#Blair Hoyle

[moviesandmania]

WEREDEER Comedy horror - review

Weredeer is a 2022 comedy horror film about a young woman that gets bitten by a deer and begins to change when the moon is full. Directed and co-produced by Andrew Dyson from a screenplay co-written with T.C. De Witt and Blair Hoyle. Also produced by Matt Kiser. The movie stars Anna Broadway, Tierney Leigh Cody, Blair Hoyle, Katie King, Matt Kiser, John Lineberry, Ian F. Scott, Tyler Stafford,…

[darkmovies]

The House Among the Trees (2023) Date de sortie : Post-production Réalisateur : Tyler Horner Scénario : Tyler Horner, Blair Hoyle, Jake Kopronica Avec : Wes Robinson, Cullen Lovelock, Blair Hoyle

[milkwithalittlebitofsadness]

Omfg I saw tbom on west end yesterday… I went to stage door after and managed to meet Blair Gibson, Conner Peirson and Jed Hoyle!!! They were all so nice! I’m kinda sad I didn’t get to meet Brian O’Muiri, but I was busy talking with Jed when he was going out :((

Jed was so nice tho, he told me he loved my nails! I also asked them to sign in my tbom notebook i bought when I saw tbom in Madrid :DD

[denimbex1986]

'Organisers of a legendary fundraiser for striking miners are returning to the same venue in Camden Town for a “good old bop” 40th anniversary event.

Tickets for the London Lesbian and Gays Support the Miners’ return to the Electric Ballroom, on May 16, are already selling out.

The Pits and Perverts line-up is yet to be finalised but it promises a night of music, dance, drag, political speakers and compered by cabaret and performance artist David Hoyle.

Synth-pop political agitators Bronski Beat headlined the original gig, in December 1984, which drew more than 1,500 fans, gay activists and striking coal miners from across the country to Camden Town.

The story of the LGSM and the night at the Ballroom has become iconic after it was retold in the 2014 film Pride and its glittering cast including George MacKay, Dominic West, Andrew Scott, Imelda Staunton and Bill Nighy among others.

One of the original LGSM organisers, Mike Jackson, told me this week how proud he was about the group’s role in not only supporting the miners – but also changing attitudes towards lesbian and gay people.

Mr Jackson, who lives in King’s Cross, said: “This is the only Pits and Perverts event we’ve had since the original. And it’s really pleasing to be back at the Electric Ballroom. It’s going to be a very diverse night and a good old bop.

“I hadn’t been back there since that day so it was a strange feeling to go in there when we were organising.

“There are lot of ghosts in the Electric Ballroom. So many famous acts have passed through.”

I last spoke to Mike when a signed original Pits and Perverts poster – designed by Kevin Franklin – was put up at the King Charles I pub in King’s Cross in 2022.

On Sunday he was up in Rotherham, Yorkshire, speaking to the miners at a 40th anniversary event.

He said: “I harked back to what it was like as a young gay man in the 60s and 70s. Nobody liked us: politicians, courts, police.

“We had no rights to fight back with. It’s great that things have changed so much with that – and to think how we played a role in it all.

“The unions played a role too.

“Because long before we got those rights enshrined in law, the trade union movement had been helping by starting to look at employment rights, and all the other things that trade unions do.

“When the equalities legislation came in with Tony Blair, there was already a worked-out template for employment rules thanks to the unions.”

Mr Jackson said the LGSM had been “reconstituted” following the Pride movie and that he was part of a group of four remaining working on the legacy.

“We’ve all this merchandise that is still incredibly popular.

“People love our T-shirts. We give the profits away to good causes. We don’t want to be a charity.

“We want to be political. It’s been great to work with the Lesbian and Gays Support the Migrants.

“They are like our next generation really.”

Mr Jackson, a horticulturist who worked at Camden Garden Centre for 16 years, said he was tiring a little physically in old age but still remained as angry as ever.

“The fire is still there. The anger is still there.

“What is this nonsense about people becoming more right wing as they get older? The older I get the more angry I get.

“Because in so much, f*** all has changed.

“I am 72 days before the gig. I can tell you what the news will be: housing, education, war, benefits, the welfare state, greedy capitalism.

“At the same time my best friend is my bed. Sometimes I scream at my bed: ‘I love you, bed.’

“So with all this I am a bit surviving on adrenalin. It’s a bit scary. We are a bunch of amateurs really and it’s a big venue to sell tickets for.

“With the original, we felt the same but once we secured Bronski Beat – I think their Smalltown Boy was No 1 – we knew it would be a success.”

And he revealed his latest theory on where the night got its very excellent name from.

Mr Jackson said: “There’s a great little video you can find called Framed Youth – The Revenge of the Teenage Perverts.

“It was a video project created by the Lesbian and Youth Project, as they were called then, where youngsters had been given training and access to making a video – it was a Ken Livingstone thing, I think.

“This was 42 years ago – two years before the miners strike.

“They go into Ridley Road market in Dalston and simply ask the question: Can you tell me what a lesbian is? It’s like ‘a murderer’, ‘a sex maniac’.

“It’s so comical, but also quite dark. The lesbians were p***ing themselves laughing.

“But that’s what we wanted to do – take the insult, neutralise it and throw it back at people.”

The film, which won an award, is available on YouTube.

The original concert raised more £5,500, which was distributed to families in need.

Tickets for the 7pm event cost £20 and are available on the Electric Ballroom website.'

[gbhbl]

Horror Movie Review: Weredeer (2022)

Weredeer, a horror comedy that knows it is a bad movie, and plays up to that fact, delivering an entertaining slice of festive horror.

Merry Christmas, you filthy animals. Let this movie be a lesson to you, don’t mess with deer or you might become one yourself. Or at least a violent humanoid version of a deer. Yes, it’s Weredeer, a horror comedy that knows it is a bad movie, and plays up to that fact, delivering an entertaining slice of festive horror. Directed by Andrew Dyson, who co-wrote it with T.C. De Witt and Blair Hoyle.…

[themovieblogonline]

Weredeer Review: A Howling Disappointment

Weredeer promised an intriguing mix of family drama and supernatural horror with a unique twist on the werewolf mythos. However, what could have been a compelling narrative is marred by uninspired execution, lackluster performances, and a plot that seems more like a checklist of clichés than a coherent story. https://www.youtube.com/watch?v=vG6-FuGT8-0 The Good: The film follows Max (Blair Hoyle) and his girlfriend Hannah (Anna Broadway) as they venture into the backwoods to spend Christmas with Max's eccentric family. Right from the start, the film establishes an atmosphere of clichéd rural isolation, with dilapidated cabins and eerie forest settings. Unfortunately, this setup is one of the few things the film does well. The Bad: The problems begin with the character development and acting. The cast, led by Anna Broadway and Blair Hoyle, delivers performances that range from wooden to outright cringeworthy. Broadway's portrayal of Hannah feels one-dimensional, with her character reduced to a typical horror movie girlfriend who reacts to supernatural events with unconvincing fear. Hoyle, playing Max, lacks depth and charisma, making it challenging to connect with his character or care about his journey. The supporting cast fares no better, failing to breathe life into their quirky, stereotypical roles within Max's family. The film's central premise, the transformation of Hannah into a "Weredeer" after being bitten, holds potential for a unique take on the werewolf trope. Unfortunately, the transformation is underwhelming both visually and conceptually. The makeup and special effects used to depict the change are amateurish at best, failing to deliver the expected shock value. Moreover, the film's attempt to connect the transformation to the winter moon is poorly explained and feels like an afterthought, leaving the audience with more questions than answers. The script further exacerbates the film's issues. Weredeer seems to borrow heavily from a multitude of better horror films, resulting in a plot that feels more like a patchwork quilt of horror clichés than an original story. From the isolated cabin setting to the "creepy" family dynamics, and even the unconvincing love story between Max and Hannah, it's hard not to draw comparisons to superior works in the genre. The film's attempts at humor also fall flat, relying on tired jokes and awkward comedic timing that detracts from the overall tone. One of the most frustrating aspects of Weredeer is its inability to maintain a consistent tone. At times, it seems to want to be a serious horror film, but then it abruptly switches to ham-fisted attempts at humor. This inconsistent tone not only confuses the audience but also prevents the film from building any genuine suspense or tension. Moments that should be frightening are undercut by misplaced comedy, robbing the film of its potential impact. The pacing of Weredeer is another issue that hinders the viewing experience. The film drags on in the first act, with lengthy, uninteresting scenes that do little to advance the plot or develop the characters. Then, when it finally begins to introduce some supernatural elements, the pacing becomes frenetic, rushing through important plot points and leaving the audience feeling disoriented. This uneven pacing disrupts the flow of the narrative and makes it difficult to become emotionally invested in the story. Even the cinematography, which initially holds promise with its atmospheric forest shots, becomes repetitive and uninspired as the film progresses. The camera work fails to elevate the material, and the use of shaky-cam during action sequences only adds to the overall feeling of amateurishness. The climax of Weredeer is perhaps the most disappointing aspect of the film. It devolves into a chaotic mess of poorly choreographed action and unconvincing CGI, failing to deliver the satisfying payoff that the audience deserves after enduring the film's shortcomings. By the time the credits roll, it's hard to shake the feeling that the film's potential was squandered on a lackluster script and subpar execution. Overall: Weredeer is a film that had the potential to offer a fresh take on the werewolf mythos and blend it with a compelling family drama. Unfortunately, it falls flat in nearly every aspect, from the uninspired performances and lack of character development to the inconsistent tone and pacing issues. While it may hold some appeal for die-hard fans of low-budget horror, it ultimately fails to deliver on its promises and leaves the audience with a sense of disappointment. It's a film that's unlikely to leave a lasting impression, and there are far better options in the horror genre to spend your time on. Read the full article

[janedances]

“It’s impossible to be in love with all the six queens’

The Six queens in question:

Megan Gilbert, Ashleigh Weir, Holly Musgrave, Oliver Wickham, Annabel Marlow, Shimali De Silva, Renee Lamb, Christina Modestou, Natalie Paris, Genesis Lynea, Aimie Atkinson, Izuka Hoyle, Jaye’J Richards-Noel, Millie O’Connell, Alexia McIntosh, Maiya Quansah-Breed, Grace Mouat, Vicki Manser, Courtney Stapleton, Adrianna Hicks, Andrea Macaseat, Abby Mueller, Brittney Mack, Samantha Pauly, Anna Uzele, Mallory Maedke, Nicole Kyoung-Mi Lambert, Courtney Mack, Shantel Cribbs, Courtney Bowman, Sophie Isaacs, Danielle Steers, Zara Macintosh, Cherelle Jay, Hana Stewart, Collette Guitart, Candace Furbert, Hazel Karooma-Brooker, Caitlin Tipping, Sophie Golden, Alicia Corrales-Connor, Viquichele Cross, Bryony Duncan, Natalie Pilkington, Lori McLare, Amy Bridges, Lauren Drew, Maddison Bulleyment, Lauren Byrne, Shekinah McFarlane, Jodie Steele, Athena Collins, Cassandra Lee, Jennifer Caldwell, Harriet Watson, Jasmine Shen, Kelly Sweeney, Jessica Niles, Georgia Carr, Amelia Walker, Liv Alexander, Elizabeth Walker, Maddison Firth, Laura Blair, Chloe Zuel, Kala Gare, Loren Hunter, Kiana Daniele, Courtney Monsma, Vidya Makan, Ella Burns, Karis Oka, Shannen Alyce-Quan, Jade Marvin, Lucy Aiston, Gabriella Stylianou-Burns, Scarlet Gabriel, Rebecca Wickes, Megan Leung, Sophie Rose Middleton, Abbi Hodgson, Kara Ami Mcraenor, Emily Harrigan, Gabrielle Smith, Melissa Ford, Kaylah Attard, Fia Houston-Hamilton, Rhiannon Bacchus, Rhiannon Doyle, Carly Mercedes Dyer, Elena Gyasi, Keirsten Hodgens, Artemis Chrisoulakis, Ellie Sharpe, Sadie Hurst, Melinda Porto, L’Oreal Roache, Wesley Carpenter, Maya Christian, Brianna Mooney, Meghan Dawson, Marilyn Caserta, Ashlee Waldbauer, Adrianna Glover, Alize Ke’Aloha Cruz, Kristina Walz, Amy Di Bartolomeo, Amanda Lindgren, Claudia Kariuki, Dionne Ward-Anderson, Tsemaye Bob-Egbe, Meesha Turner, Paisley Billings, Danielle Rose, Roxanne Couch, Esme Rothero, Rachel Rawlinson, Lauren Irving, Danielle Mendoza, Shelby Griswold, Kennedy Carstens, Abigail Sparrow, Jarynn Whitney, Madeline Fansler, Channing Weir, Princess Victomé, Sunayna Smith, Chloë Hart, Casey Al-Shaqsy, Aiesha Pease, Jaina Brock-Patel, Alana Robinson, Grace Melville, Leesa Tulley, Harriet Caplan-Dean, Khaila Wilcoxon, Storm Lever, Jasmine Forsberg, Olivia Donalson, Didi Romero, Gabriela Carrillo, Cassie Silva, Kelly Denice Taylor, Erin Ramirez, Kelsee Kimmel, Phoenix Mendoza, Chelsea Dawson, Chiara Assetta, Cristina D’Agostino, Joy Woods, Bre Jackson, Keri Rene Fuller, Brennyn Lark, Ayla Ciccone-Burton, Holli’ Conway, Brianna Javis, Gabbi Mack, Casey Esbin, Ellie Wyman, Sasha Renae Brown, Nicole Lamb, Aja Simone Baitey, Willow Dougherty, Kayla McSorely, Emily Rose Lyons, Chelsea Wargo, Hannah Taylor, Jessie Bodner, Jasmine Hackett, Janice Rijssel, Lucia Valentino, Elena Breschi, Meg Dixon-Brasil, Sarah McFarlane, Reca Oakley, Gerianne Perez, Zan Berube, Amina Faye, Terica Marie, Aline Mayagoitia, Sydney Parra, Jana Larell Glover, Taylor Pearlstein, Aryn Bohannon, Cecilia Snow, Rhianne Louise McCaulsky, Baylie Carson, Koko Basigara, Monique Ashe Palmer, Leah Vassell, Hailee Kaleem Wright, Leandra Ellis Gaston, Bella Coppola, Nasia Thomas, Zoe Jensen, Taylor Iman Jones, Aubrey Matalon, Kristina Leopold, Rae Davenport, Gianna Grosso, Kathryn Kilger, Bethany McDonald, Jillian Worthing, Haley Izurieta, Jasmine Smith, Lois Ellise Reeves, Alyssa Giannetti, Eden Holmes, Jaelle Laguerre, Kate Zulauf, Lee ARumSoul, Son Seungyeon Kim Ji Woo, Sophiya Pae, Park Hye-na, Park Ga-Ram, Kim Ji Sun, Choi Hyun-sun, Kim Ryeo Won, Heo Sol-ji, Yoo Ju-hye, Hong Ji Hee, Nicole Louise Lewis, Laura Dawn Pyatt, Erin Caldwell, Kenedy Small, Lou Henry, Aoife Haakenson, Ellie Jane Grant, Izi Maxwell, Tamara Morgan, Shakira Simpson, Fiorella Bamba, Lucinda Wilson, Caitlyn De Kuyper, Amanda Lee, Gabriella Boumford, Audrey Fisher, Brooke Aneece, Jaz Robinson, Julia Pulo, Maggie Lacasse, Krystal Hernández, Elysia Cruz, Lauren Mariasoosay, Julia McLellan, Darcy Stewart, Hailey Lewis

[singeratlarge]

SONG OF THE WEEK! “Workin’ on a Building” https://johnnyjblairsingeratlarge.bandcamp.com/track/workin-on-a-building-live-9-02…For years this gospel song has been a staple of my live set, played with equal fervor in churches, dive bars, concert halls, wherever. It’s believed it came from a 19th Century calypso work song sung by slaves in the Caribbean, and that crossed into the lexicon of Negro spirituals. In 1920s it became popular and is now a blues-gospel standard, famously played by BB King, Bill Monroe, Elvis Presley, The 77s, Swan Silvertones, and other notables. I learned it from the Blue Ridge Rangers/John Fogerty version, which he drew from the touchstone 1934 Carter Family record—Oddly, A.P. Carter copyrighted it and added his writing credit even though it was already credited to Lillian Bowles and Winifred O. Hoyle (with slightly different lyrics). Meanwhile, you don’t have to be a carpenter to get the floor plan of this song…

#building #working #work #construction #contractors #gospel #spirituals #blueridgerangers #johnfogerty #CCR #carterfamily #billmonroe #elvispresley #BBKing #The77s # #MichaelRoe #MikeRoe #12stringguitar #slideguitar #johnnyjblair #singeratlarge #music #song #SeventySevens #Massachusetts #concert

[redladydeath]

The Six classes of 2017, 2018, 2019, 2020, and 2021

2017 debuts: Aimie Atkinson, Annabel Marlow, Ashleigh Weir, Christina Modestou, Genesis Lynea, Holly Musgrave, Izuka Hoyle, Megan Gilbert, Natalie Paris, Renee Lamb, Shimali de Silva, Tilda Wickham (12)

2018 debuts: Alexia McIntosh, Grace Mouat, Jarneia Richard-Noel, Maiya Quansah-Breed, Millie O’Connell (5)

2019 debuts: Abby Mueller, Adrianna Hicks, Alicia Corrales-Connor, Amelia Walker, Amy Bridges, Andrea Macasaet, Anna Uzele, Athena Collins, Brittney Mack, Bryony Duncan, Caitlin Tipping, Candace Furbert, Cassandra Lee, Cherelle Jay, Collette Guitart, Courtney Bowman, Courtney Mack, Courtney Stapleton, Danielle Steers, Georgia Carr, Hana Stewart, Harriet Watson, Hazel Karooma-Brooker, Jasmine Shen, Jennifer Caldwell, Jessica Niles, Jodie Steele, Kelly Sweeney, Lauren Byrne, Lauren Drew, Liv Alexander, Maddison Bulleyment, Mallory Maedke, Natalie Pilkington, Nicole Kyoung-Mi Lambert, Samantha Pauly, Shekinah McFarlane, Sophie Golden, Toby Marlow, Vicki Manser, Viquichele Cross, Zara MacIntosh (42)

2020 debuts: Chloe Zuel, Courtney Monsma, Elizabeth Walker, Ella Burns, Gabriella Stylianou-Burns, Jade Marvin, Kala Gare, Karis Oka, Kiana Daniele, Loren Hunter, Lori McLare, Lucy Aiston, Megan Leung, Rebecca Wickes, Scarlet Gabriel, Shannen Quan, Sophie Isaacs, Vidya Makan (18)

2021 debuts: Abbi Hodgson, Artemis Chrisoulakis, Chelsea Dawson, Chiara Assetta, Ellie Sharpe, Keristen Hodgens, Phoenix Jackson Mendoza (planned), Elena Gyasi (8/1)

Cancelled debuts: Carly Dyer, Emily Harrigan, Kara-Ami McCreanor, Laura Blair, Maddison Firth, Sadie Hurst, Shantel Cribbs, Sophie-Rose Middleton (8)

[thesixqueensasthings]

you can be the gayest boy or the straightest girl but you just have to admit some girls* hit different

*megan gilbert, renee lamb, jaye'j richard noel, adrianna hicks, chloe zuel, lauren drew, candace furbert, jasmine shen, jade marvin, holly musgrave, natalie paris, abby mueller, loren hunter, lauren byrne, caitlin tipping, amy bridges, gabriella stylianou burns, genesis lynea, alexia mcintosh, brittney mack, kiana daniele, shekinah mcfarlane, scarlet gabriel, jessica niles, sophie golden, annabel marlow, aimie atkinson, sophie isaacs, vicki manser, sam pauly, courtney mack, courtney monsma, jodie steele, becca wickes, bryony duncan , alicia corrales connor, ashleigh weir, christina modestou, millie o'connell, courtney bowman, andrea macasaet, kala gare, maddison bulleyment, hazel karooma brooker, kelly sweeney, lucy aiston, shimali de silva, zuki hoyle, maiya quansah breed, danielle steers, anna uzele, athena collins, megan leung, amelia walker, vee cross, collette guitart, grace mouat, courtney stapleton, mallory maedke, hana stewart, nicole kyoung mi lambert, zara macintosh, cherelle jay, shantel cribbs, karis oka, ella burns, shannen alyce quan, natalie pilkington, lori mclare, emily harrigan, kara ami mccreanor, sophie rose middleton, abbi hodgson, elizabeth walker, liv alexander, maddison firth, laura blair, jen caldwell, harriet watson, cassy lee

[hmuncut]

Horror Tease: Grimmwood poster

Horror Tease: Grimmwood poster

The Slash Gang Productions crew is back with an urban legend feature from the team of Matt Kiser and Blair Hoyle. GRIMMWOOD follows a journalist and his sister seeking the truth behind a town that’s cursed from a witch execution some time ago. As of now production will start in November and the first poster has been released. Look for more updates in the near future and check out the poster ahead.

[inexpensiveprogress]

About Warwick Hutton

 Warwick Hutton - Interior of Noah's Ark, 1977

The work of Warwick Hutton is a bit of a rarity in the UK sadly. In Cambridge (where I live) he is known as a teacher as he was head of Fine Art at the Cambridge School of Art. Across the UK he is known as a painter and wood engraver and internationally he is remembered as an illustrator.

Hutton was born in England to an artistic family originally from New Zealand. His father was the glass engraver John Hutton (famous for the windows at Coventry) and his mother was Helen (Nell) nee Blair a talented painter. In 1939 the couple had twins, Macaillan (Cailey) John Hutton and Warwick (Wocky) Blair Hutton.

Warwick attended the Colchester School of Art where John O’Connor was the Principle and John Nash was teaching Botanical drawing. Richard Chopping was also teaching there. There Hutton met Elizabeth Mills and they were married in 1965.

 Warwick Hutton - Two illustrations from Cats Free and Familiar, 1975

Warwick was working as an illustrator while helping his father engrave and install the windows for Coventry Cathedral. He worked for small private presses and major publishers, from the The Keepsake Press (Throwaway Lines, Cats Free and Familiar, Rider And Horse.) to the Cambridge University Press and their limited edition Christmas Book series (Waterways of the Fens, A Printer's Christmas Books). 

One of Hutton’s illustrations appeared in John O’Connors book The Technique Of Wood Engraving. Three years later Warwick published his own book Making Woodcuts with Academy Editions Ltd.

The major successes for Warwick Hutton were to come with a series of retelling of Bible Stories (Noah and the Great Flood, Jonah and the Great Fish, Moses in the Bulrushes) and Grimm's Tales (Beauty and the Beast, The Nose Tree, The Tinderbox, The Sleeping Beauty) all of these internationally published.

 ウォリックハットン - ねむりひめ, 1979

My two favourites are the Adam and Eve story for it not being shy about nakedness in children’s books and Sleeping Beauty for the wonderful use of the rose thorns and the patterns used throughout the book. 

 Warwick Hutton - Illustration from The Sleeping Beauty, 1986

The most attention came for Hutton when he worked with Susan Cooper, the author best known for The Dark Is Rising series. Hutton illustrated three books for Cooper: The Selkie Girl, Tam Lin and the Silver Cow for her, many of these are still in American libraries. 

The later series of books by Hutton were re-telling of Greek Myths, Odysseus and the Cyclops, Persephone, Perseus, Theseus And The Minotaur the latter gaining much attention as mentioned in the New York Times Children’s Book Award review below: 

The gifted British watercolorist turns to Greek myth and captures the bravery of young Theseus, the terrifying half-human Minotaur and the haunting beauty of ancient Crete. Here, as in all his other books, the ocean scenes have astonishing intensity and power. †

Hutton collaborated with other authors illustrating their books: Margaret & Raymond Chang on The Cricket Warrior: A Chinese Tale and James Sage on To Sleep.

 Warwick Hutton - Illustration from The Cricket Warrior, 1994 

Becoming Head of the Foundation course at the Cambridge School of Art Hutton was able to encourage the students to publish their works and set up and edited Private View: The Journal from the Cambridge School of Art. The magazine republished works by famous artists as well as the students own work. 

As a teacher at the Cambridge School of Art, Warwick provided the Council with a painting as part of the Original Works for Children in Cambridgeshire, part of the Pictures for Schools series. The Pictures for Schools project came out of, and alongside many other famous ‘utopian’ projects like Contemporary Lithographs (1937-38), AIA Everyman’s Prints (1940) and the School Prints series of lithographs where major artists would be paid to design a lithograph that would be printed in thousands and then sold to schools cheaply.

In the founding of the Pictures for Schools project Nan Youngman wanted to have paintings more than prints from artists. Early contributors were L. S. Lowry, Tirzah Garwood, Stephen Bone and Bernard Cheese. After some decades it was taken over by Walter Hoyle who was the head of Printmaking at the Cambridge School of Art. Together they encouraged their student’s to donate works to the collection to be hung in schools. 

Hutton’s painting of ‘Adam and Eve’ followed with a book he published in 1987 under the same name by Hutton with Atheneum Books.

 Warwick Hutton - Adam and Eve, 1986 (In My Collection) 

Hutton died of cancer in 1994 in Cambridge, England. An audiobook of Jonah and the Great Fish is for sale in the USA as an audiobook and a video can be found here. Interior of Noah's Ark can be purchased as a card from Orwell Press Art Publishing.

 Private View: The Journal from the Cambridge School of Art. 

Bibliography

Throwaway Lines by Gavin Ewart, Illustrated by Warwick Hutton, 1964

Waterways of the Fens by Peter Eden, Illustrated by Warwick Hutton, 1972

Making Woodcuts by Warwick Hutton, 1974

Practical Gemstone Craft by Helen Hutton. Illustrated by Warwick Hutton. 1974.

Cats Free and Familiar by Robert Leach, Illustrated by Warwick Hutton. 1975

Rider and Horse by Martin Booth, Illustrated by Warwick Hutton. 1976

Noah and the Great Flood re-told and Illustrated by Warwick Hutton, 1977

Mosaic Making Techniques by Helen Hutton, 1977

The Sleeping Beauty re-told and Illustrated by Warwick Hutton, 1979

The Nose Tree re-told and Illustrated by Warwick Hutton, 1981

Private View - Cambridge School of Art Magazine Editor and co-editor, 1982-1989

The Silver Cow: A Welsh Tale by Susan Cooper. Illustrated by Warwick Hutton, 1983

Flesh of His Flesh - Poems by Florence Elon, Illustrated by Warwick Hutton, 1984

Beauty and the Beast re-told and Illustrated by Warwick Hutton, 1985

Jonah and the Great Fish re-told and Illustrated by Warwick Hutton, 1986

Moses in the Bulrushes re-told and Illustrated by Warwick Hutton, 1986

The Selkie Girl by Susan Cooper. Illustrated by Warwick Hutton, 1986

Adam and Eve - The Bible Story re-told and Illustrated by Warwick Hutton. 1987

The Tinderbox by Hans Christian Andersen and re-told and Illustrated by Warwick Hutton, 1988

Theseus And The Minotaur re-told and Illustrated by Warwick Hutton, 1989

To Sleep by James Sage. Illustrated by Warwick Hutton, 1990

Tam Lin by Susan Cooper, Illustrated by Warwick Hutton, 1991

The Cricket Warrior - A Chinese Tale retold by Margaret & Reymond Chang, Illustrated by Warwick Hutton

Perseus  re-told and Illustrated by Warwick Hutton, 1993

Persephone re-told and Illustrated by Warwick Hutton, 1994

Odysseus and the Cyclops by Homer and re-told and Illustrated by Warwick Hutton, 1995.

† Published: New York Times. November 5, 1989

[sounmashnews]

[ad_1] LONDON — The six dwelling former British prime ministers gathered for the rarest of ceremonies in London on Saturday to witness King Charles III be formally proclaimed the nation’s new monarch. During a sombre assembly of the Accession Council, the brand new king mentioned he was “deeply aware” of “the duties and heavy responsibilities of sovereignty” which have now handed to him from his late mom Queen Elizabeth II. “In taking up these responsibilities, I shall strive to follow the inspiring example I have been set in upholding constitutional government, and to seek the peace, harmony and prosperity of the peoples of these islands, of the Commonwealth realms and territories throughout the world,” he advised a packed room of senior politicians and different dignitaries at St James’s Palace. Although Charles turned king the second his mom died Thursday, according to centuries-old British convention an Accession Council should meet to formally declare his coming to the throne. It final met in 1952. This 12 months, the entire occasion was televised for the primary time. The historic event introduced collectively Conservative and Labour ex-premiers John Major, Tony Blair, Gordon Brown, David Cameron, Theresa May and Boris Johnson, in addition to present Prime Minister Liz Truss. They had been joined by previous and current Cabinet ministers, the previous Archbishops of Canterbury and York, Queen Camilla, and the king’s oldest son and inheritor William. Also among the many counsellors was former Deputy Prime Minister Nick Clegg, who misplaced his Sheffield seat in 2017 and is now president of worldwide affairs at tech big Meta, and the present and former Scottish First Ministers Nicola Sturgeon and Alex Salmond. The historic ceremony was led by Lord President of the Council Penny Mordaunt, who was solely handed the job in Tuesday evening’s Cabinet reshuffle by new PM Truss. During the primary a part of the ceremony, Clerk of the Privy Council Richard Tilbrook learn the proclamation confirming Charles as Britain’s “only lawful and rightful liege lord.” The clerk then declared: “God save the king,” and greater than 200 counsellors repeated the well-known phrase. In the second a part of the assembly, the king made his handle and took the oath to protect the Church of Scotland, the place powers of state and church are break up. William, the brand new prince of Wales, additionally signed the oath. Outside, a crowd of hundreds sang the refrain of the — now reworded — nationwide anthem and gave three cheers for the brand new monarch. Bigger crowds waited for Charles III exterior Buckingham Palace, the place he arrived after the ceremony in his state Rolls Royce to host an viewers with Truss, members of her Cabinet and opposition leaders. Prince William additionally paid his first public tribute to the queen, whom he mentioned was by his aspect at his happiest and saddest moments. “I knew this day would come, but it will be some time before the reality of life without grannie will truly feel real,” he mentioned. On Saturday afternoon, different members of the royal household, together with the king’s three siblings and their youngsters, attended a prayer service at Crathie Kirk, close to Balmoral, the place the queen’s physique stays.   In parliament, senior MPs and members of the federal government together with Truss, House of Commons Speaker Lindsay Hoyle and Labour’s longest-serving feminine MP Harriet Harman, pledged their allegiance to the brand new king, with extra anticipated to take action at a later date. The program of commemorative occasions will proceed Sunday afternoon, when the king will obtain the realm excessive commissioners and Foreign Secretary James Cleverly in illustration of the U.Ok. authorities. The queen’s coffin will probably be taken by highway to the Palace of Holyroodhouse in Edinburgh Sunday at a sluggish tempo to permit mourners to pay their respects, in keeping with a senior palace official.

On Monday, the coffin will probably be taken in procession to St Giles’s Cathedral, Edinburgh, the place it should lie till Tuesday, earlier than being flown to London, the place it should lie in state for 4 days in Westminster Hall from Wednesday till the morning of her state funeral on September 19. During today hundreds of individuals are anticipated to go to parliament to bid farewell to the late monarch. On Monday, Truss will attend the presentation of addresses in Westminster Hall, and can be part of King Charles III as he leads the nationwide mourning throughout the U.Ok., with providers in Scotland that very same afternoon, in Northern Ireland Tuesday, and in Wales on Friday. pl_facebook_pixel_args = []; pl_facebook_pixel_args.userAgent = navigator.userAgent; pl_facebook_pixel_args.language = navigator.language; if ( document.referrer.indexOf( document.domain ) < 0 ) pl_facebook_pixel_args.referrer = document.referrer; !function(f,b,e,v,n,t,s) if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments); if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window, document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq( 'consent', 'revoke' ); fbq( 'init', "394368290733607" ); fbq( 'track', 'PageView', pl_facebook_pixel_args ); if ( typeof window.__tcfapi !== 'undefined' ) window.__tcfapi( 'addEventListener', 2, function( tcData, listenerSuccess ) if ( listenerSuccess ) tcData.eventStatus === 'tcloaded' ) __tcfapi( 'getCustomVendorConsents', 2, function( vendorConsents, success ) if ( ! vendorConsents.hasOwnProperty( 'consentedPurposes' ) ) return; const consents = vendorConsents.consentedPurposes.filter( function( vendorConsents ) return 'Create a personalised ads profile' === vendorConsents.name; ); if ( consents.length === 1 ) fbq( 'consent', 'grant' ); ); ); [ad_2] Source link

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Downing Street called Speaker ‘loony’ for raising Diana conspiracy theory

Downing Street called Speaker ‘loony’ for raising Diana conspiracy theory

Officials suspected Sir Lindsay of using the controversy around Diana’s death to boost his profile The current Speaker of the Commons was branded a ‘publicity-mad loony’ by Tony Blair’s officials for allegedly fuelling conspiracy theories about Princess Diana, it has been revealed. Sir Lindsay Hoyle, who as Speaker oversees parliamentary debate, was elected as MP for Chorley when Mr Blair swept…

[uk-news-talking-politics]

Is oratory virtually dead? The House in lockdown

By Eliot Wilson

The House of Commons is a curious bearpit of a place. In quiet times, with only a handful of Members present for humdrum business, it can be a lifeless arena with a feeling of scripts being read out without much gusto. But for set-piece occasions, like PMQs or a Budget statement, it is a raw, savage arena, the air crackling with energy as MPs crowd into a surprisingly small space, sitting on the floor or crushed against walls, to take part in the blood sport of British democracy.

Virtual proceedings, allowing MPs to participate in debates from the comfort of their homes or offices, have changed the mood entirely. The old atmosphere is utterly absent—no braying crowds or booing mobs—and oratory that before would have set the chamber ablaze can fall utterly flat, fail to impress or even seem absurd and parodical.

It is important to recognise that the Commons is not universally admired for its sometimes-theatrical style. While American audiences can be rapt by the tempo and emotion of proceedings (Congress is very different, and the Senate is an especially somnolent body), there is a section of informed observers who lament the lack of content and serious purpose. Prime Minister’s Questions, they argue, solicit little information, are peppered with obvious set-ups and get drowned out by schoolyard taunts and shouts.

There is much truth in that. PMQs are a thing apart, a kind of career-long initiation ceremony both for premiers and opposition leaders, and what is reported is not the content of the answers but a more subjective sense of who “won”, who landed sharp, television-friendly partisan blows and who was left hesitant and defensive.

It is a run-what-ya-brung affair: Tony Blair, master of the soundbite but not particularly effective as a debater, relied on the mass of Labour MPs behind him to crush the opposition; Harold Wilson, despite a superficial everyman geniality, knew very well how to handle a stiletto, almost leaning across the despatch box to slip it between the ribs; while David Cameron in his early days played on the sheen of youth and optimism to contrast himself to the tired-looking Labour leaders he faced. One of the most effective lines I have seen, because it was witty, almost glib, but contained a bomb of truth, was his throwaway remark, facing Blair, that “he was the future once”. Ouch.

All of these observations notwithstanding, any experience of other legislatures will quickly drive home the point that the House of Commons sometimes sees drama and oratory of a reasonably high standard. When I was a teenager—yes, yes, judge away—I owned a double CD set entitled “Great Parliamentary Speeches”. Imagine a similar product from the Bundestag.

The pandemic has changed everything. After a shaky start, the House of Commons introduced “hybrid” proceedings, whereby members could take part in questions and debates remotely, their images appearing on large screens installed in the chamber specially for the purpose. The government has taken a sceptical view of remote participation, partly because the whips are conscious that their controls diminishes with physical distance, and partly because the leader of the House, Jacob Rees-Mogg, is, to put it mildly, a traditionalist by instinct. But the pressure to adapt to lockdown has proved irresistible (especially as the House of Lords has more enthusiastically embraced technological solutions), and recent proceedings have been largely virtual, with only a small proportion of MPs physically present in the chamber.

The effect on the way MPs deliver speeches has been profound. The first major sign that something had changed was a series of rather flat performances at PMQs by Boris Johnson. He is a man usually noted for his verbal dexterity and broad vocabulary, even if he does use “um” and ”errr” as punctuation and stylistic trills, while his opponent, Sir Keir Starmer QC, despite forensic legal training, can seem robotic and unexpressive. But, as Admiral Beatty observed bitterly at the Battle of Jutland, “There seems to be something wrong with our bloody ships today”. Boris had lost his touch.

The answer was strikingly simple. The prime minister plays to a crowd, drawing energy from his audience as if his life depended on it. Shorn of a phalanx of cheering and hooting Conservative MPs at his back, he was exposed, unarmed. His jokes were not greeted with hearty guffaws and his witticisms drew no cheers of admiration. This was not how it was supposed to be. The bloody ships indeed.

It is not just the prime minister who has suffered. All members have taken a while to adjust to their new circumstances: it is difficult to feel like Gladstone when seated in front of a laptop in the spare room. Ian Blackford, the SNP’s Westminster leader, has created ever-more-patriotic backgrounds of tartan and football shirts, but his orotund bombast, for which the House has little patience at the best of times, seems simply absurd and laughable. He has passed through the veil into self-parody. Other MPs try to maintain the gravitas and rhetorical flair of the green benches; one senior Tory insists on standing, despite being in his own home, which is a touching consideration of the House’s dignity but not entirely necessary.

Then there is the great curse of remote working everywhere, the phrase which may come to define 2020: “You’re on mute”. MPs are not used to having control of their microphones: at international assemblies where individual mikes are the norm and the speaker presses a button to activate and deactivate them, the British delegates are often guilty of launching into a speech without amplification, or else leaving the microphone switched on after their contribution and broadcasting their quotidian conversations across the room. Modern technology adds to that risky mix a reliance on a stable internet connection, which is a disadvantage for MPs in more rural and far-flung locations.

The overall effect has been deadening. Members are beginning to learn—most of them, anyway—that grand gestures and soaring phrases will no longer convince or impress. A more conversational tone is creeping into proceedings, in some ways a complement to the jolly compering of the speaker, Sir Lindsay Hoyle. Members are introduced like contestants on Sale of the Century, or, in the case of Tory MP Bob Blackman, greeted as if he is an airline pilot coming into land (Blackman wears rather aeronautical-looking headphones, and has joined in the joke).

There is one other striking feature of the virtual proceedings. By necessity the Commons has adopted the practice of keeping a publicly available list of those who have applied to speak: this has long been standard in the House of Lords, but previously, while the speaker would have a list of those who had sought to “catch his eye”, it would be a private document, shared only between the speaker and his secretary, not available for other Members to consult.

A published list and the comparative ease of contributing virtually has led to very heavily subscribed debates (due also, no doubt, to the gravity of matters before the House in recent weeks). As anyone who has watched parliament will tell you, and simple arithmetic will suggest, the more MPs who wish to speak, the less time will be available to each MP for his or her contribution. So we have seen debates on, for example, the most recent covid lockdown regulations in which members have only three minutes to speak: not long to develop an argument or draw out a philosophical observation. For someone like Sir Charles Walker or Sir Desmond Swayne, who acknowledge the seriousness of the public health threat but also place great importance on personal liberty of action, and seek agonisingly to find a satisfactory balance between the two, 180 seconds is not really adequate.

For the foreseeable future, then, we have a House of Commons which is more conversational in style, less formal, with a more direct relationship between the MP who is speaking and the audience watching from outside Westminster. Members will become aware of this, and of its potential for connecting with a wider audience. Some will welcome it as making the House less stuffy, less theatrical, less mannered. I am not so sure.

The overarching question is: what will happen when the epidemiological threat subsides, Members can gather together physically again and the chamber fills back up? Will this “covid style” be forgotten and wither away? Or will a lasting change in temper have taken place? Remember that MPs elected in 2019 have known little else: they had been in the House for only three or four months before the pandemic hit. There are 140 of them, these newbies. Will they set the tone of a new kind of parliament, or will the old ways reassert themselves? Tradition vs modernity. The House has seen this battle before.

[redladydeath]

So, the three recently announced casts have added even more queens with the same name to the roster. Here’s a list of every single one: points to anyone who feels up to charting all the commonalities.

Abby Mueller Abigail “Abbey” Heilman Abigail “Abbi” Hodgson Adrianna “Dri” Hicks Adrianna Cheree Glover Aiesha Naomi Pease Aimie Allen Atkinson Alana Maria Robinson Alexia Elizabeth “Lexi” McIntosh Alicia Tyra Corrales-Connor Alize Ke’Aloha Cruz Amanda Lindgren Amelia Anne Walker Amy Di Bartolomeo Amy Louise Bridges Andrea Cesyl “Dre” Macasaet Anna Leah Uzele Annabel Marlow Artemis Chrisoulakis Ashlee Waldbauer Ashleigh “Ash” Weir Athena Collins Brianna Marie Mooney Brittney “Britt” Mack Bryony Louise “Bry” Duncan Caitlin “Cait” Tipping Candace Leanne “Candy” Furbert Carly Mercedes Dyer Casey Al-Shaqsy Cassandra “Cassy” Lee Cassie Silva Channing Weir Chelsea Dawson Cherelle Jay O’Donnell Chiara Assetta Chloe Cherie Zuel Chloe Hart Christina Modestou Claudia Kariuki Collette Guitart Courtney “Court” Mack Courtney Bowman Courtney Jade Monsma Courtney Jane Stapleton Danielle “Danie” Louise Mendoza Danielle Lauren “Dee” Steers Danielle Rose Didi Romero Dionne Ward-Anderson Elena Gyasi Elizabeth “Lizzie” “Liz” Walker Ella Burns Ellie “Els” Sharpe Emilia Rose “Mills” “Millie” O’Connell Emily Rose Harrigan Erin Palmer Riley Ramirez Esme Rothero Gabriela Francesca Carillo Gabriella Louisa “Gabby” Stylianou-Burns Genesis “Gen” Lynea Georgia Michelle “Gigi” Carr Grace Elizabeth Mouat Grace Melville Hana Louise Cox Davis “Stewart” Harriet “Hazza” Watson Harriet Caplan-Dean Hazel Karoom-Brooker Holly Musgrave Izuka “Zuki” Hoyle Jade Marvin Jaina Brock-Patel Jarneia “Jaye’J” Richard-Noel Jarynn Whitney Sampson Jasmine Jia Yung “Jazz” Shen Jasmine Paige Forsberg Jennifer “Jen” Caldwell Jessica Carolyn Evana “Jess” Niles Jodie Samantha Steele Kala Anne “KG” Gare Kara-Ami McCreanor Karis Oka Keirsten Nicole Hodgens Kelly Denice Taylor Kelly Louise Sweeney Kelsee Sweigard Kennedy Monica Carstens Khaila Anye Wilcoxon Kiana Daniele Kirsty Natisha “Zara” MacIntosh Danile Kristina Walz L’Oreal Roache Laura Blair Lauren Ann Byrne Lauren Drew Lauren Kay Irving Leesa Tulley Loren “Lozza” Hunter Lori-Jane Williams Nicholson “McLare” Lucille “Lucy” “Luce” Aiston Maddison “Maddi” Firth Maddison Rose “Maddie” Bulleyment Madeline Fansler Maiya Jasmin Esi “May” Quansah-Breed Mallory Maedke Marilyn Caserta Maya Jordan Christian Meesha Turner Megan Gilbert Megan Leung Meghan Dawson Melinda Porto Natalie Clare “Nat” Pilkington Natalie May “Nat” Paris Nicole “Nila” Kyoung-Mi Ok Lambert Oliver Wickham Olivia Donalson Olivia Kate “Liv” Davies “Alexander” Oritsetsemaye “Tsemaye” Bob-Egbe Paisley Billings Phoenix Jackson Mendoza Princess Sasha Victome Rachel Rawlinson Rebecca “Becca” Wickes Renee Emily Frances Lamb Roxanne “Rox” Couch Sadie Annabelle Hurst Samantha Megan “Sam” Pauly Scarlet Gabriel Shannen Alyce Chin-Quan Shantel Renee “Shany” Cribbs Shekinah Adarna “Shaka” McFarlane Shelby Taylor Griswold Shimali de Silva Sophie Isaacs Sophie Patrice Golden Sophie-Rose Byrne “Middleton” Storm Lever Sunayna “Sunny” Smith Victoria Louise “Vicki” Manser Vidya Makan Viquichele Victoria “Vee” Cross Wesley Carpenter