#russ kramer

[hillwoodhouse]

1929 saw the birth Sparkman & Stephens and the thoroughbred SV Dorade. Immortalized by Russ Kramer on the home stretch to win the 2013 Transpac, again... a full 77 years after her first win.

[clove-pinks]

High Season: Newport, 1908 by Russ Kramer (American, b. 1960)

[markhoffmanscumslut]

I’m a whore for older men.

[ltwilliammowett]

A Jibe around the Lighthouse ship Dauntless, 1877, by Russ Kramer (1960- )

[alexanderdanner]

ElfQuest: The Audio Movie

Another project I’ve been working on this past year: Along with James Oliva (Michael Tate on Greater Boston), I’ve been working as a writer on Fred Greenhalgh’s adaptation of the classic indie comics series ElfQuest, created by Wendy and Richard Pini! For most of my career prior to jumping into Audio Drama, I worked in comics--as an independent webcomics creator, as a teacher, and as a textbook author, including co-writing the book Comics: A Global History, 1968 to the Present. And ElfQuest...well, ElfQuest is a *huge* piece of comics history! The Pini’s began publishing their series in the 1970s, and kept it going for over 40 years. It was a true milestone of independent comics that constantly worked to expand peoples’ ideas of what comics could be, beyond the dominant superhero genre. Adventurous, sexy, and progressive (by the standards of its own day for sure, but in many ways, the comfortably polyamorous social structure of the elves is still very forward thinking). The fact that my work in audio drama has brought me full circle to working on an adaptation of such a landmark comics series is surreal and wonderful! The first three episodes are out now, with plenty more to come! The production quality is top notch, and man, just look at who we’ve got in this cast:

Realm presents the epic saga ElfQuest from comic book creators Wendy and Richard Pini in this richly layered audio movie, directed by Fred Greenhalgh. Starring Cree Summer, Alejandro Saab, Osric Chau, Amber Benson, Aaron Douglas, Clare Kramer, Will Friedle, Zehra Fazal, Robert Picardo, Tim Russ, Ray Porter, and a full cast.

Produced by Dagaz Media, Bluejay Atlantic, Wolfrider Productions, in association with The Fantasy Network. https://elfquest.com/audio-movie/

[blaringloudandproud]

My dumbass friend @gaym83 describes horror villains based on pictures. He’s semi-familiar with horror. He’s mainly seen modern stuff and the Universal monsters and loves ST so many references. This was so funny

Jason Voorhees (Friday the 13th)-“Would probably cry if I saw him”

Michael Myers (Halloween)-“He’s just like me (hides face too, big knife)”

Freddy Krueger (A Nightmare on Elm Street)-“Hey wasn’t Vecna based off this guy?

FR though I’m jealous of the sweater”

Bubba Sawyer/Leatherface (Texas Chainsaw Massacre)-“He’s got those 80’s goth vibes”

Candyman (Candyman)-“I’m so jealous of that jacket. Warm coats my beloved. I need that for maryland winters”

Cenobites (Hellraiser)-“That’s just a queer friend group”

Brahms Heelshire (The Boy)-“AYO why he kinda giving me gender envy. Idk something about men with scraggly dark hair and piercing yet haunting eyes is just like me FR”

Ghostface (Scream)-“He looks like he’s otw to suck the soul (sfw) out of Sirius Black”

Thomas Hewitt/Leatherface (Texas Chainsaw Massacre 03)-“Love a man with long hair covered in blood”

Chop Top (Texas Chainsaw Massacre)-“No”

Herbert West (Re-Animator)-“Fred Benson if he became evil”

Billy Chapman (Silent Night, Deadly Night)-“I’m Jewish he can’t kill me, Shabbat shalom get the fuck out”

Ginger Fitzgerald (Ginger Snaps)-“Twilight character?”

Art the Clown (Terrifier)-“Similar to my halloween costume”

Pumpkinhead (Pumpkinhead)-“Aquarius syndrome 💔 it’s fatal”

Victor Crowley (Hatchet)-“Behold. A grunt to the big bad in a dnd campaign”

Jack Torrance (The Shining)-“That’s how I look after a semester of college”

Chucky (Child’s Play)-“If he wasn’t accepting of his gendaflooid kid I’d punt him so hard”

Tiffany Valentine (Child’s Play franchise)-“MILF in riot grrrl band”

John Kramer (Saw)-“He looks like me stoned”

Carrie White (Carrie)-“She’s just like me FR. Oh to be covered in blood. My blood though”

Harry Warden (My Bloody Valentine)-“Me at Chernobyl circa April 26th, 1986”

The Tall Man (The Phantasm)-“American senate”

Pennywise (It)-“Homophobic old bitch”

Frankenstein’s Monster (Frankenstein)-“THATS MY MAN” (Hes a frankenstan)

The Bride (Bride of Frankenstein)-“YEAHHHH”

The Grabber (The Black Phone)-“On my knees for him”

Imhotep (The Mummy)-“Me when i have to wake up for work)

Dracula (Dracula)-“Antisocial goth king”

The Wolfman (Wolfman)-“He walked so furries could run”

Invisible Man (Invisible Man)-“Nursing home vibes”

Gil Man (Creature from the Black Lagoon)-“Poseidon?”

The Puppets (Puppet Master)-“My brain cells gathering to fight god”

Firefly Family (Spaulding, Baby, & Otis)(Firefly Trilogy)-“The three genders: Viking, bloody cowgirl, and clown”

Angela Baker (Sleepaway Camp)-“She looks like such a vibe. I’d be her friend in the 80s”

Norman Bates (Psycho)-“He looks like he supports cops”

Bughuul (Sinister)-“He looks like Gerard Way so I trust him”

The Creeper (Jeepers Creepers)-“That was almost the exact aesthetic I wanted at the beginning of my senior year”

Lubdan the Leprechaun (Leprechaun)-“Why you gotta do Irish people like that”

Russ Thorn (Slumber Party Massacre)-“Me when someone takes the food I’ve been waiting for all day”

Driller Killer (Slumber Party Massacre II)-“Thats just my gender”

Ruby Lane (Fear Street)-“Goth evil Nancy Wheeler vibes. I love it. I wish we could Nancy snap at least once”

Tommy Slater/Nightwing Killer (Fear Street)-“Ohhhhh that is a good design for a villain. I’ll have to steal”

Cyrus Miller (Fear Street 1666)-“No cause that’s FR what I look like half the time minus the blood”

Skull Mask (Fear Street)-“Mood”

The Milkman (Fear Street)-“That’s what all old white male American politicians look like”

The Grifter (Fear Street)-“Why is that knight speed boating?”

Billy Barker (Fear Street)-“That’s just a normal little kid”

Asa Emory (The Collector)-“Doctor who villain”

Bo, Vincent, and Lester Sinclair (House of Wax)-“Older versions of Dustin, Mike, and Will”

The Fisherman (I Know What You Did Last Summer)-“Man door hand hook car door”

Wishmaster (Wishmaster)-“I AM THE SENATE”

Lesile Vernon (Rise of Lesile Vernon)-“He needs some malk”

Phantom Killer (The Town That Dreaded Sundown)-“Oh no”

Farmer Vincent (Motel Hell)-“Animal farm (1945)”

Chromeskull (Laid to Rest)-“Babe wake up. New Ghost member just dropped”

The Klowns (Killer Klowns From Outer Space)-“Us”

The Babadook (The Babadook)-“Gay icon”

Jennifer Check (Jennifer’s Body)-“Twilight pt 2.”

Sam (Trick R Treat)-“I want to punt him” :(

[funkyeahdangelo]

an okayplayer review from questlove ca. 2001-2?

D'angelo      Voodoo       (Virgin)                           [five afro pics; described as "- "Mommy Mommy!! That big-ass bear said that he will decapitate the whole family if we don't purchase ten copies of this record for each family member!!!!!!!!" via "Matter in His Own Hand.Welcome, players, to ?uestlove's Record Review Section (where I actually listen to the records more than once!) "]:     ( ok. i know that it's really a conflict of interest for me to review this        record cause this ain't a record where i'm a guest. sure to d, this is        "voodoo". to me? this is called "vicarious fantasy", because if i was        a singer this would be the record i'd make. hands down          . but that doesn't mean this is for everybody. music lovers come under        2 umbrellas. number one: those who use it for growth and spiritual fulfillment        and number two: those who use it for mere background music. the thing        is, this record is too extreme to play the middle of the fence. this record        is the litmus test that will reveal the most for your personality. cats        who live for music and all the new directions it can show you have cried        when i played this record (i don't wanna embarrass no one but i assure        you at least 7 of your favorite artists were on their knees BAWLING because        of this astounding document of music. this is what we need today...this        is no miseducation ....this is the blueprint right here!) for them.         i know for a fact that tribe inspired slum, slum inspired d, and d inspired        "things fall apart". i assure you, the only reason that "things..." was        the way it was is because of the endless education i got from moonlighting        on this record. the intro? and all that dialogue floating around? (came        from russ' (elevado, engineer)3-d like mixing). the volume floating up        and down on "the realm"? that from all the endless info that chief hendrix        engineer eddie kramer bestowed on us when talking of jimi's endless ideas        when recording at the studio jimi built for us. "double trouble"? inspired        by "great day in the morning" i was not gonna let no r and b cat out dirty        the drums i created. and "love of my life"? d and i always talked about        having an "electric relaxation". meaning that smoove ass song that starts        side two that's so lush and beautiful that you wanna just.......die!!!        slum's "electric" was "fall in love". d called me 4am screaming that he        finally had a "relaxation". ("the root") shieeeet, if i didn't feel left        out in the cold, side two of "tfa" would've started with "100% dundee".                  just being around these cats made me want to better my shit. i can't recall        the times we would have listening sessions and primo would come down and        play us shit from the unreleased "moment of truth", or pete rock would        play his "treats of the week" (pete makes 20 tracks a week, rides around        nyc and gets feedback from cats) and i don't even gotta talk about slum        village. i was the only cat not pulling my weight. i just wanted to pop        a tape in and watch niggas scream as they jumped with envy while listening        to my shit. they all got inspired by each other and dagnabbit i wasn't        going down without a fight. so just know the next time you listen to "tfa"     know that's a record with a man who was trying to excel from just being        a "great drummer" to an artist that inspires his fellow artists. and sure        enough in time "tfa" got revamped to fit my tastes to the point that cats        was happy to hear my shit and i wasn't embarrassed to play em shit, cause        i guarantee you, if d doesn't jump 6 feet in the air, and tip don't shake        his head like he don't believe it, and jay don't do his patented "whoooohoooo!"        it ain't bangin. so in short this record made "tfa" and fantastic vol        2 possible. this is a track by track guide to how "voodoo" got made. "player        player"                we started this in august '96. d's manager dominique treneir was one the        executive producers of space jam and d was making a contribution. before        this our history was limited to illadelph's "hypnotic" and a song that        didn't make the "set it off" soundtrack ("bitch"). so already "bitch"        with it's drunk ass meter, and the new kid on tribe's block, jay dee,        were steering us in this new direction, of soul for 2000.                bad boy was just about to eclipse and rule the sound that was then "death        row". the drums on "dreamin eyes of mine" (from brown sugar) were always        my favorite and showed me endless possibilities of funk. i just combined        all those influences and gave d some nasty ass funk. i was rim shottin        the snare hard as hell, and making my meter sloppy as hell. but not so        sloppy that you couldn't feel it. as for the icing on the cake. i showed        d some tricks on how to make his shit sound spacey. so we reversed the        2 inch tape, and i did my patented trick with the rhodes that i've done        with countless roots songs. soon after we just had fun.                you can still hear us laughin our ass off while applying hand claps and        snaps to the track. pretty soon this would become a recording highlight        to the point on all our songs we would have clapping sessions. that was        our bonding moments. ("hello?" what's up nigga? yo where you at? "in philly"        yo, can you get here in 3 hours? "yeah why?" we doin claps "oh cool lemme        get dressed"...)no matter how late, or how inconvenient, clapping session        were the equivalent of sunday dinner on "soul food" and soon we initiated        other cats into the family (common, james poyseur, roy hardgrove, raphael        saadiq, q-tip, pete rock, and even erykah). that's where we would get        crazy, crack jokes, fart, play the dozens and gave each track the good        time feel it deserved) the folks at warner brothers got freaked when they        heard the final product and instead took a brown sugar reject. ("i found        my smile again"). this was just a peek of what was to come. soon 3 years        would follow of funk, unhappy record execs, bonding, rumors of drug abuse,        education from the masters (playing with prince), uneasiness with the        state of black music, divorce, child birth, and the one element that glued        this whole shit together.....love.                it was a love for the dead state of black music, a love to show our idols        how much they taught us. this was the love movement. and this was the        beginning.                "l and r"        by 1998, the ridiculously long delay in this record began to even irk        me, vowing that i wouldn't listen to another lick of this record until        i picked it up in the stores, i trashed my instrumental tapes (well......not        really).i stopped coming by the studio in order to concentrate on my fourth        record. this was a concoction between q-tip and d. yes i'm drumming. but        i'm not drumming (he looped 4 bars of me playing).                d sorely wanted a party song that didn't compromise his future funk vision.        he wanted something sexy for the ladies, but he wanted heads to feel him        as well. the latter wish was too important to him. i remember being in        richmond (his crib) the week "life after death" came out (biggie). he        said he never seen anything like this since ll's sophomore effort "bigger        and deffer". he was right. after our show, the parking lot was a virtual        biggie heaven. this car rocked "player hater", this car had "i've got        a story to tell", this jeep kept "what's beef" on repeat.....and our ride        played "10 crack commandments" til the cops told us to turn it down. the        last conflict was which hip-hop artist would carry d into the jeeps and        backpacks of the heads. to go commercial would ruin the premise of this        whole record. of course tariq and com wouldn't pass the corporate test        (and yes folks we tried). and he didn't want the flavor of the minute        mc. it had to be someone who rode the thin line with ease. so in this        corner.....(love movement era) q-tip. and in that corner the blunt brothers        (meth and red).                general opinion was that the song was cool but nobody was feeling tip's        verse. often times we would try to brainstorm and see if we could come        up with a better song to save us the embarrassment of telling tip we didn't        like his performance. meanwhile manager dom felt that we needed a "hard        nigga" to get the streets to feel this. so we got double the package.        meth and d had been cool since d sang on "break up to make up" for meth.        and of course redman rocked the shit outta "dreamin eyes of mine's remix.        so when the hard knock life came to denver, d packed his bags and headed        west. the results? mixed at best. no one will ever contest that meth and        red are stellar artists, it's just that they didn't fit here. i mean the        appeal to d is partly based on this rebel danger thing......but the misogynistic        verses cut like a knife. d felt it too. after talking to lauryn for an        extended period i'm happy to say that q-tip was reinstated.                "the line"        we did the line in early 98. the working title back then was called "bullet".        sorta like the way way wu tang calls their lyrics "darts". it's a curious        song. it tells me that no matter how confident we seem, to be there's        always a tinge of doubt lurking in the background. it's here that d addresses        the controversy. "i know the pressure is on, from every angle it's coming,        will i hang? or get left hangin? will i fall off? or is it bangin?......                        one of our main gripes was...well his, was that he wanted the soul/loverman        marvin/ al green shit to stop here. but that doesn't mean that he can't        show influence while building his own personality. at close listen one        can hear his voice morph into every style of black music from 20's gospel        quartet to prince. this is also a debut of a style that i started using        called "mother's son" style. i jacked it from curtis mayfeild's drummer.        he used this ill style in which he would hit the edge of the snare and        rim shot at the same time on a song called "mother's son" (well what do        you know?!!) only bobby z. from prince and the revolution used this style        on "under the cherry moon". since this song d makes me use this style        on all his jams. matter of fact, i think i play the snare all of 3 times        on this record. the rest is rim shot funk                "send it on"        here we took a classic melody (from kool and the gang) and turned it into        a classic love song. this is a departure from today's slow jams. but this        is not the typical retro-time machine travel fodder. this is some love        shit for 2000. very polite and sweet. not at all like the monster "untitled"        will be.                "chicken grease"        by mid 99 the soulquarians were in full swing (d, me, jaydee, james poyser)        and we were working on common's "like water for chocolate" when we came        up with this lethal jam. it was so good that d pulled me to the side and        said "i ain't no indian giver....but i ain't lettin Com walk off with        this song.."                he called me 3 times that morning begging to ask com for that track. com        agreed, and we named it "chicken grease" after a phrase that prince uses        when he wants his guitarist to play a 9th minor chord while playing 16th        notes. feelwise we were paying tribute to george clinton. there's the        greek chorus thing going on. very loose. reminiscent of "flashlight".                        "one mo gin"        this is the song of catching up with lost loves and such. real mello.        and smooth.                "the root" "spanish joint", and "great day inna morning"        ok this is the virtuoso part of the record. so intricate that i can't        even describe all the technical stuff to you. this features guitar god        charlie hunter. charles' gift is a unique one. this mofo plays the guitar        and bass at the same time!! no joke!!!! ok well he made the last 2 strings        on his guitar bass strings. but know that this song contained no overdubbing.        so when you hear the solo's and the bass playing at the same time know        that this happened at the same time!!!!!!!!! -                "untitled"        called by most as the best song on the album "untitled" (aka "how does        it feel") is our homage to (the "controversy" era) prince. (not the artist).        this is done quite tactfully. always finding the line between parody and        honesty. plus in an era of "the cover song" redoing a prince song was        taboo. this is the second best thing. -                "africa"        ok. now you're gonna know where i jacked that bell sound from "return        to innocence lost". matter of fact i also jacked my favorite prince jam        ("i wonder u") for the drumming. i also have to say that this is my favorite        song on the record. i had to beg d to do this joint. he didn't see this        at first because we had already did a song about his son. but i told him        the music here fit the mood better.                it's like a bunch of toy boxes playing at once (we took the cover off        the rhodes and mic'd 'em) it gives you that sad feeling that "higher"        gave you on brown sugar a dope song that you don't want to hear because        you know that this is the last song you're gonna hear (never fear folks,        we got about 30 songs that didn't come out yet) in some time. i know d        wanted to do a song that spoke of history. not just to his son. but to        god, to africa and the world.                i could go on but you have to hear this to believe it. in closing i just        have to say that i'd like to thank d for making this opportunity available        to me. by the way "devil's pie" just got added. and the lauryn song isn't        quite done yet. primo did "devil's pie" a song about the money hungry        jiggafied state of the world we're in. which you can't eat without "dough"        "cream" "ice" "cheddar" and "bread" (the key ingredients) and how the        devil will destroy those who will sell their souls to him.                jaydee did the lauryn track. and it has an al green feel to it mixed with        a little "got til it's gone" (jaydee did that too...). there's also some        interludes from our endless jam sessions as well, most notably the ahmad        jamal/ pete rock jam we recreated from the last interlude from pete's        main ingredient. we used those interludes to help the masters speak. on        one marvin gaye talks about the songwriting process, and the intro is        jimi hendrix begging his audience to just "forget everything that happened        yesterday, or today.....we are just making our own little place just give        us that.." we have others but i don't know if they'll get used or not.        anyway. this is the in depth "voodoo" report from the inside. i hope you        enjoy it. just have an open mind to new shit. just give us that...........        

[allyouknowisalie]

Russ Kramer Maisie 1923

[artofmuseums]

My trip to Mystic Connecticut included a visit to some small shops. In an art shop, I traveled around and made my way upstairs. It was when I reached the top of the stairs that I saw a familiar scene, a ship on water. I had never seen these paintings before, and the way they were painted was different from those I had seen of a similar type before. Luckily, the artist was there, so I asked him if he had time for a quick interview for my blog. Though he seemed busy he smiled and agreed. Russ Kramer, this kindhearted artist, has been painting for 20 years. Previously, he worked for a newspaper and was a graphic designer. Since he was a kid, he's dreamed of being a painter. My appreciation goes out to his enthusiasm that he displays in his work. One painting costs him a few months. There is something unique about Russ Kramer's process that sets him apart from the other painters I have researched in the past. First, he does research on the yacht or ship he is planning on painting. Then he builds models of these ships. These models he makes are astounding. From there he sketches. As you can tell he has characters in his paintings. As far as any of his paintings are concerned, he assures me that he does not make use of any photographs of people who have previously been photographed.  For his paintings, he asks his friends, family members, or strangers to model for him. He is very passionate about yachting and its history. From what I have seen and heard from our conversation he is a subject matter expert. He has an incredible eye for detail and a vast knowledge of ships and its components. His paintings are a testament to his expertise and creativity. He has gained recognition both locally and internationally for his work. As a matter of fact, he was working on a commission project after I left.

[zhuanghongru]

Sailing and the sea Russ Kramer https://t.co/HDMLbnVP9k

[enchantemoimerlin]

Russ Kramer 

A Million Dollar Breeze

Oil on canvas

69 x 112 cm

[clove-pinks]

“AMERICA SALUTES QUEEN VICTORIA, AUGUST 22, 1851” by Russ Kramer (American, b. 1960)

The yacht AMERICA, having left the best of the British fleet far in her wake, closes in on the finish line in a match race around the Isle of Wight which would become known as the first “America’s Cup.” As the Royal Yacht VICTORIA AND ALBERT falls in alongside, New York Yacht Club Commodore and AMERICA owner John Cox Stevens orders the crew to dip her colors and doff their caps to the royal family in gesture of respect and sportsmanship.

[steve-harringtons-lover]

Masterlist!

Harry Potter (Golden Trio Era):

George Weasley

Fred Weasley

Harry Potter

Hermione Granger

Ron Weasley

Luna Lovegood

Neville Longbottom

Cho Chang

Lavender Brown

Ginny Weasley

Tonks

Draco Malfoy

Pansy Parkinson

Cedric Diggory

Fleur Delacor

Seamus Finnigan

Dean Thomas

Older Colin Creevey

Padma Patil

Parvati Patil

Harry Potter (Marauders Era):

Remus Lupin

James Potter

Sirius Black

Peter Pettigrew

Regulus Black

Lily Potter

Scream(1996):

Billy Loomis

Stu Macher

Poly!Ghostface

Sidney Prescott

Tatum Riley

Randy Meeks

The Outsiders:

Johnny Cade

Ponyboy

Dally

Soda

Darry

Two-Bit

Steve

Diary of a Wimpy Kid:

Rodrick Heffley

Dead Poets Society:

Neil Perry

Charlie Dalton

Todd Anderson

Steven Meeks

Chris

Pittsie

Knox

Cameron

Outer Banks:

JJ Maybank

John B. Rutledge

Kiara Carrera

Pope Hayward

Sarah Cameron

Rafe Cameron

Stranger Things:

Mike Wheeler

Will Byers

Steve Harrington

Dustin Henderson

Lucas Sinclair

Max Mayfield

Eleven (Jane)

Robin Buckley

Jonathan Byers

Nancy Wheeler

The Mighty Ducks:

Charlie Conway

Adam Banks

Jesse Hall

Greg Goldberg

Connie Moreau

Guy Germaine

Julie Gaffney

Fulton Reed

Dean Portman

Luis Mendoza

Dwayne Robertson

Ken Wu

Russ Tyler

Lester Averman

Community:

Abed Nadir

Troy Barnes

Britta Perry

Annie Edison

Jeff Winger

That '90s Show:

Leia Forman

Jay Nelson

Nate

Gwen Rnuck

Ozzie

Niki

That 70s Show:

Eric Forman

Donna Pinciotti

Jackie Burkhart

Steven Hyde

Fez

Michael Kelso

Dazed and Confused:

Randall 'Pink' Floyd

Don Dawson

Slater

Kevin Pick ford

Michelle

Mitch Kramer

____ _ _ _

I will write Character x OC and Character x Reader

I will NOT write going to 'paris' with the Weasley twins or SMUT

Requests can be made on my page

Please be kind<33

[ltwilliammowett]

Light Ships

A light ship is, if we are being precise here, nothing more then a lighthouse on a ship. The first light ship was stationed in 1732 named Nore in the estuary of the Thames River in England. It was an old, disused small vessel that carried a lantern in the masthead that was lit by candles. The vessel was not manned and was located exactly where no lighthouse could be built. The principle was not new, as the Romans had already tried to mark dangerous places and deter pirates in this way.

By the end of the 18th century, England's coast had four more now especially built for this service vessels. These ships usually had two masts but no sails and were towed to their final destination, where they were anchored and served continuously. 

The Trinity House, which was also responsible for the pilots of the Cinque Ports, now had to take care of them as well, and so from the 1820s a rotating crew was established on the ships.

The lightship at Skagen Reef, by Carl Ludvig Thilson Locher 1882  Especially when these ships exchanged their candle lanterns for whale oil lanterns from the early 19th century onwards and were also equipped with a fog horn, the crew had a lot to do with them. To act as effective daylights, trinity House lights were painted red, with the station name in large white letters on the side of the hull and a system of balls and cones at the masthead for identification.

The Sandy Hook in the 1820s (x)

The first all-round light was installed on the lightship Swin Middle in 1837; others used flashing or deck lights. For reasons of visibility, white lights were preferred, although red and very rarely green (as on the lightship Mouse) were also used.

A Jibe Around the Lightship: DAUNTLESS, 1877, by Russ Kramer (x)

The Americans followed suit from 1820 onwards and had the lightvessels moored mainly on the Chesapeake Bay. The initially unmanned ships were like their English sisters. From the 1820s, however, the ships were manned by civilians. From the 20th century onwards, the Coast Guard took over this service.

Illustration of a Lightship, by Brian Floca, 2007

The service was strenuous and dangerous and required a lot of attention, as other ships could easily ram them, which is why they were often the victims of accidents. For this reason, both the British and the American ships were decommissioned in the 1970s and replaced by light platforms.

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MC5 - Kick Out the Jams (1968) Rob Tyner / Wayne Kramer / Fred "Sonic" Smith / Michael Davis / Dennis Thompson from: "Kick Out the Jams" (LP)

Detroit Rock and Roll | Garage | Proto-Punk

JukehostUK (left click = play) (320kbps)

Personnel: Rob Tyner: Lead Vocals Wayne Kramer: Lead and Rhythm Guitar / Backing Vocals Fred "Sonic" Smith: Rhythm and Lead Guitar / Backing Vocals Michael Davis: bass / Backing Vocals Dennis Thompson: Drums

Produced by Jac Holzman / Bruce Botnick

Recorded: @ The Grande Ballroom in River Rouge, Detroit, Michigan USA on October 30-31, 1968

Album Released: in February of 1969

Elektra Records

Recorded "live" on stage at Russ Gibb's Grande Ballroom in Detroit

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Elfquest: The Audio Movie Gets its Voice Cast

Elfquest: The Audio Movie Gets its Voice Cast #AudioDrama #Elfquest

Tim Russ, Will Friedle, Amber Benson, Clare Krame, Nicole Maines, and Robert Picardo have joined the cast of ElfQuest: The Audio Movie which is currently in production in Los Angeles, New York, and Maine. Picardo will be playing Picknose, and Friedle as Strongbow. Russ has been cast as Sun-Toucher, Benson will play Nightfall, with Maines as Dewshine, and Kramer as Clearbrook. ElfQuest: The Audio…