#Bill Waddington

[implxdingthemirage]

Im crying so so so much i love them 😭

[magiclamd]

Just rip my bloody heart out with middle-aged queer romance why don’t you, popular entertainment

[cinemaquiles]

Tão ruim quanto a própria peste: "O Derradeiro Julgamento" (The reckoning, 2020)

[whatdoesshedotothem]

Thursday 18.. April 1839

6 10/..

11 25/..

rainy morning and windy – fair about 9 – had A- then with Robert Norton the joiner – till F44 ½° inside and 40° outside at 7 ¾ - moving books till breakfast at 8 5/.. in about ½ hour – Mr. Horner came about 8 40/.. – then till nine and  a half preparing linen for cousin and sewing up one stocking for ditto   A- would be bad as ever but as I told her I would make no more inquiries and take the leas[t] possible notice – from 9 35/.. to about 10 ½ at account etc. then went down (A- came for me to see her drawing) to Mr. Horner till 10 50/.. – then gave A- her Brodie tonic 1 teaspoonful in 3 ditto of water and she lay down by me for a few minutes till 11 10/.. – then had her with me dusting and moving books till luncheon at 12 for about ¼ hour or more – she had a cup of sago with a glass of sherry in it – stood talking   said I would ask her to trust but was decidedly of opinion she had better do it  she says she will and we are to go to York on Saturday for the purpose of seeing Mr. Watson on the occasion she is afraid of being taken from out of my care – after luncheon had A- with me in the tower study till after 3 – she rode off to Cliff hill at 3 ½ - note from Mr. Parker this morning (the boy waiting an answer – said I would send one tonight) while in the tower study to say ‘Mr. Day will not give up his draft plan, but engages that one fair plan shall not exceed six guineas, and thinks it will not come to so much – Mr. Day quite understands that the ground is to be laid out in streets and building plots. Should you accede to Mr. Day’s terms, he would make the plan etc. next week’ – I have just written (now at 4 50/.. and A- is just come in) as follows ‘Sir – I do not attach any particular value to Mr. Days’ draft-plan I merely mentioned it, supposing it would give him less trouble to let me have this, then a fairer copy – I wish to have two plans, one to be kept at your office, and one to be kept here, both which, the one being a copy of the other, might perhaps be furnished for six guineas – if not, the matter may stand over – I am sir, etc. etc.’  I would rather pay a little more and let Mr. Harper get it done for me by sending over some of his people from York – with A- went out at 5 ½ - to Listerwick – sometime talking to Robert Mann he and William Lord walling against the road – A- having told me this morning on the 18th ultimo that she had told Booth to get locks for the Hatters street necessaries, told Robert Mann to see about them tonight – to get them put on, and give me the bill – told him I had not named it to anyone but Robert Norton, but I thought of going from home for 2 or 3 days on Saturday, and begged him to see about the meer skew bank and getting water into the paddock, and let me know about it tomorrow – then with Joseph Mann at the water wheel trenching for Pearson – then saw Pearson – told him what had passed with Turner, and that his (P-‘s brother James) was to have the field with a shed in the corner nearest the Crownest entrance gate at 20 guineas per annum – on written agreement – he paying all taxes – P- told me he understood Greenwood was going to sow the field with oats – a 2nd white crop – and the field full of wicks towed the conery – he would play up with it – then at Listerwick Edward Waddington there at the blacksmiths’ shop chimney, and Mallinson and co. at David Mann’s cottage roofing and Baldwin and co. almost finishing the blacksmiths’ shop slating – settled with Joseph Mann about righting up John Oates’s garden – walked to the back Lodge gates with Robert Mann – he intends to write to me if he thinks all not going right – thinks the colliery will soon keep itself and may pay better than one has expected – came in at 6 50/.. – A- had very soon afterwards Womersley who came to know if the schools and house were to let and in short to find out what would be asked for them – wanted for towns meetings and business – wished A- to inquire of Captain and Mrs. Sutherland – she came up to me – went down with her – advised her to have nothing to do with inquiring anything of the S-s unless W- authorized her to say what rent the town would give – he could not do that – could in fact do nothing – decided then that A- should have nothing to do with the business – W- to apply to SW. - a favour when A- asked any question of the S-s for anybody – never did it but to oblige someone by getting a quick answer to some definite proposal – dinner at 7 20/.. A- read French – Letter from Mrs. Desvoeux very satisfactory character of Gross and his wife – he thoroughly understands his business as travelling servant and is a good and active servant – she ‘understands dressmaking millinery and hair dressing pretty well and is a careful packer’ – both are ‘perfectly honest, sober, obliging and trustworthy servants’ – Letter too from Mrs. Hawkins – he inquired at the house of Mrs. Desvoeux, and both be and Mrs. Hawkins pleased with the appearance of the 2, and satisfied as to character – she says, they are very anxious to be engaged

SH:7/ML/E/23/0024

coffee – then wrote all but the first 24 lines of today till now 10 20/.. pm – Rainy morning with high wind but fair by 9am and afterwards finish day, tho’ a few drop of rain between 6 and 7 this evening, with every appearance of rain falling in the night – Walkers’ classical pronouncing dictionary came from Whitleys’ tonight my little cadeau to A- F46 ½° inside and 41 ½° outside now at 10 ¾ pm and soft (fair?) night

[watercurseslyrics]

me watching and researching Ted Lasso knowing every detail of the show is thought out and meaningful

[somosorigen]

Trailer Oficial: The Reckoning

Trailer Oficial: The Reckoning

Mientras trata de superar el suicidio de su marido Joseph , Evelyn Haverstock es acusada de ser una bruja tras rechazar los consejos de su arrendador. El mayor cazador de brujas de Inglaterra, el juez Moorcroft , decide entonces perseguirla incansablemente, lo que provoca que Evelyn comience gradualmente a perder la cordura. (more…)

[fearsmagazine]

THE RECKONING - Review

DISTRIBUTOR: RLJE Films & Shudder

SYNOPSIS: After losing her husband during the Great Plague, Grace Haverstock is unjustly accused by her landlord, after refusing his advances, of being a witch and placed in the custody of England’s most ruthless witch-hunter, Judge Moorcroft. Forced to endure physical and emotional torture while steadfastly maintaining her innocence, Grace must face her own inner demons as the Devil himself starts to work his way into her mind.

REVIEW: On the record, I’m a fan of Neil Marshall’s work. Not only has he done several projects for the big screen, but his work on the small screen includes shows like “Black Sails,” “Game of Thrones,” “Constantine,” and :”Hannibal,” to name a few. His last film,THE RECKONING, which got a limited release here in the States back in February 2020, is getting its DVD and Blu-Ray release this April.

THE RECKONING is set against the backdrop of the British Witch Trials, which last some three hundred years and saw some 100 people murdered, 90% of whom were women. The character of Grace loses her mother when she is accused of being a witch. When she is accused the landlord sends for the witch judge, the same man who murdered her mother. The story focuses on Grace, a strong female hero, who deals with the trial and tribulations of dealing with all this loss in her life, and now, herself, a mother. Ultimately it becomes a battle of wills between Grace and John Moorcroft, the witch judge. It’s compelling to see how Grace is dealing with her beliefs and determination when juxtaposed against that of Moorcroft’s belief and faith in what he is doing. There is an entire conversation to be had about the morals, ethics, and the parallels of what is transpiring in the world today.

I truly enjoyed the performances of Charlotte Kirk as Grace and Sean Pertwee as Moorcroft. I’ve seen both in other projects but was so engaged in their performances that it was till afterwards when I recalled their previous works. Kirk is able to instill in Grace such convection, such strength, which never gets lost in her vulnerability or her femininity. Pertwee gives a brilliant performance of a man consumed by his beliefs, driven to unspeakable acts not for his own personal pleasure but for his religious convictions. It makes for a compelling character study and an exploration of the period.

Marshall does an excellent job of working with all the elements at his disposal. There are some excellent locations, costumes, props, special and visual effects. Marshall captures the violent nature of the period without being gratuitous or exploitative. He doesn't shy away from the violence and remains respectful in terms of what he presents. For a film with limited action, he maintains an engaging pace that moves the tail along. There are so beautiful pastoral scenes and bleak dark prison sequences. He really does an exceptional job of striking a balance between the light and darkness.

The DVD and Blu-Ray release feature some deleted scenes, However, there is no director commentary so no insight as to why they were omitted from the film. In fact, there is no director’s audio commentary offered that could have shed some light into some of the choices Marshall made in crafting the film.

THE RECKONING is an excellent film by a contemporary master of the genre cinema. There are many reasons to secure a copy for your library, but the bonus features, or lack thereof, are not one of them. The film seems a bit reminiscent of the 1970 film “Mark of the Devil,” in which a witchfinder’s apprentice begins to have concerns of what they are doing in relation to what he has been witnessing. In both films things begin to unravel as people begin to see the injustice of what is being done. While “Mark of the Devil” is a more gritty, exploitative film, THE RECKONING is a more timeless tale with horror elements that captures a true test of wills and female empowerment.

CAST: Charlotte Kirk, Sean Pertwee, Steven Waddington, Joe Anderson, Rick Warden, Mark Ryan, Bill Fellows, Suzanne Magowan, Leon Ockenden, Sarah Lambie, Emma Campbell-Jones, and Ian Whyte. CREW: Director/Screenplay - Neil Marshall; Screenplay - Charlotte Kirk & Edward Evers-Swindell; Based on the story 'Red Hex' by Antony Jones & Edward Evers-Swindell; Producers - Daniel-Konrad Cooper, Michael Marks, & Esther Turan; Cinematographer - Luke Bryant; Score - Christopher Drake; Production Designer - Ian Bailie; Costume Designer - Mária Fatér; Special Makeup Effects - Jack Coakley; Special Effects Supervisor - Adam Szlávy; Visual Effects Supervisor - Martin Malmqvist. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/eGdraBkCeUA RELEASE DATE: DVD and Blu-ray on April 6th, 2021, SHUDDER May 13th, 2021.

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[anne-lister-adventures]

Monday, 13 May 1839

7 1/2

12 3/4

Fine but dull morning Fahrenheit 48 1/2º inside and outside at 8 3/4 – Breakfast at 8 50/’’ in about 1/2 hour – Just setting about work (arranging things) upstairs when Mr. S.[Samuel] Washington came – Final paying off – Some time A-[Ann] and I with him – 

All ended satisfactorily – Glad to have mentioned the Rookes engine coal bid – It seems the coal under the 2 little fields up to the road belongs to Mr. Whiteley the coal under the whole estate of which Lower Rookes originally formed part, being reserved and sold to Mr. Rawson and by him resold to Mr. Whiteley – 

S.[Samuel] W.[Washington] would consider of the value – Thinks only about an acre to get belonging to Captain and Mrs. S-[Sutherland], and that so near the surface, it would cost a good deal to make the ground good again – Mr. Whiteley wants to have the loose from now paying a pound a year for it till he wants to make use of it – 

A-[Ann] read what Mrs. S-[Sutherland] wrote respecting this in her last letter – Better to let the matter rest for the present – For the S-s[Sutherlands] thinking of £10 a year from the present and for a term of only 7 years were not likely to consent to Whiteley’s plan – S.[Samuel] W.[Washington] shewed how Whiteley by keeping a loose of his open might much benefit the Sutherlands – This to be mentioned by A-[Ann] so that both sides might make things as agreeable as they could – 

S.[Samuel] W.[Washington] said he once had £320 per acre bid for the coal (Lightcliffe bed 27 in.inches thick) on the other side of the Leeds and Whitehall road belonging to the S-s[Sutherlands] by Stocks of Lightcliffe – I said he would never have it bid again – To which he seemed to agree – He is to set out the 1200 yards each of stone for Messers Hemingway this afternoon – 

Ordered copy of plan of the Township of Southowram – To be on 4 small sheets of paper – Given to Whitely to mount in 4 x 6 parts or folds, and done up in case – to be done in 6 weeks – Price £9 (nine pounds) – To be sent to Hammerslys – All parted agreeably – My going down – Ordering the plan – What was about stone and coal, &c. &c. seemed to satisfy S.[Samuel] W.[Washington] and A-[Ann] and I were all went off finally so well – 

I wanted but the mere plan of the Township – But asked S.[Samuel] W.[Washington] to make all the stone quarries stone-colours, and to dot in pencil all the lines of coal-throws he knew of – And just to write on a separate piece of paper the amount of value at which each of my farms &c. stand in the Towns book – Do not want a copy of this book – Which has cost A-[Ann] for Hipperholme cum Brighouse 4 guineas + about 30/- for book &c. – 

A-[Ann] paid him on her own account (including £17.10.0 salary up to midsummer) 57.2.6 + on my account 8.15.6 1/2 + given over 4.1.11 1/2 = £70 for which she gave him order on the Commercial Bank late Briggs’s – 

Then had Hinscliffe who had been waiting some time – Came to pay and did pay his coal rent = £50 having now paid (at 14 payments) £700 – The old agreement ends in 1842 – The new ordered to end at the same time but H-[Hinscliffe] begged for a little longer time – Thinks there may be 2 acres to get in one of the Flashes now let – The new agreement to be prolonged one year, and end in 1843 – 

Message from Hannah Walker that she wanted the brick-field (the little croft she rents of A-[Ann] at 30/- per annum) A-[Ann] explained – Some of the oldest-in-the-family property A-[Ann] has; and H.[Hannah] W.[Walker] might as well ask for Cliff Hill – If Mrs. H.[Hannah] W.[Walker] not consent to A-‘s[Ann’s] wishes respecting the 300 yards of ground to be bought along the Crow Nest carriage road, in consideration of the privilege A-[Ann] granted her (to have her coal pulled at the pit in A-‘s[Ann’s] land) then that A-[Ann] would not grant the privilege, and would not trouble her head any more on the subject – 

Asked H-[Hinscliffe] what he valued the engine coal at in the 2 fields adjoining the Leeds and Whitehall land, and coming down to Harper Cliff wood – On rather the field above of which both coal and surface belong to the S-s[Sutherlands] H-[Hinscliffe] answered £50 per acre – What said I, no more than that! I have a hundred guineas per acre bid for engine coal in Well Royde land – (Holt said some time ago he would give that for it) – Why said Hinscliffe, it does but sell for 3d. a load – Good – But it costs nothing besides the rent, except the labour of getting out at the day – 

H-[Hinscliffe] says the coal (loosed by the Harper Wood Sutherland loose) lies like “a load-saddle” (packsaddle) cut off by the great throw which he, H-[Hinscliffe] has driven thro’ in shelf – 60 yards broad – He considers the bed he is now working to be between the Lightcliffe better bed (which is perhaps 80 yards + below him) and 2 or 3 workable beds above him – The stone coal (Anthracite) comes out (I forget where in shelf) and they know that there is always good coal beneath – 

Gave back to H-[Hinscliffe] the Newcastle Country coal plan (of pit 135 fathoms deep) he lent me in 1835 – He always lingers long – His tale never shortly told – Did not go till about 12 1/4 or later – 

Then with A-[Ann] and sat with her 5 minutes at luncheon till 1 – Then came upstairs and wrote all but the 1st line of today having had A-[Ann] with me about 1/2 hour till after 2 – Had just written so far at 2 20/’’ wrote her copy of note to M[esse]rs P[Parker] and A[Adam] A-[Ann] to write to Messers P.[Parker] and A.[Adam] to let Hinscliffe’s new coal agreement end with the year 1843 – To have no right to enter upon, or take up even a sod in the one of the Flashes now leased, and no right pull up at A-‘s[Ann’s] pit. Any coal not rented of her under a penalty after the rate of one hundred and fifty pounds per acre – 

A-[Ann] off to Cliff at about 2 20/’’ – Fair as she went – Rain and snow as she returned – From about 2 1/2 for the rest of the day busy of one thing or other of siding kind – Michael the joiner took down the door into my old study and umbrella cupboard and widened the doorway into blue room (except cuting away the 1/2 stooth that is to come) this afternoon and I got things the things partly put away – Standing desk sent up into the Tower study, and took up books – A-[Ann] and I busy there assorting and arranging till 11 50/’’ p.m. – 

Robert Norton and Robert junior finished the North chamber this afternoon between 4 and 5 they and Mrs. Lee have been at this and the armoires and cloak-closets the whole of last week – Edward Waddington, Joseph Booth and Robert Wharton and Grey the labourer and a lad (masons) got up again the hall chimney piece between 7 and 8 this evening – Having been a week about the taking down dressing over again and reputting up – 

Dinner at 7 25/’’ in 40 minutes – In the cellar just before dinner – 1 old Madeira – A-[Ann] read French – No time to read the newspaper – Coffee – In the tower study (A-[Ann] with me from 10 1/2) till 11 50/’’ – 

Fine but dull morning – Very dark about 3 and from 3 25/’’ for the rest of the afternoon and evening rainy, snowy and haily – The ground whitened over between 7 and 8 a.m. Fahrenheit 46º inside and 35º outside at 11 50/’’ p.m. – 

The Low Moor bill the steam engine (8 horse power) came this afternoon = £684+! so much for Mr. S.[Samuel] W-‘s[Washington’s] making no regular agreement according to the instructions I left, and taking upon himself the ordering instead of leaving it as I directed to Mr. Holt – 

Well! I have turned S.[Samuel] W.[Washington] off for it – perhaps je me suis dédommagée; and my sharper looking into and after things for the future may be more than recompense –

 [symbols in the margin of the page:]             ✓       ✓         w         w

[in the margin of the page:]   Sutherland coal

[in the margin of the page:]   Order plan of Township of Southowram

[in the margin of the page:]   Flashes coal agreement vide next p.[page]

[in the margin of the page:]   Sutherland E.[Engine] C.[Coal] at £50. Rookes engine coal

[in the margin of the page:]   vide     72.

[in the margin of the page:]   A-’s[Ann’s] new coal agreement vide last p.[page]

Page References:  SH:7/ML/E/23/0041 and  SH:7/ML/E/23/0042

[a-dinosaur-a-day]

Bucorvus

Southern Ground Hornbill by Neil McIntosh, CC BY 2.0 

Etymology: Hornbill Crow

First Described By: Lesson, 1830

Classification: Dinosauromorpha, Dinosauriformes, Dracohors, Dinosauria, Saurischia, Eusaurischia, Theropoda, Neotheropoda, Averostra, Tetanurae, Orionides, Avetheropoda, Coelurosauria, Tyrannoraptora, Maniraptoromorpha, Maniraptoriformes, Maniraptora, Pennaraptora, Paraves, Eumaniraptora, Averaptora, Avialae, Euavialae, Avebrevicauda, Pygostaylia, Ornithothoraces, Euornithes, Ornithuromorpha, Ornithurae, Neornithes, Neognathae, Neoaves, Inopinaves, Telluraves, Afroaves, Coraciimorphae, Cavitaves, Eucavitaves, Picocoraciae, Bucerotiformes, Buceroti, Bucorvidae

Referred Species: B. brailloni, B. leadbeateri (Southern Ground Hornbill), B. abyssinicus (Abyssinian/Northern Ground Hornbill)

Status: Extinct - Extant, Vulnerable

Time and Place: From about 12 million years ago, in the Serravallian of the Miocene, through today 

Ground Hornbills are known from across the entire African continent 

Physical Description: Ground Hornbills are truly impressive living dinosaurs, large in body and bulky in form. They can reach up to 100 centimeters in length, weighing as much as 6 kilograms. They are black over most of their bodies (leading to their being named for crows and ravens, which they are not closely related to at all), with grey legs and grey bills. They also have grey crests on the tops of their heads. Their heads feature bright coloration which is distinguished from the rest of the body - red patches, blue patches, yellow bits, and wattles, which vary from species to species. The undersides of their wings are white, and they have short and thin tails. Called hornbills for their very large, pointed beaks, these bills make up a major chunk of their heads. They also, interestingly enough, have eyelashes on their eyes to aid in protecting them. The juveniles are somewhat brown, and they become more black in color as they age. 

Northern Ground Hornbills by Rod Waddington, CC BY-SA 2.0 

Diet: Ground Hornbills primarily feed upon arthropods such as insects, spiders, and scorpions. They also feed upon other invertebrates like snails, and larger prey such as snakes, lizards, small mammals, and carrion. Though they have been recorded feeding upon berries, they are primarily carnivorous. 

Southern Ground Hornbill by Francesco Veronesi, CC BY-SA 2.0 

Behavior: Ground Hornbills are extremely fascinating creatures, able to fly but spending most of their time on the ground searching for sources of food. They will move slowly and carefully, searching around for prey that then is picked up with their large bill, very carefully and in a picky fashion from the ground. They forage in small groups - with a mate, or with their offspring. They rarely gather in large groups, usually only when food is especially abundant. They��ll even dig into the ground or poop looking for food. When large prey is found, groups will gather and attack it together, dismembering it as a team. These are extremely vocal birds, making low-pitched hoots at each other often at two different pitches. They will make softer hoots when snuggling with each other, and deep alarm grunts. They are often known to call for long periods of time. They do not migrate, but do wander about; juveniles will stay where their parents lived for many years.

Northern Ground Hornbill by Sakari A. Maaranen, CC BY 3.0 

The Ground Hornbills are cooperative breeders - the dominant pair will be assisted by juvenile and younger adult helpers, all defending the nesting territory fiercely. Males will prepare their nests in large tree cavities, sometimes in rock holes or baskets - they will line the hole with dry leaves, and not seal the entrance. Two to three eggs are laid and incubated for two months by the dominant female of the group. Upon hatching, the group members will feed the babies together, but usually the second or third eggs don’t survive - either the eggs don’t hatch, or the chicks starve to death. The chicks stay in the nest for three more months, and the juveniles stick with their families for a little while after hatching. They tend to reach sexual maturity between six and seven, but they don’t usually breed for the first time until later. They also tend to breed only once every three years - a rarity for birds. The birds can live for a very long time - in captivity, they’ve been seen living for up to 40 years. 

Southern Ground Hornbill by Lip Kee, CC BY-SA 2.0 

Ecosystem: Ground Hornbills live in a variety of habitats, across woodland and savanna, as well as grassland patches. The Southern Ground Hornbills live in more moist habitats than the Northern Ground Hornbills. They are often fed upon by large carnivores such as leopards, and can be a host for a wide variety of parasites and diseases. 

Northern Ground Hornbill by Bernard Dupont, CC BY-SA 2.0 

Other: All living Ground Hornbills are recorded as being vulnerable to extinction at this time. Despite being extremely widespread, they are sparse across their range. This sparseness makes it harder for them to find others of their species and mate with them. They are often hunted and killed, or even murdered as a bringer of bad luck in some cultures. Ground Hornbills also break window panes and are killed for that, in addition to being killed for being a harbinger of drought. Habitat loss also greatly contributes to their decline in population. They do live in several national parks, and there are conservation efforts to aid in its reproduction, using the abandoned eggs to raise more of the birds. Reintroduction, however, is more difficult than anticipated. 

Southern Ground Hornbill by Derek Keats, CC BY 2.0 

Species Differences: The Northern Ground-Hornbill is known from Central Africa, and features blue patches on its face with a yellow bit in the front. Males have red additions to their throat wattles. The Southern Ground-Hornbill, on the other hand, is all red, with no yellow or blue to be found. They are also found in southern Africa. In addition to all of this, the Northern Ground-Hornbill is somewhat lighter in weight than the Southern Ground-Hornbill. The extinct species, B. brailloni, was from much more north - in Morocco - and was much older, as well as a little smaller, than its living relatives. 

Northern Ground Hornbill by Noel Reynolds, CC BY 2.0 

~ By Meig Dickson

Sources under the Cut 

Gill, Frank; Donsker, David, eds. (2019). "Mousebirds, Cuckoo Roller, trogons, hoopoes, hornbills". World Bird List Version 9.2. International Ornithologists' Union. Retrieved 23 July 2019.

Gonzalez, J.-C.T.; Sheldon, B.C.; Collar, N.J.; Tobias, J.A. (2013). "A comprehensive molecular phylogeny for the hornbills (Aves: Bucerotidae)". Molecular Phylogenetics and Evolution. 67 (2): 468–483.

Jobling, James A. (2010). The Helm Dictionary of Scientific Bird Names. London: Christopher Helm. p. 80.

Kemp, A. C. 1995. The Hornbills. Oxford University Press, Oxford.

Kemp, A.C. & Boesman, P. (2019). Northern Ground-hornbill (Bucorvus abyssinicus). In: del Hoyo, J., Elliott, A., Sargatal, J., Christie, D.A. & de Juana, E. (eds.). Handbook of the Birds of the World Alive. Lynx Edicions, Barcelona.

Kemp, A.C. & Boesman, P. (2019). Southern Ground-hornbill (Bucorvus leadbeateri). In: del Hoyo, J., Elliott, A., Sargatal, J., Christie, D.A. & de Juana, E. (eds.). Handbook of the Birds of the World Alive. Lynx Edicions, Barcelona.

Kinnaird Margaret F. and O‘Brien, Timothy G.; The Ecology and Conservation of Asian Hornbills: Farmers of the Forest; pp. 20-23.

Lesson, René (1830). Trait�� d'Ornithologie, ou Tableau Méthodique (in French). Paris: F.G. Levrault. p. 256

Peters, James Lee, ed. (1945). Check-list of Birds of the World. Volume 5. Cambridge, Massachusetts: Harvard University Press. p. 272.

Skutch; Alexander Frank (author) and Gardner, Dana (illustrator) Helpers at birds' nests : a worldwide survey of cooperative breeding and related behavior pp. 69-71. Published 1987 by University of Iowa Press.

Wasser, D. E. and Sherman, P.W.; “Avian longevities and their interpretation under evolutionary theories of senescence” in Journal of Zoology 2 November 2009

[mattkeepsrambling]

No One Knows What They're Doing: Let's Review

Three weeks of this school year have officially passed, and the wheels keep turning. When we returned to school, we were told that we would reevaluate and determine if we could go back hybrid after four weeks. No decision has been made yet, and as far as I know, there have been no discussions made.

This week was kind of uneventful. I did some testing of Kindergarteners on Thursday and Friday. With all that being said, I don't have much to say about this week. I'm going to take a pause from talking about teaching in the age of COVID and head back to the world of reviews. I have been watching two things, on the complete opposite ends of the spectrum.

I love "scrubs." I am currently rewatching it for the umpteenth time while listening to stars Zach Braff and Donald Faison's podcast "Fake Doctors Real Friends." It is one of those shows to which shows I will always return. Creator Bill Lawrence has a new show on AppleTV+ called "Ted Lasso."

Ted Lasson (Jason Sudeikis) is an American football coach brought over to England to coach a football club in Richmond. Ted is brought over to the UK by Rebecca (Hannah Waddington), who got the team in a contentious divorce. The team was the only thing her ex-husband (played by Anthony Head) ever loved. She plans to destroy the team, and she brings in Ted as the first step. The show sets her up as the main antagonist in the early episodes, but as the show continues, that changes.

What I love about the show is that Ted is a relentlessly, optimistic person. This show is such a refreshing thing to watch in a world full of cynicism and hate towards others. Ted succeeds despite everything that gets thrown in his way. The team starts winning, and he can get this dysfunctional team to work as a group. Even the fans who hate him when he first arrives begin to like him. This air of unwavering positivity and funny writing and acting make this show such a joy to watch.

Then over on HBO Max, there is the new documentary series "The Vow." It follows this organization called NXIVM. In the beginning, this group is about "realizing your potential" type of stuff. They hold seminars and do talks on a wide range of topics meant to help people better themselves. Then things start to go wrong. Within the group, a smaller group recruits women to join and keep them there through all sorts of manipulative tactics.

This is so fascinating. In the first few episodes, you can see why people bought into this idea. Then things take a turn. These women are forced to offer up "collateral" when they join and have to re-up from time to time. They send nude pictures or family secrets to their "masters" to get released if they ever go against the group. Did I mention they get branded? It is horrifying to watch, and all this ended up making news a few years ago. Sometimes it is tough to watch, but it is riveting nonetheless.

Next week in school, I will be analyzing data on Monday and testing the older grades so I might have another week of a quick update and mini-review or two. All and all, things are going pretty good (all things considered.)

[randomaldiarytranscriptions]

1836 Friday 9 December

8 25/..

12 35/..

No kiss fine and Fahrenheit 36 1/2 ° at 9 25/.. – breakfast at 9 1/2  - Ann’s cousin came very gently –

out at 10 1/4 - about off to the Lodge about 10 1/2  - a long while talking to Wiliam Pollard – sent Matty upstairs while I talked to him about his affairs – wished him to settle them before I went away – to consult Mr Parker about sinking his money as to what intention he ought to have paid for his and Matty’s life – if he bought the Godley cottage I would take them of him and he should be paid as he chose by installments like Mr Green – or I would take the money and let him have some much a year as long as it lasted – and if our thing spared it should be disposed of as he should direct – Mr Green had said he (William) and his wife could not live under 10/. a week –

then to Mawson’s – gone to Bradford – left word with his wife for him to call tomorrow morning – it was raining a little when I left the Lodge about 12 – it now rained and began to snow so went in to shelter at the Turnpike house and the rain or snow being more than I liked to face stood a long while – the man tiring of the turnpike – would be glad of a little shop thereabouts – he said no more – I asked if he thought he could make a living of it – yes! sure he could – I said nothing further – but thought that instead of offering the 2 cottages tomorrow morning I would merely settle about his getting me a purchaser for one of the ponies and ask the bar-man’s character –

Mr Freeman seeing me standing in the bar here came in and stood a long while talking – I mentioned the stone letting – he had seen Wombersley – heard the bills were out – would go to the letting if he could – thought I could not have set it out better – very civil about the stratification of yew trees wood quarry – will go on Sat if fine and meet Samuel Washington there and measure and level and shew me the exact thicknesses and tip of the thatch – very civil and I very civil – then told – his likelihood of law with Mr John Rawson about water – shewed me a letter he had had from Mr John Rawson and one he had written in answer – very well – but at last I told him that were I in his place I would not send the letter – would write no more but let my attorney (he said Higham) settle the matter for me – Freeman seemed well satisfied – thought I was right – it was good advice he would follow it – nobody he would better like to consult than me! – It just occurs to me Is Freeman at the bottom of Wombersley’s bid for the stone? Not unlikely! – Is Wombersley a man to pay down £500 so very easily?

Still snowing at 1 3/4 but walked forward to Mytholm quarry Samuel Booth and his cousin Joseph Booth and John Frier there baring stone – a large quantity bared enough – sent them to the Low fish pond drift month walling and covering – Robert Mann gone to the kale and to see about blocks for the shears – had hardly sent the men off when Robert Mann came remained a little while at the quarry – then took Robert to the meer to explain about the Clow – Hardcastle met us – stopped me to tell me he could sell me his little wood – had seen Wiliam Knighley who told him there was coal in it – that I should know all about it – I had wanted to buy his brother’s little farm and corner wood – oh! thought I – however I merely said Yes! I knew all about the coal and knew I could never get it – William Knighley had best buy the coal only wanted the wood – Hardcastle at last got out that he wanted to build 2 or 3 more cottages and thought of asking me £300 – I said he frightened me – afraid that would do for 2 1/2 DW of hill – steep – wood and every stick just cut down – however I would tell Samuel Washington to value for me and I would see about it – Hardcastle said I should have the 1st refusal – then that I should have the wood – in fact he wants me to have it – nous verrons – I have made up my mind to buy nothing too dear –

Robert supplied Mr Husband’s plan about the meer – and clow – babyish to suppose it likely to answer – Robert might well be sick of it – he mentioned the way he himself would have it done – his plan as good as Husband’s the contrary – said I would have it done so – and told him how I would have the kindler to work the clow managed – then told him how I would have the by wash done and how the meer drift clow – saw Holt with Joseph Mann just uncoated and capped ready for going into the drift – left Robert to tell Holt I wanted to see him –

sauntered home – stood musing about the rock work as long as I could see when Holt came – he was wet so would not detain  to go into the house and stood talking in the rain probably 20 mins or more – Mr Machain’s coal not to be bought now – he met them all the other evening and left them saying he would never make them another bid or say anything to them more about it – the coal not worth more than £300 – nonsense for Mr Hall to think it worth £1000 she had better buy it – I just mentioned my plan of a high presence -sigma and inclined plane saying it would be an extra job of £1000 no! said he not so much – told him to consider about it – said I had heard what bidding there would be for the coal – there would be a bid to far exceeding what he (Holt) had ever talked of – more than he would give by £50 or £100 that I had told the Manns that perhaps I myself should put in a bid – yes! said Holt – but it is different now – coal is an advancing article – (Oh! Oh! thought I then Holt would bid more than he had talked of ) – but think of this said I that of my keeping the colliery in my own hands at least for a while till I see what it is worth – and tell me what you would manage it for per acre and let the Manns have a job if we can – by the way, said I, I hear old Wilkinson is ill, and talking of leaving Haugh - if he wants to sell his coal what should I give him down from Dove £25? Yes! They would pay at that very well then tell him I will give it – Holt told me the Dove house coal would be sold on young Walsh’s coming of age 2 1/2 years from now – one Hirst had the 1st refusal pronounced and had asked Holt to join Holt said he durst not – they could not be got with out agreeing with me – no! said I and you know very well that now I shall have a colliery of my own I am not likely to agree – but we get Hirst to buy the coal and I will give him something for his bargain if we can agree about the price – or I will give Walsh a price down – what do you value the coal at fast as it is? Well! It should be worth as much as we (Holt) gives Mr Waddingon for his coal that is fast - i.e. £60 per acre for each bed – suppose said I there are 30 acres at £60 = £1800 – I will give £1000 down – yes! But said Holt that will not be taken – (at the moment I thought only of one bid at £60) very well said I the coal as you know cannot be with out my agreeing – but see what you can do – I suppose there are (including the field called the Bark at a little distance from the rest of the land) 33 acres at £120 = £3960 but Holt pays Mr Waddingtons by instalments of a hundred a year? I should think £2000 paid down (ready Monday) would be enough calculate this some other time – say £4000 at 4 p.c. paid in 40 years = .  . .  .  . .  mentioned to Holt the offer for Walsh land and that have seemed to ask 10/. per yard for it! Holt thought my offer (6d per yard) enough – 1/. per far more than it is worth –

came in at 5 1/4 – wet- dressed - wrote to Mr Barnet near Lawton Gate, Cheshire postage paid to inquire the character of George ’if sober honest and steady and a good farm – servant and good cart driver’ –

Dinner at 6 35/.. – coffee upstairs – some time talking to John Booth down stairs before coffee Ann read French – I read tonight’s paper till 10 – then till 11 10/.. wrote all the above of today –

fine morning till about 10 – then damp and a little rain – till about 12 afterwards snowy Rainy after  and evening – Fahrenheit 33 1/2 ° at 10 1/4 p.m. -

[dustedmagazine]

Dust Volume 5, Number 9

Tropical Fuck Storm

Just like that, summer’s over and we face a growing pile of late 2019 records. But before that, before we drag ourselves like kids to school into the second half, a moment to appreciate what’s accumulated.  This month’s Dust touches on groovy jazz tuba, punishing hardcore, a bracing industrial reissue, altered percussion and an OG Tuareg guitarist.  Contributors this time around include Isaac Olson, Ian Mathers, Jennifer Kelly, Jonathan Shaw, Bill Meyer and Andrew Forell.  

Joseph Allred — O Meadowlark (Feeding Tube) 

O, Meadowlark by Joseph Allred

 Plenty of people get the tag American Primitive Guitarist stuck on their rump these days. It’s not always appropriate and it’s not always welcome, but it adheres to Joseph Allred with the fastness of the truth.  Allred, a Tennessean who currently pursues higher learning at Boston College, understands that whether you use mountain music or raga-derived form as your framework (and he uses a bit of both, alternating between skeletal banjo figures and rushing guitar fantasias), the music has to project something beyond the notes. O Meadowlark not only evokes a cascade of emotions, some explicit and others allowed and bent until they’re beyond name, but he exerts an opposite pull. Like Robbie Basho or Steffen Basho Junghans, he draws the listener through the sound hole and into the tones and overtones that carom about the insides of his guitar.  Climb inside; like a Tardis, it has room for all.

Bill Meyer 

Caterina Barbieri — Ecstatic Computation (Editions Mego)

Ecstatic Computation by Caterina Barbieri

The title of Caterina Barbieri’s third LP suggests a congress of emotional states and cognitive processes; total neural action, you might say. The sound of the thing suggests another, maybe more personal integration. She favors massive, echo-haloed electronic sounds, the sort that would set off all manner of madness in the disco if only she’d subordinate them to a sufficiently clubby beat. But instead she juxtaposes them with wordless female vocals (not her own) and switched-on harpsichord sounds which lock together with a structural logic that probably comes natural to a person who grew up studying classical guitar. And while the sounds promise abandon, the way they lock together requires submission to a Bach-like allegiance to order. Promise delivered.

Bill Meyer

Theon Cross — Fyah (Gearbox Records)

Fyah by Theon Cross

Tuba player Theon Cross was the secret weapon of last year’s excellent Your Queen is a Reptile, by The Sons of Kemet. Fyah is Cross’s debut as a band leader, and  if the melodies occasionally sag, Cross and company generate more than enough energy to keep you, if not intently listening, grooving. Like many in the London jazz scene, Cross has no qualms about pulling in sounds from everywhere, and while not every experiment works (the synths and trap beats on “Panda Village” don’t add much), it keeps Fyah feeling fleet and admirably populist. Cross’s commitment to bring the tuba back to our attention and good graces is admirable, and he’s certainly the right guy for the job, but for better or for worse, he suffers the fate of all lower register players: disappearing when played back at anything less than high volume. As such, the real MVP on Fyah is tenor saxophonist and fellow London hotshot, Nubya Garcia. Fyah is a good record. It gets better the louder you play it.

Isaac Olson

 Drugs of Faith — Decay (Selfmadegod Records)

Drugs of Faith have been making records like Decay, their new EP, for quite a while now. The record is full of crossover hardcore that pushes on the pressure points of crust and sludge. It’s grimy, gritty, sweaty stuff and it’s really good. The focused truculence of a song like “Anonymity” sharpens rather than overwhelms the tune’s tendencies toward melody, and what a frigging breakdown. The whole 7” — all ten minutes of it — is terrifically punishing. Or maybe it’s punishingly terrific. Whatever it is, it goes by quick. But that’s cool, you’ll just flip it and play it again. And like a live hardcore set, music this intense is best enjoyed in small, gut-thumping doses. Toward the end of the excellent track “Nihilists,” singer Richard Johnson (who also plays guitar) growls, “If I go down, I’m taking you all with me.” Sure sounds like he means it.

Jonathan Shaw

Help — Help (Self Released)

Help by Help

One advantage to keeping songs short and lyrics anthemic is that you can throw a whole lot of sludge into the works and still end up with tunes that folks will remember the next day. Portland noise-punk band does this six times on their quite good debut EP, Help. No surprises here, just grimy, coruscating punk that sounds amazing when you’re reading the latest update on our slide into oligarchy/kleptocracy/kakistocracy/planet death/what have you. Best of all is their theme song, which softens up a traditionally macho genre with some very welcome, very 2019 vulnerability (Complete lyrics: “Help!/I fucking need it!/You know I’ve battled but it’s all I can take!”) and the closer, “Class War Now” which is about… well, you know.

Isaac Olson

 HTRK – Nostalgia (Fire Records)

Nostalgia is the self-released 2004 debut EP by Australian experimental trio HTRK (Hate Rock Trio). Nigel Yang (guitar, programming, electronics), Jonnine Standish (voice, percussion, samples) and Sean Stewart (bass, programming, samples) produce seven tracks of heavy, noise intensive electronica with echoes of Throbbing Gristle, Pan Sonic and Suicide. Physically and psychically crushing, the tracks move at a funereal pace with waves of static and feedback crashing against bottom end bass, percussion and drum machines as Standish’s voice intones from a cave, a cross between Lydia Lunch and Alan Vega. Instrumental opener “Hate Rock Trio” begins quietly with the ticking of a clock, a time bomb with crashes of distorted percussion. Thereafter the song titles tell the story of the EP. Run together they form both a record of, and a demand to acknowledge, damage inflicted: “Look What’s Been Done/Look Down the Line/Look At That Girl/Look At Her/You Injured Me/I’m All Broke Up.” The intensity builds with each track as feedback and samples scratch atop thickening layers of black sludge. Re-released by Fire Records, Nostalgia is a bracing experience with a palpable sense of menace.

Andrew Forell

 Max Jaffe — Giant Beat (Ramp Local)

Giant Beat by Max Jaffe

If a curious listener was told Max Jaffe only used one instrument to make Giant Beat, they’d be forgiven for guessing something like a modular synth. Instead, it’s drums, but in a way that makes the question maybe a little bit of a cheat; Jaffe, drummer for JOBS, Elder Ones and others, was also a beta tester for something called Sensory Percussion that allows percussionists to use their instruments to trigger sounds and samples in a way that feels analogous to the chromatic, sometimes abrasive playing Ian Crause and Disco Inferno did with sampling. Of course, with a drum kit and that kind of setup, Jaffe can generate a whole album just by himself in a different way than you might get with, say, a singer and an acoustic guitar. Giant Beat dips its toes into various experimental waters, jazz here, electronics there, noise and musique concrete there, but always with the steady pulse of Jaffe’s one-take percussive playing behind it. The result feels like anything but a product demo; if anything, it feels like a new type of voice articulating itself.  

Ian Mathers  

Ocean Fanfare — First Nature (Barefoot)

First Nature by Ocean Fanfare

Whether you take the words First Nature as a prescription of priorities or a stern reminder of who is best equipped to play the long game in the battle between humankind and its environment, this is a record with a message. But since that message is being relayed via horns, bass, and drums, which play melodies that wind and ascend, one must exercise one’s emotional antennae to decode the vibe. Both trumpeter Tomsz Dabrowski and alto saxophonist Sven Dam Meinild are equally facile with post-bop tunes and extended technique explorations, and the shuttles between these poles gives the music a questing quality. They’re methodically seeking, not giving up hope, and the inventive ways they maintain balance on the fly suggests that they’re conscious of what tools will come in handy if people are going to survive.

Bill Meyer

 Abdallah Ag Oumbadougou — Anou Malane (Sahel Sounds)

Anou Malane by Abdallah Ag Oumbadougou

One of the original Tuareg guitar heroes, Abdallah Oumbadougou recorded these dreaming, droning, melancholic-with-a-swagger tunes in Benin in 1995 with the West African producer Nel Oliver. It was a step up for Oumbadougou, who had previously recorded mostly on boom boxes in encampments during breaks in the Tuareg rebellion, but the songs, even embellished with electronics and studio effects, have a raw, lonely power to them.  “Thingalene” drifts towards funky pop in its syncopated drum machines and squealing synths, but Oumbadougou’s voice carries over time and distance with a bracing authenticity. Other tracks, like “Tenere” splice the echoing snap of gate-reverbed drums to a beat that sways like camel caravans; the guitar work here is particularly fine. On its original release, Anou Malane introduced the world to the Tuareg’s keening, ambling desert blues; now it reminds us that artists like Tinariwen and Terekaft and Mdou Moctar are interpreting and extending — not inventing — a vibrant art form.

Jennifer Kelly

Savage Republic  —Gods  & Guns (Mobilization)

Savage Republic doesn’t pack the band schedule very tightly nowadays. The band, currently a quartet (Thom Fuhrmann, Ethan Port, Alan Waddington, Kerry Dowling), took the whole of the 1990s off and has made just two albums in this century. But when they do make a record, it hits hard. In days gone by they sounded like Rhys Chatham fronting the Ventures on an album of Aegean surfer themes, but now they sound just a bit like Michael Gira fronting Echo & the Bunnymen in some Bladerunner-like hell of a dark hole. “God & Guns,” sung in dire and reverb-swaddled tones by Fuhrmann, articulates understandable dismay at the twin lumps of stinky meat that are being held in front of the vast heard of fascism-embracing Americans. The instrumental on the flip is named “Tranquilo,” but you won’t rest while they’re charging you, driven by chain-gang shouts, oil drum lashes, and epically massive bass. Heavy shit for heavy times.

Bill Meyer

Sleeping Ancient — There Is No Truth But Death (Viridian Flame)

There Is No Truth But Death by Sleeping Ancient

In any number of ways, black metal and the horror fiction of H.P. Lovecraft are a good match. The overweening interest in darkness and unnamably horrific, indecipherably complex forms; the highly abstruse mysticism; the tinge of troubling racism and anti-Semitism — it’s sort of uncanny. Sleeping Ancient aren’t the first black metal band to express a deep appreciation for Lovecraft’s weird fictions. Heck, they probably aren’t even the tenth or the fiftieth. But if they’re not breaking any new ground, thematically or musically, at least they’re making good songs. Check out the grand dirge of “Akeru,” or the slow but assured drift, from frigidly delicate melody to batshit intensity, that forms “Taphephobic Hallucinations” (taphephobia, by the way, is crippling fear of the grave—not death so much as the gravesite itself). The songs are typical of Sleeping Ancient’s mannered but powerful playing, which the band sustains across the whole of There Is No Truth But Death. It’s a good record to play as we wait for Cthulu. Judging by current conditions, we won’t have long to wait.

Jonathan Shaw

 Sore Points — Not Alright (Slovenly)

SORE POINTS "Not Alright" EP by Sore Points

If you miss the Marked Men, how ‘bout some hard, fast punk rock from Vancouver? This four-song 7 inch, following a 2018 self-titled on Deranged, snarls and stomps with feverish fury, making the most of its double drummed, guitar stabbed, bass whomped basics. You’d infer a few battered Ramones records in the rec room, but also punks both harder core and more melodic—Black Flag on one end and the Buzzcocks on the other. “Not Alright” rampages at blur speed. The drummer, whoever he is (Sore Points are not big on self-promotion), gets a monster workout here, but really everybody is pushing about as hard as it goes. “Not Coming Back,” is likewise accelerated, but in an anthemic, memorable way. As a non-professional, you’d kill yourself trying to keep up playing these songs, but you can sing along, no problem, after just one or two spins.

Jennifer Kelly

 Tropical Fuck Storm — Braindrops (Joyful Noise)

Braindrops by Tropical Fuck Storm

“Braindrops,” the title track from this second Tropical Fuck Storm album, slinks and rattles and backpedals, its rhythm complicated and syncopated, its stream-of-consciousness lyrics about dreams and waking (“But you gotta get up because time is nagging like a dog humping your leg”) as tangled as the polyrhythmic beat. There’s a slant of ska in the bass, a dissolute hint of post-punk in the cracked vocals and a baroque inclination to stuff things to the gills in the overload of just about everything. Tropical Fuck Storm tilts recognizable forms so far over that they always seem to be careening into chaos. A hip friendly bump of bass and drums is just a landing pad for guitar noises that crash, still burning, to the ground. Even the ballads (“Paradise” both “Marias”) teem with noise and dissonance. Braindrops is never an easy listen. It verges, fairly often, on the unpleasant. But in a world where everything spins down to a grey Spotified entropy, it’s a prickly, fascinating, mess of bright colored wires; go ahead cut one and see if it explodes.

Jennifer Kelly

 Various Artists — Greys (Anachronisme)

Greys by Field Guides

In this day and age, if one even wanted to put together a new “We Are the World,” where would one start? Leverage Models’ return to music last year with the phenomenal Whites was partly so that previously-shelved record could raise money for the Southern Poverty Law Center, and here the band and Anachronisme Records are at it again. Raising money for the Mohawk Valley Resource Center for Refugees this time, instead of trying to rope everyone they know into one big aesthetically-dubious singalong, they’ve put together with any number of friends a smorgasbord of 21 tracks all somehow ‘in conversation’ with the music on Whites. There are plenty of intriguing covers, remixes, and other deconstructions, from Field Guides’ glowing, pastoral version of “If I Let You Stay” to the menacing buzz of DOV’s remix of “Dark Pools,” to Concierge Records and The Working Elite’s “transatlantic meditation” on the feeling of the first song on Whites with “Day Two,” as well as two unreleased tracks from Leverage Models. Then there are the contributions that just engage with the emotions and stories of the original album, like Courtship Ritual’s haunting “Uncle Incision” and William Tyler’s gorgeous “She Swims in Hidden Water.” There’s a lot here to absorb, but even if you’re not familiar with the source material it all stands on its own, even as it’s still one of the most intriguing expansions of an album in recent memory. Not to mention hopefully a more effective way to help a good cause.

Ian Mathers

 avery r. young—Tubman (FPE)

tubman. by avery r. young

avery r. young brings the sizzle in this paean to African-American musical traditions from skanky funk to body-moving R&B to soul-on-fire gospel, complete with a full choir. The multi-talented Chicagoan took inspiration from his own book—Neckbone: Visual Verses—from Nina Simone and from the singer Jamila Woods, whose superlative pipes provide the uplift of many of these cuts. “Maasai” slouches so far into a smouldery blacksploitation groove as to be nearly horizontal, all evil wah-wah’d twitch and rumbling bass and slashing lightning bolts of disco strings, while “go'head mary & weep” takes things to the church with a massive harmonized swell. young himself has a fine, fluttery, emotionally nimble tenor, shades of the Reverend Al Green in his supple phrasing, but his songs take flight when they’re sung by a crowd, as on the spiritually stirring “lead in da wattah” and especially, the monster highlight “get to know a nina simone song” which rolls on like a doo-wopping, gospel-quarteting freight train right on to Mississippi. God damn, indeed.  

[gtccollectionstories]

Elizabeth Parker’s Wedding Dress Fabric

11178 - GTC

Some pieces of this beautiful 18th century silk brocade fabric were given to Rachel Kay-Shuttleworth for the Collection by her old friend, Colonel Robert Parker of Browsholme Hall, near Clitheroe. The fabric was originally bought for the wedding dress of one of his ancestors, Elizabeth Parker (1726-1781) who married her second cousin, Robert Parker, on 1st October, 1751.

There had been a seven year “secret” courtship, before the couple finally overcame her family’s opposition to the match. After this long struggle to be allowed to marry, they obviously did not want to wait for the banns to be read, as they were married by special licence: -

“Oct 1st Robert Parker of Alkincoats & Elizabeth Parker of Browsholm by licence from Mr Currer.” (Marriages in 1751, Waddington Parish Register)

Sadly, the marriage was not to be a long one, as Robert died seven years later in 1758, aged 38, leaving Elizabeth a widow with three young sons. Then in 1765, she eloped to Gretna Green with a wool merchant, John Shackleton, who was 17 years younger than her. Once again, her family did not approve of her choice, hence the elopement. This second marriage became progressively unhappy, as John was physically abusive to her and had an alcohol problem. She died in 1781, aged 55yrs.

Many details of Elizabeth’s life have survived, as she was a prolific writer: 39 of her diaries and hundreds of letters are held at Lancashire Archives in Preston. They formed part of the research for Amanda Vickery’s award-winning book “The Gentleman’s Daughter” which looks at the lives of women from commercial, professional and gentry families in the eighteenth century.

Recent research has enabled us to add to the information on the original label written by Rachel (in her distinctive green ink) about the fabric:

The label reads:

“Brocade – part of the wedding dress of Elizabeth Parker (married 1751). The bill is at Browsholme, sent by Ms Bowen in Aug & says “Bought of Croft & Hinchcliffe, mercers in Henrietta Street, Covent Garden, London. 18 yds. New flowr’d gro’d Gros de tour Broc’d Colum 21/- £18-8-0.”

The brocade is woven with floss silk & colours added. English.

Donor, her descendent Col Robert Parker, DSO, of Browsholme”

In LANCAT (the catalogue of Lancashire Archives, available online) we found the synopsis of a letter to Elizabeth Parker, dated 25 April, 1749, which was also from M Bowen of London. A lively letter regarding the expense of the coming premiére of Handel’s Firework Music, this was written two years prior to Elizabeth’s wedding. Then from the Appendix to "The Gentleman's Daughter", we learnt that Miss M Bowen was the servant, secretary and companion of Elizabeth’s maternal aunt, Mrs Ann Pellett - who also just happened to live in Henrietta Street in Covent Garden!

A trip to the Archives in Preston has discovered many more letters to Elizabeth from Miss Bowen. In May, 1749, she details numerous shopping trips for silk fabrics, gauzes, shoes and hats, complete with her haggling for bargains with sellers and tips about the latest London fashions. Elizabeth obviously sent a list of requirements, which were purchased on Elizabeth's behalf by her aunt, and then sent to Browsholme by carrier for her approval, together with the bills which are also in the Archives.

There is an original receipt for "Short Hoops" from Cotes Warehouse in Panton Street - “Sells all sorts of Silks & Stuffs, with a great choice of Quilted & Hoop Pettycoats, Riding Habits, Velvet & Silk Capps, Morning Gowns, Short Cloaks, Mantleletts, Velvet & Silk Hoods at Reasonable Rates”. Another bill is for 18 yards of yellow unwatered Tabby (a plain weave silk fabric) from James Croft & Partner for £7 8s 6d, which was being purchased for a "Sac" robe, as Miss Bowen also sent a paper pattern for the sleeves. There are other bills from George Stagg, Shoemaker in Bedford Street for two pairs of shoes, and one for the milliner, Mrs Lilly.

So it would appear that the wedding dress fabric was purchased in London by her aunt in the same way. Elizabeth obviously wanted the most fashionable (and expensive) fabric for her wedding dress. In 1749, the yellow tabby (also from James Croft) had been 8s 3d a yard, but the wedding fabric was very much more at 21s a yard. The total cost of £18 8s 0d (for the fabric alone) is the equivalent of £3000 today! And this would not have included the lace cuffs, fichu or any other trimmings needed to complete the dress - all luxury items at the time. In addition, there would also be the dressmaker’s fees to make the fabric up into the dress. After the long, seven year wait, Elizabeth was certainly getting married in style!

The following link to ‘Portrait of a Lady’ in the Tate Gallery by Arthur Devis is dated 1751, the same year as Elizabeth married, and gives us an indication of what Elizabeth’s dress may have looked like. Known as an “open robe”, it was worn with small hoops or side panniers, with a short train suspended from the shoulders.

It is a relatively recent fashion for wedding dresses to be worn only once. In Elizabeth’s time, they were considered to be a “best dress” and were expected to be re-worn, and altered with the changing fashions, as fabric was so costly. Unfortunately, Elizabeth’s completed dress has not survived. Due to the large amounts of very expensive silk fabric used, dresses of this period were frequently unpicked and the fabric re-modelled. In some cases, they have been re-used as fancy dress costumes by later family members!

However, a great deal of the fabric of Elizabeth’s dress has survived, and is still at Browsholme. There is also this beautiful portrait of Elizabeth hanging in the library there, which the present owner of Browsholme Hall, Mr Robert Parker, has generously allowed us to share.

Elizabeth Parker (1726-1781). Reproduced by kind permission of Mr Robert Parker.

Further photographs and more details about the fabric itself can be seen here in the Collections Gallery : -

REFERENCES:

1. The Gentleman’s Daughter: Women’s lives in Georgian England; Amanda Vickery (Yale, 1998).

2. Letters from M Bowen in Lancashire Archives - DDB/acc78867

3. For further information about Browsholme Hall, see this link to their “History of the Hall” web page:

[whatdoesshedotothem]

Monday 1 January 1838

7 40

12 20

fine morning F43° at 8 40 – A- off to Cliff hill soon after 9 – I looking over Rough books letters Journal etc. respecting A-‘s bill (handsome letter to her respecting it from Mr. Watson last night) = £83.4+ thought this bill was paid in the deduction from the £7000 paid to me the end of last May (vide Journal and rough book of 1 June last) – but I see that the deduction = £148.6.6 was on account of interest due from A- and that I received from her 14 July last £100 being £64.10.0 due from her to G- up to 15 July last and £35.10.0 that she gave me over – I myself to pay on my own account up to 15 July last £71.17.2 – all this search took me till 10 ¼ - then breakfast in about ½ hour – Edward Waddington at the blacksmiths’ shop – finished the chimney and plastered the room inside and made it very tidy – the 2 Sharpes John and Robert flagged kitchen court – no Robert Mann and his men – the latter would have a holiday – about a little while – then before 12 off by the back Lodge road to H- - Joseph Mann at the platform – the whole length of walling against the Wakefield road finished – very well round-topped with lime – stood a long while talking to Joseph M- then down the old bank to Mr. Parker’s office – about ¼ hour there – P- says the bill to be brought into parliament is not yet drawn up – will get one for me as soon as it is – want to get off the branch-roods because some of the towns refused to do statute duty till the branches are made – the commoners have therefore no idea of making any new road to Southowram and what they think of doing is in Scholes to avoid Brikby lane, and will come near here – P- advised not to take any more notice of the agreement about the corn-mill – it would only make Aquilla Green think it of more importance and Kershaw had been advising to hold out – but P- had told K- that he (K-) had nothing to do with it, and that the utmost AG. could get would be very small damages for the time that passed (a few weeks) between the signing of the agreement and the giving notice that I should not build the mill – P- is right and so I find was I when I from the beginning suspected what Mr. AG. had in his mind – but it will not do him very much good? – P- thinks Holdsworth of the 3 Pigeons, a respectable man and he P- would let him an Inn – I said he had applied for the Black horse – from P-‘s to the Bank – got order on the Yorkshire district Bank York for A- payable to William Gray Esquire = £83.5.0 on a sheet of letter paper – for which paid the amount £83.5.0+ 2/6 for the order and this evening returned A- the 2/6 left out of the £84. she gave me this morning Times mending – said Mr. Mackean – from the Bank to Whitley’s – stood reading there a long while – the Manual a very nice little information-full 12mo – bought and gave it as a new year’s to A- on my return home – then sometime at Northgate with Greenwood – he would now advise letting the ground off at the [fair]! rather in gardens – might £60 or £70 a year of it the former way – Mr. Crossland would be glad of it – had thought of calling the hotel the Lister Arms! I begged G- to explain my wish to have it called simply the Northgate hotel kept by Mr. C- returned up the new bank – by the Lodge –

SH:7/ML/E/21/0024

George farmer brought William Pollard a load of coals this afternoon from Mr. Emmett’s pit – (12 loads i.e. ‘a dozen’ more than the 14 loads the other day from Wilson’s pit) – WP. thinks they will last till the beginning of April – says they burn a load a week – just the same they used to burn at the conery – sometime in the stables and about – came in at 4 ¾ - sitting with A- when Mr. Jubb came between 5 and 6 for about ¼ hour – Sarah not well – to keep her a few days longer before sending her home – might not live well enough or take exercise enough at home – a case of obstructed catamenia – went upstairs at 6 – dressed – read a few pages of Goldsmiths’ Greece – dinner at 7 – A- read French and said vocabulary the 1st time for this 12th month? no! says A- not 6 months – sure she was very attentive in March and April last – tea – had just written all the above of today so far till 11 – just after breakfast this morning had William Green – said he must go to Mr. Parker for money – might he have a little Interest – yes! whatever Mr. P- said was right – hoped I would allow him (WG.) something when the money was done – has only about £10 left – I told him to keep up his spirits – that something must be done – he had best go to the poor house where he must be comfortably kept for I could not keep him – but I would mention the case to Mr. Parker and see what could be done – it would be useless to give WG. money for his unprincipled daughter to get from him – said A- would think of him, and give him a sheet or something – very fine day till rain about 4 pm and rained a little all the way home and afterwards – came upstairs at 11 ¼ - all gone to bed – A-‘s fire out – relighted it in 10 minutes – F36° at 11 ½ and fine (fair) night – in the course of this morning cousin came very gently

[watercurseslyrics]

can y'all imagine if season 3 starts of with a shot of Rupert.

[school-in-london]

20211219 SCHOOL IN THE VAN JAPAN TOUR ~TOKYO~

■DJ: 村田タケル (School In London)

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■DJ: okn (IN THE VAN)

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■DJ: 村田タケル (School In London)

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■Ending Snail Mail / Valentine Porridge Radio / The Last Time I Saw You (O Christmas) ■Spotify