#styner

[gazdenroolay]

styner flin :]

[kwebtv]

From the Golden Age of Television

Series Premiere

Medic - White is the Color - NBC - September 13, 1954

Medical Drama

Running Time: 30 minutes

Written by James E. Moser

Produced by Worthington Miner

Directed by Bernard Girard

Stars:

Richard Boone as Dr. Konrad Styner / Host-Narrator

Beverly Garland as Estelle Collins

Lee Marvin as Larry Collins

Jeff York as Dr. George Fletcher

Lillian Buyeff as Miss Mitchell

Mary Stewart as Nurse Marie

With:

Charles B. Chambers, M.D.

Norman Rothenberg, M.D.

Raymond Dwyer, M.D.

Julia McGill, R.N.

Gloria Negri, R.N.

Sandra Blumberg, R.N.

[bayareagraffiti1er]

A lil wayback Wednesday? #Styner #CBScrew #Rue #UGSquad #graffiti #grafflife #graff #tag #taggin #burner #piece #art #streetart #bayareagraffiti #mtn #montana #SFgraff #rusto #Krylon #instagraff #aerosolart #ironlak #graffporn #throwie #welovebombing

[streetartsf]

The Under Ground Society

Styner. Akwer. Jamer.

Cypress Alley @ 24th St in San Francisco, CA

[dweemeister]

Every lad and every lassie Hanging out at the shore, Looking smart and looking classy, Ever learning the score.

“Beach Blanket Bingo” from Beach Blanket Bingo (1965) - music by Jerry Styner and lyrics by Guy Hemric; performed by Frankie Avalon, Annette Funicello, and the cast

American International Pictures (AIP), attempting to capitalize on a market for teenage moviegoers, introduced the world to the Beach Party series in 1963 - cementing stereotypes of coastal Southern California that will probably never completely go away. The series starred one of the most popular Mouseketeers in Annette Funicello and teen idol Frankie Avalon. For its absurdity and attitude of “nothing that is silly about this movie is beneath the audience”, Beach Blanket Bingo was the fifth and most successful of the series.

The title song? Catchy as hell!

[soulmusicsongs]

The best blaxploitation soundtracks

The Blaxploitation Movies of the 1970’s were the first films made by black crews for black audiences. Filmmakers turned to black musicians to score their films and add an extra touch of soul and featured artists such as Curtis Mayfield, Willie Hutch, Isaac Hayes and Marvin Gaye. Here’s our essential selection of 1970′ blaxploitation soundtracks.

Across 110th Street - Bobby Womack (Across 110th Street, 1972). From the movie Across 110th Street (1972)

B.J.’s Step - Ed Bogas (Black Girl, 1972). From the film Black Girl (1972)

Blind Man Can See It - James Brown (Black Caesar, 1973). From the film Black Caesar (1973)

Come On Feet - Melvin Van Peebles (Sweet Sweetback’s Baadasssss Song (An Opera), 1971)

Forgotten Man - We The People (Forgotten Man / Left In The Lost and Found, 1973) From the movie Sweet Jesus, Preacherman (1973)

Hammer - Solomon Burke and Jerry Styner (Hammer, 1972). From the movie Hammer (1972)

Hit Man (What You Gonna Do) - H.B. Barnum (Hit Man, He Aims To Please, 1972) From Hit Man (1972)

Keep On Movin’ On - J.J. Johnson featuring Martha Reeves ‎(Willie Dynamite (Music From The Original Motion Picture Soundtrack), 1974). From the movie Willie Dynamite (1973)

Lay It On Your Head - Don Julian ‎(Savage - Super Soul Soundtrack, 1973) From Savage! (1973)

Mack Man - Willie Hutch (Got to Get Over) (The Mack) (1972). From The Mack (1972)

Power Of Your Love - Rudy Ray Moore ‎featuring Mary Love (Rudy Ray Moore Is “Dolemite” (From The Original Motion Picture Soundtrack), 1975) From Dolemite (1975)

Pursuit Of The Pimpmobile - Isaac Hayes (Truck Turner, 1974). From Truck Turner (1974)

Sheba, Baby - Monk Higgins and Alex Brown featuring Barbara Mason ‎(Sheba, Baby, 1975) from Sheba Baby (1975)

Supernatural Voodoo Woman (part 1) - The Originals (Supernatural Voodoo Woman (part 1) / Supernatural Voodoo Woman (part 2), 1974). From Sugar Hill (1974)

Super Shine #9 - Sister Goose And The Ducklings (Original Motion Picture Soundtrack: Gordon’s War, 1973). From the action film Gordon's War (1973)

More Soul Music Lists

15 Soul Songs Against Drugs

Peace and Happiness

Tribute to Muhammad Ali in 15 songs

15 soul songs about friendship

Songs to comfort us in difficult times

[renerox]

The GOLDEN BREED (1968. OST Vinyl Rip!)

The GOLDEN BREED (1968. OST Vinyl Rip!)

. Vinyl rip of this REAL COOL soundtrack featuring guitar hero Davie Allan along with members of the Riptides [as The Back-Wash Rhythm Band] and other West Coast studio vets as Harley Hatcher, Jerry Styner, Guy Hemric and Mike Curb. Fav tunes: What Turns You On, Coral Below, High Rise, Over The Falls, Waimea Bay, Surfers Paridise. Don’t miss this wave. Dig! ”This film marked the end of the…

[acrossthewavesoftime]

Proof of how eerily, unintentionally spot on satire can be sometimes: the first is an excerpt from the play The fall of British tyranny: or American liberty triumphant. The first campaign.: A tragi-comedy of five acts, as lately planned at the Royal Theatrum Pandemonium at St. James's. The principal place of action in America., written by John Leacock. The play, published in 1776, pokes fun at the British commanders; the character of Admiral Tombstone parodies (very well, I might add) Samuel Graves.

Below is an excerpt from a letter dated 13 March 1776, written by Admiral Graves' godson John Graves Simcoe to his mother. Aside from assuring her he's well and hoping Admiral and Mrs. Graves had a safe passage back to England, he recounts how he stole a chicken...

References:

Leacock, John, The fall of British tyranny: or American liberty triumphant. The first campaign.: A tragi-comedy of five acts, as lately planned at the Royal Theatrum Pandemonium at St. James's. The principal place of action in America., Styner and Cyst, Philadelphia 1776, p. 53.

John Graves Simcoe to Katherine Simcoe, dated 13 March 1776, in: Riddell, William Renwick. The Life of John Graves Simcoe, First Lieutenant-Governor of the Province of Upper Canada, 1792–96, McClelland & Stewart, Toronto 1926, p. 50.

[awakeningthevioletswithin]

Time for journalists interviewing victims of long term abuse to stop asking "why didn't you just leave?" We know why, they had been so thoroughly intimidated and inculcated in their abuse they are scared and feel powerless. And especially when the abuse started when they were very young. Oprah explained this shit in the 90's. Steven Styner, Elizabeth Smart, the Turpin kids, Gypsy Rose Blanchard, Nexium victims, the Angolo kids. Enough.

[citizenscreen]

Richard Boone’s first appearance on the cover of TV Guide as Dr. Konrad Styner of “Medic” [week of October 15–21, 1955]. Boone received an Emmy nomination that same year.

[richard-styner]

Beautiful shot I took at Zion National Park! Photo by Richard Styner

[undine66770]

Richard Boone as Dr. Konrad Styner in Medic (1954-1956). 

[vader66]

View this post on Instagram

A post shared by @vader66art

#Sundaysprayday from @thephoenixtheater today... with The homies #infect #myan #umami #luke #epoxe #hepos #hiker #jahts #styner & #ram #art #vader66 #graffiti #streetart #bayarea #hardworkpays #petaluma #sonomacounty #undergrondart #rebelart #sprayart #urbanart #partymonsters #creepskult #painthuffsquad #odk #bayareaart #northbay #showup #bayareaart #bayareagraffiti #hostiletakeoverforever (at The Phoenix Theater)

[bayareagraffiti1er]

Throwback sleeping in a tunnel waiting for @urgodstyner to finish up lol #Styner #UGSquad #CBScrew #graffiti #grafflife #graff #tag #taggin #burner #piece #art #streetart #bayareagraffiti #mtn #montana #SFgraff #rusto #Krylon #instagraff #aerosolart #ironlak #graffporn #throwie #welovebombing

[cerebrodigital]

Producen monos con genes cerebrales humanos en un experimento éticamente fraudulento.

Producen monos con genes cerebrales humanos en un experimento éticamente fraudulento.

lanikea

En un intento por aprender más acerca de la forma en que se desarrolla el cerebro humano, los científicos en China han agregado un gen cerebral humano al genoma de los monos rhesus. Se llama MC HP 1, o microcefalina, y está involucrado en la regulación del crecimiento fetal del cerebro.

La adición parece haber hecho a los monos más inteligentes. Los cerebros de los animales transgénicos tardaron más en desarrollarse, más como los de los niños humanos, y también mostraron mejores habilidades de memoria y tiempos de reacción más rápidos, en comparación con sus compañeros no modificados.

"Este fue el primer intento de comprender la evolución de la cognición humana utilizando un modelo de mono transgénico", dijo el genetista Bing Su del Instituto de Zoología de Kunming.

Los organismos transgénicos no son nada nuevo. El primero se publicó en 1974, cuando los genes de Staphylococcus aureus se unieron en Escherichia coli. El primer mono transgénico, insertado con genes de medusas, fue creado en 2001.

Se han agregado genes humanos a los monos para estudiar enfermedades y afecciones como el autismo, y los ratones se han modificado con genes de la cognición humana, incluida la microcefalina alterada. Pero los investigadores creen que esta es la primera vez que los investigadores utilizan monos transgénicos para investigar los orígenes genéticos del cerebro humano.

El equipo expuso a los embriones de monos a un virus que llevaba microcefalina humana. Esto generó 11 monos rhesus transgénicos que portaban el gen humano, solo cinco de los cuales sobrevivieron.

"Nuestros hallazgos demostraron que los primates no humanos transgénicos (excluyendo las especies de simios) tienen el potencial de proporcionar información importante, y potencialmente única, sobre cuestiones básicas de lo que realmente hace que los seres humanos sean únicos, así como trastornos y fenotipos clínicamente relevantes", escribieron los investigadores en su papel.

Pero no todos están de acuerdo. De hecho, un artículo de 2010 condena expresamente todo el concepto de editar monos con genes del cerebro humano (aunque no necesariamente monos), calificando a tales estudios de potencial como "éticamente inaceptables" debido al riesgo elevado de daño a los animales.

Pero usar monos podría ser un paso por ese camino.

"El uso de monos transgénicos para estudiar genes humanos vinculados a la evolución del cerebro es un camino muy arriesgado", dijo el genetista James Sikela de la Universidad de Colorado, quien fue coautor de ese artículo de 2010.

"Es un problema clásico de pendiente resbaladiza y uno que podemos esperar que se repita a medida que se realiza este tipo de investigación".

La investigación genética china ya se está echando a un lado después del trabajo del genetista He Jiankui, quien afirmó haber editado la línea germinal de los gemelos humanos. Su colaborador estadounidense, Michael Deem, de la Universidad Rice, también ha sido atacada.

Es difícil saber si la nueva investigación de Su recibiría la misma recepción si no estuviera bajo la sombra de Jiankui, pero el genetista no lo está frenando. Él ya está en el trabajo haciendo nuevos monos transgénicos.

Pero Styner dijo que consideraba quitar su nombre del periódico.

"Ahora hemos creado este animal que es diferente de lo que se supone que es. Cuando hacemos experimentos, debemos entender bien lo que estamos tratando de aprender, ayudar a la sociedad, y ese no es el caso aquí". él dijo.

"Están tratando de entender el desarrollo del cerebro. Y no creo que lo estén logrando".

  La investigación ha sido publicada en National Science Review.

Puedes leer el artículo completo aquí.

  Este artículo fue públicado originalmente en science alert.

- Cerebro Digital

[dweemeister]

Dr. Goldfoot and the Bikini Machine (1965)

Dr. Goldfoot and the Bikini Machine is as good a movie as its title suggests. A half-parody of the 1964 James Bond movie Goldfinger and a sort of crossover spin-off of American International Pictures’ (AIP) beach party series (beginning with 1963′s Beach Party to 1965′s How to Stuff a Wild Bikini) and Edgar Allan Poe series of films, one has to wonder who the hell would even think of writing something like that? Well, screenwriters Robert Kaufman and Elwood Ullman certainly did from a story by James Hartford, and AIP’s producers – always looking to cater to a teenage audience (the rock ‘n’ roll and bare-but-not-too-bare skin certainly helped the teenage draw to the beach party movies; I’m not certain if those same teenagers were attracted to seeing Vincent Price hamming things up in Poe adaptations) – certainly did.

With Norman Taurog (a career stretching from early talkies to several Elvis movies) attached to direct and Vincent Price as Goldfoot (the character wears gold, pointy, elfish shoes), there is some talent here salvaging the film from being utter dreck. Dr. Goldfoot and the Bikini Machine could be seen as one of those so-bad-it’s-funny pieces, at least for those who know what they are getting into. For those who have never seen a single AIP beach party movie, go watch Beach Blanket Bingo (1965) instead – the campiness of Dr. Goldfoot may be too much to tolerated for AIP novices. For in the tradition of AIP’s productions, this is a spin-off well aware of the beach party series overextending, passing its sell-by date.

Here, archetypal mad scientist Dr. Goldfoot (Price) has constructed several golden bikini-clad female robots directed to flirt and fraternize with San Francisco’s rich and famous. Goldfoot’s laboratory assistant. Igor (Jack Mullaney; of course his character is named fucking Igor), was brought back from the dead by Goldfoot, and is tasked with programming one of the robots to the ludicrously rich bachelor, Todd Armstrong (Dwayne HIckman). Instead, the robot, named Diane (Susan Hart), becomes involved with Agent 00½, Craig Gamble (Frankie Avalon), who works for the Security Intelligence Command (SIC; he’s a “SIC” man, so one sedative joke goes). As Todd and Craig become entangled in each other’s lives, they realize the lives of the San Francisco Bay Area’s economic and political elite are threatened by Goldfoot and his nearly naked robots, and team up for the greater good. They track Goldfoot to his fiendish lair underneath a cemetery, fend off attempts at a torturous death, and seriocomic hilarity ensues.

One suspects that Dr. Goldfoot and the Bikini Machine would collapse without the actor billed first, playing the antagonist: Vincent Price. Early in Price’s career, he was a stock character actor at 20th Century Fox, appearing in prestigious films such as The Song of Bernadette (1943) and Laura (1944). As the 1950s arrived, Price dabbled in horror films, leading him to embrace campier films that appealed to younger audiences. These films, often derided as seedy drive-in pictures, were a specialty of AIP – hence Price’s appearance in many AIP pictures. Price, an American with a mid-Atlantic accent who established a career in lavish 20th Century Fox period pieces, never treated his work in less-than-reputable productions as beneath him. And, as seen in Dr. Goldfoot, he plays up his character’s tongue-in-cheek, sexualized attitude towards his female robots. The situations are impossible, the characters idiosyncratic. Yet, there is not a single inauthentic moment with Price, and he flings himself headfirst into otherwise thoughtless material – that devilish laugh, that condescending flippancy! One only wonders what Price might have brought to the James Bond series if he was ever cast as a villain.

For the other principal actors, there are too many lousy performances to go around. Dwayne Hickman and Jack Mullaney – as Todd Armstrong and Igor, respectively – are silly throughout, but never registering anything past a chuckle. Hickman, whose interplay with Frankie Avalon was developed in Ski Party (1965; basically the beach party series’ characters during a winter break, rather than spring or summer) and How to Stuff a Wild Bikini, boasts boyish good looks but little else. Mullaney brings nothing to the stereotypical maniacal lab assistant character.

Regarding Avalon, the misadventures his characters in AIP films always verged on the slapstick. In the midst of his farcical surroundings, Avalon is the inoffensively delightful straight shooter for the duration – but his interactions with Price are some of the best examples of two bouncing off each other’s performances in an AIP movie aside from the numerous times co-starred with Annette Funicello. Price and Avalon are two actors with different skillsets and of varying competence, but their performances are mindlessly entertaining, never laborious to watch.

So much of Dr. Goldfoot is a melding of incongruous, barely funny comedic bits – unclever sexuality is a hallmark of AIP teen-centric movies (a champagne bottle popping open and frothing when a buxom robotic babe arouses a male character, anyone?); the climactic chase scene up and down San Francisco and Marin County (immediately north of San Francisco on the other side of the Golden Gate Bridge) is more The Great Race (1965) than beach movie/Edgar Allan Poe mashup. The wordplay contained in Dr. Goldfoot is not the wittiest, but Vincent Price exclaiming lines like, “Stop dinging that dong!” will elicit some laughs. Sophisticated humor this is not; nor is it scatological or sexploitative. Reused footage 1961′s The Pit and the Pendulum’s torture scenes are poorly edited into Dr. Goldfoot, distracting from the macabre silliness that begins the movie’s final third. Select cameos will be lost on some who have not seen a single beach party movie.

Originally planned as a comedic musical (Price was looking forward to singing in a 007 spoof, but alas), Dr. Goldfoot and the Bikini Machine contains only one original composition: the titular song sung by The Supremes. Don’t rub your eyes, you’ve read that correctly – The Supremes, the same trio that recorded, “Where Did Our Love Go”, “Baby Love”, and “Come See About Me” the year prior (so they were anything but unknowns when Dr. Goldfoot was released). Composed by Guy Hemric and Jerry Styner, “Dr. Goldfoot and the Bikini Machine” accompanies a lively stop-motion animated opening credits that might just be the best part of this movie – Goldfoot’s tapping shoes, electrical discharges, the golden bikinis, and a dangerously fast drive down Lombard Street in San Francisco unfortunately means the rest of the movie doesn’t live up to the creativity of its opening credits. The song itself was distributed for radio stations as a single-sided promotional single, never available for mass release.

As an ancestor to the Austin Powers series with its frequent innuendo, Dr. Goldfoot and the Bikini Machine unapologetically has a madcap plot where filmmaking was subordinate to dopey fun. Earning enough for a healthy profit following its theatrical run in North America, Dr. Goldfoot proved popular in Europe, especially Italy, spawning a sequel – Dr. Goldfoot and the Girl Bombs, directed by Mario Bava, produced primarily in Italy rather than with AIP, and with Vincent Price the only actor starring in both films. Price, who enjoyed his time on set for the first film, considered the sequel, “the most dreadful movie I’ve ever been in.” To have a film considered so-bad-that-it’s-good/funny requires a special mixture of redeeming elements – competent artistry and editing, actors noticeably having fun and intentionally hamming their performances, a joyfulness. To replicate that formula for a Dr. Goldfoot sequel is just asking too much.

With the beach party series in decline by mid-late 1965 (AIP released the films in quick succession: the first installment in 1963, three sequels in 1964, and another three sequels – not including Dr. Goldfoot – in 1965), AIP found itself in terminal artistic and financial decline as the 1960s progressed. Dr. Goldfoot and the Bikini Machine has since become a cult classic. It is also a terrible movie. But, like a handful of AIP’s teenager-focused productions that I have seen, the peculiar wackiness of its performances and its absolute shamelessness made it a delightful waste of my time.

My rating: 4/10

^ Based on my personal imdb rating.