Perry established himself as an expert roper, rider, bronc buster, cook and musician.

Perry was born on February 2, 1858, in Texas. Very little is known about his early life. Since his teens in the 1870s he worked for the Horse Shoe T Cross Ranch before joining the XIT, which was up and running by 1885. Perry helped string over seven hundred miles of barbed wire fencing along the entire XIT Ranch property by 1887 making it the largest fenced ranch in the world.

Jim Perry was regarded as such an accomplished steer roper. In his later years Perry was revered for his culinary skills as a ranch house and chuck wagon cook for the XIT. He was also quite renowned as a top fiddler, which added to his likeability for he was loved and revered by his peers.

Perry remained a loyal employee of the XIT Ranch for two decades despite the fact that his race precluded him from becoming of one of the ranch’s foremen, a position for which he was well qualified. On September 29, 1908 he married Emma Beaseley. The couple had no children. In 1918 Jim Perry died in Oldham County, Texas from a brain tumor.

[letthelightin123]

Love Under Open Skies: Capturing Outdoor Weddings in Perth

There’s something undeniably magical about saying “I do” beneath a canopy of blue skies or golden sunlight. For couples in Western Australia, outdoor wedding photography Perth isn’t just a trend—it’s a way of embracing nature’s beauty while creating timeless memories. From beaches to botanical gardens, the city offers an endless canvas for love stories to unfold.

With Perth’s Mediterranean climate, clear skies, and stunning landscapes, it’s no surprise that many couples are opting for outdoor ceremonies. As a local Perth photographer, I’ve seen firsthand how natural lighting and scenic backdrops can elevate even the simplest wedding moments into breathtaking keepsakes.

Top Outdoor Wedding Photography Locations in Perth

Whether you’re eloping or planning a full-scale celebration, choosing the right location is key. Here are a few top picks for outdoor wedding photography Perth locals love:

1. Kings Park and Botanic Garden

Located just minutes from the city, Kings Park offers sweeping views of the Swan River and Perth’s skyline. Its botanical gardens provide a variety of natural settings—from eucalyptus groves to manicured lawns—perfect for capturing romantic and whimsical shots.

Looking for inspiration? Check out Letthe Lightin’s portfolio of romantic outdoor wedding moments.

2. John Oldham Park

This hidden gem is ideal for couples who want serenity and water features in their photos. Nicole's elopement here, for instance, embraced Perth’s natural charm while showcasing elegant, candid moments that only an experienced Perth wedding photography team could capture.

3. Cottesloe Beach

Sunsets over the Indian Ocean? Yes, please. Stacy's pre-wedding shoot here combined golden hour magic with relaxed beach vibes, a classic recipe for unforgettable images.

Tips for Flawless Outdoor Wedding Photography in Perth

Planning an outdoor wedding? Keep these photography tips in mind to ensure everything runs smoothly on your big day.

Golden Hour is Your Best Friend

Perth’s sunsets are spectacular, and timing your couple portraits during golden hour (just after sunrise or before sunset) ensures soft, flattering light. It's when the magic happens for outdoor wedding photography Perth professionals who understand the play of light and shadow.

Have a Backup Plan

Outdoor weddings in Perth are generally safe from downpours, but it’s always smart to have a contingency plan. Tents, pavilions, or nearby covered areas help protect the day—and your photos—from unexpected weather.

Coordinate Colours with Nature

Think soft pastels against ocean blues or earthy tones in forested areas. A skilled Perth photographer will guide you through styling choices that enhance your location’s natural palette.

Local Perth Venues That Pair Well with Outdoor Wedding Photography

Planning a big celebration or an intimate elopement? Perth has plenty of outdoor-friendly venues where photography thrives.

Matilda Bay Reserve – Riverside romance with space for guests and picture-perfect moments.

UWA Sunken Garden – A lush, historical site ideal for classic wedding vibes.

Swan Valley Vineyards – Say your vows among the vines and toast under the stars.

How Sara’s indoor wedding in Canning Vale contrasted beautifully with her Applecross Jetty outdoor shoot, proving how indoor and outdoor sessions can complement each other. Explore her story.

At Letthe Lightin, we’ve documented weddings from coastal elopements to rustic garden receptions. Our understanding of Perth’s natural rhythm lets us create candid, editorial-style wedding albums that feel as authentic as your vows.

Final Thoughts: Let the Landscape Tell Your Love Story

Outdoor wedding photography in Perth is more than just a backdrop—it’s a character in your story. From sandy shores to sun-drenched gardens, the natural world frames the laughter, tears, and quiet in-between moments that make your wedding day unforgettable.

If you're planning your outdoor wedding in Western Australia and want images that feel as real as your love, visit Letthe Lightin to explore real wedding galleries, read helpful blogs, or connect with a professional Perth photographer today.

Let the sky be your ceiling and nature your witness—your love story deserves to be told in light.

[amarrkcc]

Major Different Types of Couplings: A Complete Guide

🔧 Understanding Major Types of Couplings in Power Transmission

In any industrial system, couplings are the silent champions ensuring smooth and efficient transmission of power between shafts. Choosing the right coupling can greatly improve performance, reliability, and equipment lifespan.

Here’s a quick overview of the major types:

✅ Rigid Couplings – Perfect when shafts are precisely aligned, used in precision machinery. ✅ Flexible Couplings – Absorb misalignment and shock, enhancing machine durability. ✅ Tyre Couplings – High shock absorption and easy maintenance (ideal for industrial machinery). ✅ Gear Couplings – Handle high torque with compact design (great for heavy-duty applications). ✅ Grid Couplings – Excellent at vibration damping (used in compressors, pumps). ✅ Disc & Oldham Couplings – Precision couplings for high-speed and servo applications. ✅ Fluid Couplings – Smooth starts and overload protection for heavy equipment.

⚙️ The right coupling choice means better performance, reduced maintenance, and lower downtime.

For world-class coupling solutions built on decades of engineering excellence, Rathi Group continues to lead the way!

👉 Dive deeper into coupling types and applications here: [Insert blog link]

[seimitsu-factory-automation]

NBK Oldham Type Couplings – Precision & Reliability for Industrial Applications

Discover the NBK Oldham Type Couplings, designed to deliver exceptional precision, flexibility, and dependable torque transmission. Perfect for diverse industrial applications, these couplings ensure optimal performance and durability in high-demand environments.

[britrockaholic2]

Del Shannon - "Mind Over Matter" - rare 1967 track

From the 1967 "Home & Away" album. 

Recorded in London  in 1967 with Andrew Loog Oldham producing, "Home and Away" was never released in its original form so aficionados will receive this release with enthusiasm. The tracks were only scattered across some singles: 'Led Along' became a US and UK single, and was coupled with its fellow 'Home and Away' track, 'Mind Over Matter'. The album is described as a Baroque, Art-Rock mélange of harpsichords, flutes and French horns; a British answer to Pet Sounds. Always responsive to what was new, Del Shannon became the first American performer to record a Lennon and McCartney song. His own compositions explored loss, darkness of mood, insecurity, loneliness and pain. Includes a 1967 version of 'Runaway', plus bonus tracks of mono mixes. 16 tracks total. EMI. 2006.

[simsinter]

Understanding Coupling Equipment: Types, Uses, and Benefits

Coupling equipment plays a vital role in many industries, providing solutions for transmitting power, connecting components, and ensuring the smooth operation of machines. Whether in manufacturing, automotive, construction, or energy sectors, coupling devices are essential for ensuring mechanical systems function without disruptions.

What is Coupling Equipment?

Coupling equipment refers to a mechanical device used to connect two shafts or rotating parts. Its primary purpose is to transmit rotational power between the components while accommodating misalignments, vibrations, and axial movements. Couplings can be made of various materials, such as metals, elastomers, or composites, depending on the application requirements. These devices allow machines to operate efficiently without damaging the connected parts.

Types of Coupling Equipment

Rigid Couplings Rigid couplings are designed to connect two shafts in perfect alignment. They do not allow for any misalignment or flexibility between the connected parts. This type of coupling is ideal when both shafts are accurately aligned. Examples include sleeve couplings, flange couplings, and clamp couplings.

Flexible Couplings Flexible couplings are used to accommodate some degree of misalignment between the shafts. These couplings can absorb shock loads and vibrations, reducing the risk of damage. Types of flexible couplings include elastomeric couplings, bellows couplings, and gear couplings.

Oldham Couplings Oldham couplings are a type of flexible coupling that is known for its ability to handle angular misalignment. They consist of a driving and driven part connected by a center disc, which helps reduce vibration and shock loads.

Universal Joint (U-Joint) Couplings U-joint couplings are typically used in automotive and heavy machinery applications. These couplings enable the transmission of power between two shafts that are not aligned but rotate at different angles. U-joints are essential in vehicles for transmitting rotational force from the engine to the wheels.

Magnetic Couplings Magnetic couplings use magnetic fields to transmit power between shafts without physical contact. This type of coupling is ideal for situations requiring hermetic sealing or in environments with contaminants, such as in chemical or pharmaceutical industries.

Key Benefits of Coupling Equipment

Power Transmission The main function of coupling equipment is to transmit rotational power between connected components. Whether transferring torque in industrial machines or vehicles, couplings ensure that energy is efficiently passed from one part to another.

Flexibility and Alignment Accommodation Couplings can accommodate various types of misalignment, whether axial, angular, or parallel. Flexible couplings, for instance, help absorb the shock and reduce vibration between shafts, ensuring smooth and continuous operation.

Protection of Machinery By using coupling equipment, you can reduce the strain on connected machines. Misalignment can lead to mechanical failures and excessive wear on components. Couplings help in minimizing such risks by compensating for minor misalignments.

Cost-Effectiveness Rather than replacing entire parts when issues arise, using coupling equipment can provide a more cost-effective solution to keep machinery running smoothly. These devices are often less expensive than fully replacing or realigning machine components.

Durability High-quality couplings are designed to withstand harsh conditions such as high temperatures, pressures, or corrosive environments. They ensure long-term performance and reliability, which is particularly important in industrial settings.

Conclusion

Coupling equipment is a crucial component in numerous industries, providing benefits such as efficient power transmission, protection from misalignment, and overall system stability. With various types of couplings to choose from, industries can select the right solution based on their specific needs. Whether rigid or flexible, couplings help maintain smooth operations while extending the lifespan of machinery, making them a fundamental part of modern industrial design. For more details visit our website: www.simsinter.com

[singeratlarge]

HAPPY HEAVENLY BIRTHDAY ALEX CHILTON + SATURDAY MATINEE MUSIC VIDEO: “Soul Deep” – A Salute to The Box Tops, Alex Chilton, & Memphis Bubblegum Soul https://www.youtube.com/watch?v=s0PeiKGpEsQ ... ...“Soul Deep” came out when I was 12 years old. When this song came on the radio it wrapped me up in a safe and happy zone. The definitive version is by The Box Tops, whose classic line-up launched out of Memphis in 1967. Barely out of high school, they charted big with “The Letter” (Alex was 16) and “Cry Like a Baby.” Their sound has been called “bubblegum soul” as they mixed classic soul covers with psychedelic rock (covering “Whiter Shade of Pale”) and songs written by their producers Dan Penn, Spooner Oldham, and Chips Moman. “Soul Deep” was their last Top 10 hit in 1969 before they abruptly broke up due to constant ill-treatment from their managers (who cranked out a fake Box Tops for a couple of years). Vocalist Alex Chilton went on to become a legend. He formed the influential power pop band Big Star, then embarked on a tempestuous solo career, occasionally performing Box Tops songs and oddball covers (like Brian Wilson’s “Solar System”). He produced The Cramps his career intersected with Cheap Trick, The dbs, Tav Falco’s Panther Burns, REM, and other notables. The Box Tops did reunions over the years. Sadly, Alex died in 2010, but members of the original band are carrying on.

“Soul Deep” was written by Wayne Carson Thompson, who also wrote “The Letter,” “Neon Rainbow,” and “Always on my Mind.” “Soul Deep” has been covered by Eddy Arnold (charted in 1970), Gary U.S. Bonds (charted in 1982), Canadian soulsters Robbie Lane & The Disciples (who did it first), Roberta Flack, and The Gin Blossoms…and now you have my version. https://www.youtube.com/watch?v=s0PeiKGpEsQMeanwhile, Happy Heavenly Birthday Alex.

#boxtops #alexchilton #bubblegumsoul #memphis #waynecarsonthompson #theletter #danpenn #spooneroldham #chipsmoman #bigstar #thecramps #johnnyjblair #singeratlarge #sanfrancisco

[sanjanajustwatched]

Antyeshti

First meeting - 11th September

Kushal, Max and Abbie had pitched the idea for antyeshti to me and they described the film as an experimental narrative film about Indian Culture. Once they had described the plot of the film and their plans to film in India along with Edinburgh, I was on board. As the script was in development I did not have any concrete ideas for sound at this point. As an Indian student who grew up outside of her home country, with family who had lived through the british rule in India, I found this project to be of significance to me. It is a project that allows me to represent Indian culture, mythology and the atmosphere through sound. Its experimental narrative nature allows me to get creative with the ambience and the overall sound design.

(initial ideas)

Pitch Meeting - 30th september

The group met up to prepare for our pitch where we were informed of how the script was developing and since we were given the (sort of) go ahead by our professors to film in India, I had begun to think with the group about how to get sound recorded there. It looked like we might be able to take most of the sound equipment - mixpre3/10T, shotgun mic, LAV mics etc. (except for the boom pole), and I had also considered bringing my personal recorder and renting equipment from film stores (eg. FILMCULT). In terms of sound design, I had gone through some songs that relate to the mythology as explained in the script, and culture-specific sounds that could be incorporated into the soundscape of the film (eg. temple bells, anklet/ghungroo/chelangam chimes)

Casper Galbraith has also volunteered to do the dialogue edit for the film.

Post Pitch - 7th October

The feedback after our pitch was mostly positive. Zoë brought up how this film would allow me to work extensively in a creative manner with the sound edit, which is one of the aspects I am most excited about. 

Amber Lighting - 14th October

We have been amber lit! We were given feedback on how to proceed with the film in order to have a more concrete idea plan for the film and its production. - no specific notes for sound.

Travel meeting + Sound meeting - 17th october

The group met to discuss the travel logistics - we would potentially be going to India in late January (16th-30th Jan). I shared with Abbie (Producer), potentially what equipment I would need for sound and how we could make some compromises in case any issues arose.

I am also bringing my ZoomH8 as a backup and to record sounds on locations where the entire sound kit is not viable or to record wildtrack off set.

Max and I also discussed the soundscape for the film. We spoke specifically about how we want the scenes set in Gopal's shop could sound by localising the ambient sounds and accents (actors and rioters) in South of England around manchester. Max had mentioned Oldham as it had a history of race riots which took place in 2001.

The shop would be set in a moderately busy shopping street with evening traffic. The dialogue between Gopal, his wife, daughter and grandchildren would be happening between two sections of the shop (front and back), and shop could sound like there were family conversations constantly happening in the background of the focal dialogues. When the riots begin, they would mostly be off screen, and it would need to be dramatic and raucous where we hear people shouting loudly, vandalising nearby shops.

while the remaining scenes were still being constructed with the script and the tableau and archival imagery would be decided later in the term, we were unable to decide on concrete ideas, but I was confident I could develop an sonic aesthetic for the film with the directors' visions.

(rough notes from the meeting)

Film References

I have looked at a couple of films that I was thinking of when discussing the scenes set in Gopal's shop with Max.

The dynamic of the joint/large family conversation, which is constant and overlapping made me think of the films 'Do Dooni Chaar' and 'East is East'. While these are tonally very different from 'Antyeshti' the way that the dialogues sound in these film are similar to the aesthetic I had discussed with Max.

(stills from specific scenes of the reference movies - have attached a link to the scenes at the end of the blog)

Test Shoot - prep

Abbie has booked the sound equipment for the test shoot and We are aiming to film at craiglockhart on 7th november. I have also spoken to Yat Hin Lee and Michael Hood to help on set as Boom op and Sound Assistant.

Since the duration of the test shoot/proof of concept can only be upto 3 minutes, the script will be focusing on the scene at Gopal's shop and the riots with some tableau imagery. Max and Kushal have suggested the song 'Yeh Raatein Yeh Mausam' by Kishore Kumar and Asha Bhosle to be played at the start of the scene and in the shop from a radio.

I think the song would be perfect for the test shoot as it is widely known song in India and across nearby countries. As it was recorded and released in 1958, it would make sense to have this song since it came out after independence and the tone is very nostalgic and reminiscent of one's hometown and life.

Test Shoot Meeting - 3rd November

The group met up to discuss the script and logistics ahead of the test shoot. This was my first time looking at the test shoot script and so I read it and Max and Kushal broke down their ideas and intentions for the sound of the film.

The song that has been selected will start off as non-diegetic over shots of Gopal sewing, his mother's hands sewing, and the archive images, and transitions into diegetic music playing from a radio as we come into Gopal's shop. Some key sounds that we want to get are fabrics rustling, beads, sewing with hands, bell above the door ringing.

As we move to the dialogue sequence, we want it to sound a certain style of crisp. Max even gave me a compilation of scenes that replicate the style he is wanting. (click for link)

For the riot scenes, some sounds that I would like to stand out are glass breaking, various car alarms going off and things being broken down and kicked about along with people shouting. I have asked the group and we are still unsure if we need them to shout certain phrases to clue in the viewers on the context of the riots but as it is something I will have to record on a later date, I might wait till the test shoot filming is over.

In the tableau sequence, we are still unsure of what sounds would work best as they will also lead us out of the riots. Some potential ideas are to continue the song over the tableaus, or have the riot sounds instead. Another Idea is to have an uncomfortable static sounds that is constant throughout the images and conveys feelings of discomfort.

Test Shoot Research

For my research I have done a script breakdown to mark all the sounds I would need to make conisderations for and whether I will source them on location or sound libraries. (link to script breakdown)

To replicate the aesthetic of the dialogue in the scenes Max shared with me, I looked at how sound was recorded in films in the 70s. I believe the analog style of recording is very similar to the style in the references. Filming in a silent environment will be crucial for this (especially since there is limited time for the dialogue edit), which is why I am optimistic about shooting at craiglockhart. I will also need to prioritise mic placements, making sure the LAVs capture clear dialogue and booming closer to the actors.

I have also been looking into sound libraries for sounds that I cannot record myself such as the car alarms and glass breaking. A foley session would be useful to get the remaining sounds such as bell ringing, footsteps, door noises, and sewing noises (this however can also be recorded on set).

Test Shoot - On set - 7th November

Our producer informed us a couple days before the shoot that, unfortunately we were unable to film at craiglockhart, but she managed to contact a tailor shop that was happy with us filming there. We were filming at the West End Tailors which is located near princes street. I knew that this would be an issue for sound and getting sounds of a riot, due to the noisy environment. Since this was on short notice and we were unable to go on a recce as the owner did not get back to us, I wasn't able to adapt as quickly and knew I would have to make compromises on the dialogue aesthetic.

The shoot went considerably well despite the issues around sound. As we were on a tight schedule I was worried about holding for sound but the team on set were very considerate and we ended up getting mostly clean dialogue. I had some issues with the LAVs as the costumes that the actor was wearing was not the right fit and ended up causing a lot of rustling noises at the start of test shoot. But I decided to put the LAV on a few objects closes to the actor instead and we got much clearer coverage of dialogue. A similar issue occured with the actress as the sounds of her zipper would interfere with the dialogue but I could not changed the LAV position as her dialogues happen over movement, so instead I asked Yat to boom much closer to her.

Overall, despite these issues I was happy with the coverage we got and enjoyed working with the team on set. Yat and Michael were especially helpful in navigating the issues that came up with sound!

POST PRODUCTION

Sound for Riot sequence + Dialogue Edit - 11th November

I recorded some sounds of feet stomping and things being kicked over in a room at craiglockhart with Kushal and Max before equipment dropoff. My plan is to layer these into a riot track.

After reviewing the film after picture lock, I took notes of the key sounds I would need to cover in foley.

Casper also finished the dialogue edit today. He mentioned that it was a fairly quick job as the dialogue was mostly clean, but some of Vedika's lines are bit unclear due to the zipper noises interefereing with the dialogue.

I also spoke with Zoë in the sound class today about how she would ideally record the layers for a riot sequence and her advise was to have people come into the dubbing suit and shout which would be recorded with a boom mic to give the layers a sense of space instead of sounding too compressed in the voice booth. I managed to ask the 'BNN News' group if I could borrow their mic and I would be using my recorder.

Foley session + Sound design elements - 12th November

After reviewing, the dialogue edit sounds really good, as most of the traffic noises have been eliminiated. I had booked out the foley room in the morning with Yat and Michael has come in to help. It was a fairly quick and easy recording session as the sounds I needed coverage for weren't really that complex such as light footsteps, door bell, and zippers.

In the afternoon, I had asked Yat, Michael, Max, Kushal and Casper to come into the foley room originally to record voices of them shouting in the dubbing suite as Zoë suggested, but after having a chat with the directors we decided against using chants or voices, and instead get noises of them trashing a shop. We moved to the foley room and gave the guys some directions on various things to make sounds against and I recorded the sounds with a boom mic.

Later in the day I worked on placing my chosen sound effects from the library and foley effects in place on the timeline, and edit the song sequence. Since I had limited time on this day I couldn't design as much but I had taken extensive notes from Kushal and Max on what their intentions were with the design.

Song Design + Sound effects edit - 13th November

The song was challenging to edit as the cleanest version of this song is one that has been already recorded from a radio, I wasn't sure how to make it sound more 'radio-like' to distinguish the song in the archive and the narrative. I experimented with the telephone effect, space plugins, and EQ but I could not get the distinct crackle that the director's wanted.

For the riot sequence, I found a track on a sound library that worked well with the sequence (at least to layer the recorded sounds), and EQ them to make them sound like they are coming from outside the shop. The sound effects edit also took a while to make them sound bassy and jarring as we got closer to the riots.

At home I experimented with the song on my laptop with a vinyl plug-in and added some crackle on another track that would work well with the song, and bounced some versions to show the directors.

Plug ins + Riot layer + Final Mix - 14th November

Kushal and Max were happy with the version of the song I had edited, so I moved that onto the timeline. I also finished making changes on the timeline based on useful feedback I recieved from fellow sound designers.

For the tableau imagery, Max suggested using some static sounds under rhythmic, pulsy and bassy sounds. Since we were short on time, I relied on sound libraries for longer sounds that could run through the whole sequence. I also sourced some sounds that Niamh and I had recorded with an electromagnetic field microphone during one of the sound classes, onto the track as they really matched the aesthetic that Max had described. (I also looked at some scenes from 'Under the Skin' and the opening sequence of Se7en)

I completed the final mix with the tableau sounds in place and the group came in for a final listen.

Bounce files - 15th November

I did some last minute touches in the morning and bounced the files for export!

Sound Report (click to view)

Scoping Document (click to view)

TEST SHOOT LINK

ADDITIONAL MATERIALS (click for link)

Google drive folder for references

Research Proposal Document

*Things to work on -

practice working faster on ProTools over the break

record more field sounds for experimental bits

record with electromagnetic field microphone and hydraphone

practice sound recording with the Mixpre10T

add more*

[cleoenfaserum]

THE END OF NYE with HYDRO STORMS

There are a few questions that need to be answered, such as, who the hell is Bill Nye and what is hydra-storm. Lets start off with this totally enjoyable natural horror story as told by Bill Nye in Season 1 (and only season) Episode 1 which will answer what a hydra-storm is…take a look...

1043-1 link https://ok.ru/video/7843067922995

In a conversation with AI Copilot, I asked it to recommend a disaster movie aligned with the topic…

What movie would you recommend that deals with the subject of the episode hydra-storm

Copilot

If you’re interested in a movie that closely aligns with the subject of the Hydra Storm episode, I recommend “Adrift” (2018). This gripping film is based on a true story and follows Tami Oldham Ashcraft and Richard Sharp as they sail directly into one of the most catastrophic hurricanes in recorded history. The movie combines survival drama with the power of nature, providing an intense and emotional experience

Adrift is a 2018 survival drama film produced and directed by Baltasar Kormákur and written by David Branson Smith, Aaron Kandell, and Jordan Kandell. The film is based on the 2002 book Red Sky in Mourning by Tami Oldham Ashcraft, a true story set during the events of Hurricane Raymond in 1983. A couple, who are adrift in the middle of the Pacific Ocean after a hurricane, must find their way to Hawaii with a damaged boat and no radio. Adrift (2018 film) — Wikipedia IMdB 6'6 

Adrift (2018)

link https://ok.ru/video/3297145391671

Who is Nye

LINK https://ok.ru/video/7843236809267  Bill Nye — Wikipedia

[squarcoo3]

Louise Joy Brown became the world's first baby to be conceived via in vitro fertilization (IVF)

On July 25, 1978, a historic event took place at Oldham and District General Hospital in Manchester, England. Louise Joy Brown, the world’s first baby to be conceived via in vitro fertilization (IVF), was born to parents Lesley and Peter Brown. This groundbreaking achievement marked a significant milestone in the field of reproductive medicine and opened up new possibilities for couples…

[beatdisc]

For the first time in 12 years we can officially say ... Happy Dirty Three new album day!!

Emerging once again from the unending waves crashing upon our fragile time-craft (adrift on the eternal ocean, and taking on water), Dirty Three are (a) back, (b) tangled in seaweed, and (c) not wasting another minute – as nothing is guaranteed. For their first album in over a decade – yep, it’s been since 2012’s Toward the Low Sun – they flew in, got together and started playing. End of story. What else is there to say or do but that?

The Dirty Three – Warren Ellis, Mick Turner and Jim White – formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they’d broken out – out of Australia, out of anything else they might have been inside of, to boot – and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums along the way.

After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents including Bill Callahan, Cat Power, Nick Cave, Marianne Faithfull, Will Oldham, PJ Harvey, Courtney Barnett &Kurt Vile and so many more. Over the past 20 years, they’ve gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. Like now.

Dirty Three - Love Changes Everything. Out today and in-stock on Limited Red Vinyl LP ($50) and Digipack CD ($25). The vinyl edition comes packaged with a very snazzy poster as pictured.