#Cecil Robertson

[alovelywaytospendanevening]

Lit Hub: How Oscar Wilde Created a Queer, Mysterious Symbol in Green Carnations

In London in 1892, everybody—or, at least, everybody who was anybody—was talking about one thing: green carnations. Nobody was sure, exactly, what wearing a green carnation meant, or why it had suddenly become such a deliciously scandalous, dazzlingly fashionable sartorial statement. All anybody knew was that one day, at a London theater, someone important (stories differed as to who exactly it was) wore a green carnation, or maybe it had been a blue one (stories differed about that too).

Green carnations may have had something to do with sexual deviance. They may also have had something to do with the worship of art. And the whole thing somehow had to do with Oscar Wilde, the flamboyant playwright, novelist, and fame-courting dandy who—as he never tired of telling the press—put his talent into his work but put his genius into his life. Wilde lived his life as a work of art (or let people think he did). The affair of the green carnation gives us a little glimpse into how.

One story about what exactly happened comes from the painter Cecil Robertson, who recounts his version in his memoirs. According to Robertson, Wilde was keen to drum up publicity for his latest play, Lady Windermere’s Fan. A character in the play, Cecil Graham—an elegant and witty dandy figure who rather resembled Wilde himself—was ostensibly going to wear a carnation onstage as part of his costume. And Wilde wanted life to resemble art.

“I want a good many men to wear them tomorrow,” Wilde allegedly told Robertson. “People will stare…and wonder. Then they will look round the house [theater] and see every here and there more and more little specks of mystic green”—a new and inexplicable fashion statement. And then, Wilde gleefully insisted, they would start to ask themselves that most vital of questions: “What on earth can it mean?”

Robertson evidently ventured to ask Wilde what, exactly, the green carnation did mean.

Wilde’s response? “Nothing whatsoever. But that is just what nobody will guess.”

Within days, carnations were everywhere. Just two weeks later, a newspaper covering the premiere of another play, this one by Théodore de Banville, reported a bizarre phenomenon: Wilde in the audience, surrounded by a “suite of young gentlemen all wearing the vivid dyed carnation which has superseded the lily and the sunflower,” two flowers that had previously been associated with Wilde and with fashionable, flamboyant, and sexually ambiguous young men more generally.

A little over a week after that, a London periodical published another piece on this mysterious carnation. It is a dialogue between Isabel, a young woman, and Billy, an even younger dandy—heavily implied to be gay—about the flower, which Billy has received as a gage d’amour (the French is tactfully untranslated) from a much older man. Billy shows off his flower to the curious Isabel with the attitude of studied nonchalance: “Oh, haven’t you seen them?…. Newest thing out. They water them with arsenic, you know, and it turns them green.”

The green carnation is something desperately exciting, understood not by ordinary society women but by Brummell-style dandies, shimmering with hauteur. It’s deliciously dangerous, perhaps even a tad wicked; the carnations are colored with poison, after all. It’s also, in every sense of the word, a little bit queer.

The green carnation’s appeal as a symbol of something esoteric persisted. Two years after the premiere of Lady Windermere’s Fan, an anonymous author—later revealed to be the London music critic Robert Hichens—published The Green Carnation, a novel that appears to be very obviously based on Oscar Wilde’s real-life homosexual relationship with the much younger Lord Alfred “Bosie” Douglas.

The Green Carnation, though it is certainly a satirical exaggeration, can tell us much about this strange, new class of young men cropping up not only in London but also in Paris, Copenhagen, and so many other European capitals during the nineteenth century: the dandy. Inheritors of the mantle of Beau Brummell but far more flamboyant in their affect—John Bull would certainly have turned around to look at them in the street—these modern dandies didn’t just live their lives artistically.

These dandies believed—or at least made out that they believed—that the highest calling a person could have was a careful cultivation of the self: of clothing, sure, and of hairstyle, but also of gesture, of personality. And behind that belief lay a kind of bitter nihilism, as poisonous as arsenic itself. Nothing meant anything, unless you decided it did. A green carnation could signify homosexual desire, or aesthetic dandyism, or “nothing whatsoever,” depending on your mood and what you felt like conveying to the world that morning.

(Full article)

[lostfunzones]

Mrs Freeman (formerly Miss Blossom Forbes-Robertson), 1928. Photo by Cecil Beaton.

[favevoiceactorbracket]

Meet the Competing Voice Actors!

After the preliminaries and days of deliberating, here are you VOICE ACTORS COMPETING! One will take home the spot of Tumblr's Favorite Voice Actor!

A note before they are introduced! If you would like to support any of them send in an ask or make propaganda, any propaganda you make and post yourself should have me tagged! As well using the tags #favevabracket or #favevabracket2023!

And a quick reminder about the two rules that will be staying active!

No harrassment, hate, or vitriol will be tolerated. We are here to celebrate the work of voice actors not tear each other down

This is all for fun! Do not take it super seriously!

Good luck to all of our competitors!

Kirby Morrow

Rob Paulsen

Robbie Daymond

Tiana Camacho

Alex Hirsch

Khoi Dao

Megumi Ogata

Ray Chase

Sungwon Cho

tara strong

Yuri Lowenthal

Alejandro Saab

Billy Kametz

Billy West

bryce papenbrook

Cree Summer

Grey DeLisle-Griffin

Kevin Conroy

Phil Lamar

Zach Aguilar

Zeno Robinson

AJ Michalka

Alex Brightman

Allegra Clark

Ashley Johnson

Christopher R. Sabat

Daws Butler

Eartha Kitt

Erika Harlacher-Stone

Frank Welker

J. Michael Tatum

Jack De Sena

Jason Griffith

JK Simmons

John DiMaggio

June Foray

Kristen Schaal

Mark Hamill

Richard Horvitz

Steve Blum

Tom Kenny

Wendie Malick

Aaron Dismuke

Aaron Paul

Aimee Carrero

Alison Brie

Ami Koshimizu

Angela Bassett

Ashley Ball

ashly burch

Avi Roque

Ayumu Murase

Ben Schwartz, baby!

BETH MAY

bill farmer

Bill Scott

brandon rogers

Caitlin Glass

Casey Kasem

Cassandra Lee Morris

Cecil Baldwin

Christine Cavanaugh

Clark Duke

Colleen Clinkenbeard

Daman Mills

Dan Castellaneta

Dan Provenmire

Dani Chambers

Dante Basco

Dave Fennoy

David Tennant

Deedee Magno Hall

Deven Mack

Doris Grau

Doug Boyd

Dylan Marron

Elizabeth Maxwell

EG Daily

Elijah Wood

Ellen McLain

Eric Vale

Erin Fitzgerald

Josey Montana McCoy

Greg Chun

Gu Jiangshan

Guilherme Briggs (brazilian)

Haley Tju

Harry Shearer

Haruka tomatsu

Helen Gould

Hynden Walch

Jack McBrayer

Jackson Publick

Jaime Lynn Marchi

Jason Griffith

Jason Liebrecht

jason marsden

Jennifer Hale

Jerry Jewell

Jim Cummings

Jim Ward

John Burgmeier

John Swasey

Johnny Yong Bosch

Julie Kavner

Justin Cook

Kaiji Tang

Katey Sagal

Kdin Jenzen

Keith David

Ken Sansom

Kent William

Kevin Brighting

Kevin R Free

Kieran Reagan

Kimberly Brooks

Kimiko glenn

Kyle Igneczi

Kyle McCarley

Laura Bailey

Lauren Tom

Leah Clark

Liam O’Brien

Lorenzo Music

Lucien Dodge

Lucille Bliss

Lydia Mackay

Lydia Nicholas

Maddie Blaustein

Mae Questel

Mae Whitman

Maggie Robertson

Mara Wilson

Mark Oliver

Matthew Mercer

Matthew Zahnzinger

Maurice LaMarche

Max Mittelman

Mel Blanc

Melissa Hutchinson

Michael Adamthwaite

Micheal Sinterniklaas

Mike Judge

Monical rial

Natsuki Hanae

Nicole Tompkins

Olivia Olson

Olivia Wilde

P.M. Seymour

Parker Simmons

Patricia Ja Lee

Patrick Pedraza

Paul Castro Jr

Paul Frees

Penny Parker

Pete Gustin ( i think thats how it's spelled)

Peter Cullen

Phil Harris

Phil Hartman

Ricco Fajardo

Roger Craig Smith

Roz Ryan

Sandra Oh

Sarah Miller-Crews

Sayaka Ohara

Scatman Crothers

Scott Adsit

Scott Mcneil

Stanley Tucci

Stephanie Beatriz

Stephen Merchant

Steve Whitmore

Tabitha st Germain

Takaya Kuroda

Tom Kane

Tress McNeil

Veronica Taylor

Vincent Tong

Will Arnett

Yasuo Yamada

Zach Callison

Bobbie Moyinhan

Josh Brener

Andrew Francis

Brent Millar

Sebastian Todd

Kestin Howard

Lizzy Hofe

Andy Cowley

Todd Haberkorn

Yoshimasa Hosoya

Russi Taylor

[thewarmestplacetohide]

Dread by the Decade: Dr. Jekyll and Mr. Hyde

👻 You can support me on Ko-fi ❤️

★★★½

Plot: Dr. Jekyll invents a potion that transforms him into the violent Mr. Hyde.

Review: While it isn't faithful to its source, it still captures the novella's main idea and makes for an enjoyable watch.

Source Material: Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson Year: 1920 Genre: Sci-Fi Horror, Gothic Country: United States Language: Silent Runtime: 1 hour 21 minutes

Director: John S. Robertson Cinematographer: Roy F. Overbaugh Writer: Clara Beranger Composer: Jack Curtis Dubowsky Cast: John Barrymore, Brandon Hurst, Martha Mansfield, Charles Willis Lane, Cecil Clovelly

-----

Story: 3.5/5 - Jekyll's battle with his dark side effectively and tensely builds, but a forced romantic subplot staggers the story.

Performances: 4/5 - Barrymore steals the show as Jekyll and Hyde, though his writhing sometimes approaches parody.

Cinematography: 3/5

Editing: 3/5

Music: 2.5/5 - Swings between serviceable and overbearing.

Sets: 3.5/5 - Well-furnished and diverse, but sometimes obviously sets.

Costumes & Make-Up: 4/5 - Millicent's dresses are lovely, and the subtle change in how Jekyll's clothes hang on Hyde is great. Hyde's make-up, however, grows too reminiscent of ableist caricatures.

Trigger Warnings:

Brief, racially stereotypical portrayal of an opium den

Ableist caricature

Brief abuse of a sex worker

[pandoramsbox]

Sci-Fi Saturday: Aelita: Queen of Mars

Week 3:

Film(s): Aelita: Queen of Mars (Аэли́та, Dir. Yakov Protazanov, 1924, USSR)

Viewing Format: DVD

Date Watched: May 29, 2021

Rationale for Inclusion:

In retrospect, I did not research silent science fiction films as thoroughly as I should have going into this survey. A handful of additional titles should have been included, most notably A Trip to Mars (Himmelskibet, Dir. Holger-Madsen, 1918, Denmark). When we were coming up with the watch list, A Trip to the Moon (Le voyage dans la lune, Dir. Georges Méliès, 1902, France) and Metropolis (Dir. Fritz Lang, 1927, Germany) were the only silent films that immediately came to mind. The inclusion of 20,000 Leagues Under the Sea (Dir. Stuart Patton, 1916, USA) came out of the chance discovery of the film's existence and availability, while Dr. Jekyll and Mr. Hyde (Dir. John S. Robertson, 1920, USA) came from wanting to make sure that foundational text was represented.

Aelita: Queen of Mars (Аэли́та, Dir. Yakov Protazanov, 1924, USSR) was a film I waffled on including. I had last seen the film as an undergrad whilst taking a science fiction genre class back in 2006; I had even written a paper on it. I remembered that it was interesting, but overall not a great film. However, as I pondered it and dug into its history, I ran across a note that its costumes and production designs likely influenced later sci-fi films, like Metropolis and the Flash Gordon serials. 

With watching Metropolis being a given, I tracked down a copy of the Flicker Alley DVD release. (Although, like many existent silent films, since the film is in the public domain, you can view the whole film on archive.org) Besides, given the way the Cold War and Space Race would later influence the evolution of science fiction, Soviet and Russian cinema is essential viewing.

Reactions:

Watching Aelita again reinforced a lot of past opinions about it. Most of the narrative is more concerned with the stratification of society and manipulation of the workers, which for a film produced in the Soviet Union is not at all surprising. However, these aspects are politically and culturally interesting given that when Aelita was made the Union of Soviet Socialist Republics (USSR) had only existed for two years, and Communist Russia was still figuring itself out.

The conflict between the desires of the individual and betterment of society plays into the discovery late in the film that the Mars scenes and rocketship development were all the daydreams of Los (Nikolai Tseretelli), an engineer. This revelation proceeds in a way akin to how Cecil B. DeMille made religious epics: the audience is given a sensational, decadent, sinful spectacle that is capped off with enforcement and promotion of proper social norms. The mysterious radio broadcasts that inspired Los turning out to be a commercial, and Los rejecting his daydreams of space travel that grew from it, shows how seductive and detrimental to society Capitalism can be, and how good comrades should reject it.

The Constructivist sets and costumes on Mars are definitely the highlight of the film. The abstract, angular and contrasting aesthetics are indeed alien looking relative to the shabby hodgepodge of attire and locales in the Communist Russia scenes, which is slightly ironic given how Constructivism would go on to define state propaganda as well as avant-garde art. I was so taken with the costuming in particular that one of these days I hope to make an amigurumi Aelita doll.

Speaking of the title character herself, Aelita (Yuliya Solntseva) is a stock seductive aristocrat willing to do whatever it takes to get herself more power and influence. Part of why Los kills his daydreams of Mars, and the beautiful Aelita, is how quickly she becomes a tyrant when she gains the throne of Mars, revealing that she had only exploited the revolting workers of Mars to serve as a coup. While this warning should have alerted Communist Russia to be skeptical of the intentions of all potential leaders, it only succeeded as an example of why the aristocracy is not to be trusted, based on how the history of the USSR played out.

It may only be a so-so film overall, but Aelita is an essential sci-fi film. If you're a fan of the genre, or silent cinema, it is worth seeing at least once.

[diceriadelluntore]

Storia Di Musica #272 - Thin Lizzy, Black Rose: A Rock Legend, 1979

Phil Lynott non è alla vista il classico irlandese: carnagione scura, capelli afro, figlio di Philomena, irlandese, e Cecil, guyanese di passaporto brasiliano che all’età di tre anni si trasferisce a Dublino. Avrebbe una voce perfetta per il soul, ma si innamora al nascente hard rock tanto che a 17 anni fonda la prima band, siamo nel 1968, insieme all’amico batterista Brian Downey, a nome Orphanage. Quando si unisce un signor musicista, Eric Bell, che faceva parte dei Them di Van Morrison, il trio sceglie come nome un ricordo d’infanzia: la scelta cade infatti sul nome di uno dei protagonisti dei fumetti The Dandy, uno dei più antichi almanacchi di fumetti del mondo, che si chiamava Tin Lizzie, cambiandolo in Thin Lizzy, con quella “h” a sottolineare l’accento irlandese che pronuncia tin come thin. Il trio comincia a farsi notare e va a suonare anche a Londra. Nel 1971 pubblicano per la Decca il primo album, Thin Lizzy,  e nel 1972 pubblicano il primo singolo di successo, un traditional irlandese, Whisky In The Jar, che diventerà poi una delle canzone dell’heavy metal nascente (si ricordano le numerose versioni dei Metallica per esempio). Bell se ne va, e viene sostituito prima da Gary Moore, poi dal duo di chitarristi Scott Gorham e Brian Robertson, e con la formazione a 4 pubblicano il primo grande disco: Nightlife del 1974, che ha due singoli di successo in Philomena (dedicata alla madre di Lynott) e Still In Love With You. Iniziano i tour di spalla ai grande gruppi del rock, e lo stile inizia a delinearsi: un hard rock venato di blues ma che sa pescare anche nel folk e nella musica tradizionale dell’isola verde. Dopo Fighting del 1975, è Jailbreak del 1976 che li fa conoscere in tutto il mondo: contiene infatti uno degli inni rock degli anni ‘70, The Boys Are Back in Town, che ancora oggi passa frequentemente nelle radio. Pressati dai fan e dalla casa discografica di sfruttare il successo, pubblicano nello stesso anno di Jailbreak addirittura un altro disco, Johnny The Fox, che ha un’altra canzone mito, Don’t Believe A Word, ma il clima cambia pesantemente: problemi di alcol e droga, Robertson che dopo il disco non parte in tour, e viene sostituito da Gary Moore. Bad Reputation è prodotto in Canada da Tony Visconti (1977) e vende moltissimo, e l’apoteosi si conclude con un live, Live And Dangerous (1978), che arriva al numero 2 in classifica inglese ma passa alla storia per essere considerato un “finto live”, manipolato ad arte in studio da Visconti per passare come tale. Vanno a Parigi, con Moore che prende il posto di Roberston anche in studio, e registrano in 3 mesi al Pathé Marconi EMI Studios. Se dal vivo si presentano come una pirotecnica band heavy metal, con tutti gli eccessi del caso, dal vivo sono molto più sperimentali e il disco che ho scelto oggi lo dimostra in pieno. Black Rose: A Rock Legend che esce nell’aprile del 1979, in piena scossa punk, prende il nome dall’ultima canzone, Róisín Dubh, un traditional irlandese (dove la rosa simboleggia l’Irlanda, martoriata dall’invasione inglese) che mette in medley con altri canti tradizionali: Shenandoah, Will You Go Lassie Go, Danny Boy e The Mason's Apron, ovviamente arrangiato con il piglio di Lynott e Moore. Il disco si apre con il rullante potente di Do Anything You Want, rombante, e che mostra ancora una volta il timbro vocale affascinante di Lynott, che a fine brano canta “alla Elvis Presley”. Toughest Street In Town è il loro lato più radiofonico, S & M ha un ritmo funky, Waiting For An Alibi è il singolo del disco, che arriva in classifica in UK fino al numero 6. Sarah è una dolce ballata dedicata alla neonata figlia di Lynott. Got To Give Up e Get Out Of Here sono due brani che fanno esplodere tutta la bravura chitarrista di Moore e Gorham, che si trovano a meraviglia, e davvero da riscoprire è soprattutto la seconda, maestosa. Chiudono il disco With Love, che è il brano più furbo, e si chiude con i 7 minuti spettacolari di Róisín Dubh. Lynott, con gravi problemi di droga, inizierà una carriera solista, che destabilizzerà la band, che perde Gary Moore per l’ennesima volta: viene sostituito prima da Midge Ure, che diventerà poi famoso con gli Ultravox, e poi da Snowy White. I risultati sono scarsi, ma c’è l'ennesima svolta: nel gruppo arriva John Sykes, giovane e talentuoso chitarrista, con cui Lynott rinasce, e lo dimostrano due grandi dischi: Thunder And Lightining e Life\Live, entrambi del 1983, con quest’ultimo che in un brano vede la presenza sul palco di tutti i chitarristi precedenti. Sarà il canto del cigno, perchè la band si scioglie e nel 1986 Lynott muore, per abuso di droghe, dopo 10 giorni di coma. Il nome Thin Lizzy continuerà a esistere, ma diventerà una sorta di band commemorativa di un decennio vissuto a tutta velocità da un irlandese che non sembrava un irlandese, che aveva un gran talento.

[docrotten]

DR. JEKYLL AND MR. HYDE (1920) – Episode 160 – Decades Of Horror: The Classic Era

“Damn It! I don’t like your tampering with the supernatural.” What if he just tinkers with it a bit? Join this episode’s Grue-Crew – Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they make the Decades of Horror’s fourth encounter of a strange kind with Robert Louis Stevenson’s story as depicted in Paramount’s Dr. Jekyll and Mr. Hyde (1920).

Decades of Horror: The Classic Era Episode 160 – Dr. Jekyll and Mr. Hyde (1920)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Dr. Henry Jekyll experiments with scientific means of revealing man’s hidden, dark side and releases a murderer from within himself.

  Director: John S. Robertson 

Writers: Robert Louis Stevenson (novella, 1886); Clara Beranger (scenario) (as Clara S. Beranger); Thomas Russell Sullivan (play) (uncredited)

Selected Cast:

John Barrymore as Dr. Henry Jekyll / Mr. Edward Hyde

Brandon Hurst as Sir George Carew

Martha Mansfield as Millicent Carew

Charles Lane as Dr. Lanyon

Cecil Clovelly as Edward Enfield

Nita Naldi as Miss Gina

Louis Wolheim as Music Hall Proprietor

Alma Aiken as Extra (uncredited)

J. Malcolm Dunn as John Utterson (uncredited)

Ferdinand Gottschalk as Old Man at table in music hall (uncredited)

Julia Hurley as Hyde’s Landlady with Lamp (uncredited)

Jack McHugh as Street Kid – Raises Fist to Mr. Hyde (uncredited)

Georgie Drew Mendum as Patron in music hall (uncredited)

Blanche Ring as Woman at table with old man in music hall (uncredited)

May Robson as Old woman outside of music hall (uncredited)

George Stevens as Poole – Jekyll’s Butler (uncredited)

Edgard Varèse as Policeman (uncredited)

The Classic Era Grue Crew takes in another silent scream with this 1920 version of Dr. Jekyll and Mr. Hyde, starring John Barrymore. The makeup-lite early versions of Hyde soon develop into something far more terrifying, augmented by Barrymore’s excellent acting and use of body language. Throw in a quality supporting cast and one of the freakiest dream sequences the crew’s ever seen, and you have a top-notch silent scream!

To check out the other Decades of Horror episodes focused on Stevenson’s novella check these out:

DR. JEKYLL AND MR. HYDE (1931) – Episode 122 – Decades of Horror: The Classic Era

DR. JEKYLL & SISTER HYDE (1971) – Episode 175 – Decades of Horror 1970s

THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE (1968) – Episode 71 – Decades of Horror: The Classic Era

If silent films are your thing, check out these episodes of Decades of Horror: The Classic Era focused on silent screams:

THE CABINET OF DR. CALIGARI (1920) – Episode 13 

NOSFERATU (1922) – Episode 21

THE PHANTOM OF THE OPERA (1925) – Episode 42

THE CAT AND THE CANARY (1927) – Episode 60

HÄXAN (1922) – Episode 79

PHANTOM CARRIAGE (1921) – Episode 85

THE GOLEM (1920) – Episode 99

FAUST (1926) – Episode 145

At the time of this writing, Dr. Jekyll and Mr. Hyde is available to stream from Tubi, Amazon Prime, Hoopla, Kanopy, Screambox, and Crackle. The film is also available as a DVD from multiple sources. Unfortunately, the Kino Classics Blu-ray is no longer available.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Doc, is The Alligator People (1959) featuring Lon Chaney Jr., effects makeup by Dick Smith and Ben Nye, and the cinematography of the legendary Karl Struss!! Put your hip-waders on for this trip; they’re going to the swamp!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[slawomir-m-stasiak]

Cecile, 1912 (oil on canvas). Artist:, Eric Harald Macbeth Robertson (1887-1941) / Scottish. Location: Private Collection

[kevin--of-desert-bluffs]

WTNV quick rundown - 68 - Faceless Old Woman

Featuring the voice of Dylan Marron as Carlos the Scientist.

Get the body you've always wanted. We know where it's buried and can lend you a shovel. Welcome to Night Vale.

A SSP spokesdeer, which speaks only fluent Russian, reveals they have finally captured the FOW. Citizens Christopher Brady and Stuart Robertson have their home ransacked seemingly because they reported on the FOW as living in their home which eventually led to her capture.

The spokesdeer goes on to say that they have captured several faceless old women, seeming to indicate that the FOW is a single sentience attached to many bodies. The FOW appears in Cecil's booth to say that's not true before putting a silverfish into his ear. Cecil is somewhat calm but annoyed about this and breaks off to take it out of his ear and defeat it. This seems to cause some damage to his ear, making it hard for him to hear himself in his headphones.

She does this again a short while later as Cecil reports that despite multiple FOWomen being arrested there is still so many, including in homes where one was previously arrested, and in the SSP hover-cloud and in the mayors office. The FOW is valdalising all these places seemingly because of the crackdown on her. Dana states they should halt the crackdown for now. Cecil is still sure that Dana is manipulating him and says he refuses to help her this time. He ends up putting cotton wool into his ear to stop the bleeding.

Turns out that instead of arresting multiple instances of the FOW secretly living in everyone's homes, they were just arrested several faceless old women openly living in their own homes and these people are filing a discrimination law suit.

Weather: "Matches" by Sifu Hotman http://sifuhotman.bandcamp.com

Carlos leaves a voicemail stating that when Cecil was in the otherworld with him, Kevin purposefully stayed away (Carlos also states that Kevin is just wearing dark sunglasses and covered in bbq sauce lol) and Carlos didn't say what Kevin was building under a vast tarp but now reveals that Kevin has built a radio station for everyone's use and that he is very friendly and relaxed these days. Carlos says he wants to ask Cecil something but can't do it over voicemail.

Cecil seems to guess that Carlos is asking him to move to the desert otherworld, which he says he couldn't possibly do and thus leave his family behind.

Speaking of the desert otherworld, they've built a rollercoaster which never stops because nobody knew how to build breaks so the people who got on two months ago are still there, an ice cream shop despite having no milk to make ice cream and a beach resort hotel & spa despite having no water for the beach to actually be a beach.

Carlos has built himself a one-bedroom apartment on the side of the mountain. Cecil and Carlos spent a week there together, making breakfast whenever they thought it was morning. Carlos is apparently the cook in the relationship but Cecil prefers to make his own coffee in a very specific way. They then spent time exploring the desert otherworld, looking at the different flora and the new lights in the sky that they don't understand.

Cecil's mother used to tell him "You can't learn to love others until you learn that others are fiction and that self is unreliable.". Cecil quotes this as he gives love advise to a bisexual barista during his 'agony aunt' style 'hey there Cecil' segment. He also gives etiquette advice about always removing your and their shoes when entering a home and about how a certain tower was destroyed ages ago so don't write to him about it again (write to him about it again).

It seems that the New Old Opera House is just about done. It's opening June 15th and will feature a play written by Lee Marvin. Cecil still has no idea what an opera is but has been told it's something like a petting zoo but with less starving wolves and more intermissions.

Stay tuned next for the sound of folding cardboard and long strips of tape. And to all of the Faceless Old Women, living secretly or living otherwise, fight the good fight. Just leave me out of it, okay? These cotton balls are already soaked. And to everyone else. Good night, Night Vale. Good night.

Proverb: Don't be afraid of the dark. Be afraid of the terrible things that are hiding there and the terrible things they will do.

[if-you-fan-a-fire]

'IS NO TIME FOR LIQUOR' 2 MUNITION WORKERS TOLD,” Toronto Star. April 1, 1942. Page 8. --- Police Found Herbert McKinnon and Cecil Kay Sound Asleep in Auto --- CAR WAS DITCHED ---- Special to The Star Whitby, April 1 - "This is no time for liquor," Magistrate F. S. Ebbs told two munitions workers who appeared before him on charges of drunk driving. Provincial police said both had been found in the same car, so intoxicated they could not be awakened, so they charged each man.

Herbert McKinnon pleaded guilty and was sentenced to seven days. dating back to the time of his arrest. He was also assessed costs or an additional seven days, his car was ordered impounded for three months, and his license suspended for three months. Cecil Kay pleaded not guilty and was acquitted. Kay admitted having liquor illegally in a public place and being intoxicated. He was fined $10 and costs or 10 days.

Police stated they found the car "ditched" on the heavily travelled road to the plant, south of No. 2 highway. 

Warns All Others "I think a warning should be issued right now to these men and all others engaged in war work," said the magistrate. "These cases are becoming altogether too frequent. These are serious offences particularly in view of the fact that the road to the plant is very heavily travelled and there have been numerous accidents on it lately. 

"I believe this is one of the most heavily travelled strips of road in Canada. Some people seem to insist on using it while intoxicated; fortunately, not many are in the extreme state of intoxication these claimed men were in," the crown commented.

Provincial Constable James Sutherland said he and Provincial Traffic Officer Gilbert Robertson had been driving down the road early in the morning of March 25. "Half-way down to the railroad bridge we noticed a car in a five-foot ditch, facing slightly northwest," said witness. "The front of the car was almost buried in mud and when we stopped to investigate we found Kay lying behind the wheel in the front seat and McKinnon in the back. They were so intoxicated we couldn't wake them up and we finally had to carry them to the police car." The officer stated the McKinnon car was also in the ditch on the wrong side of the road.

"McKinnon said he had driven the car, got out to get a shovel and then knew no more. The left front door was so jammed we couldn't get it open."

Had Three Drinks Kay said he had never driven the car. He claimed that he and McKinnon had been "working double- shift and just came off work when a fellow asked us to have a drink with him. I had three drinks." He admitted having a bottle of liquor in the car and said it had been given him "by a man in the plant parking lot.”

McKinnon told the court he had driven several workers to Whitby and was on his way back when the car went into the ditch. "When we couldn't find the shovel there was nothing we could do but stay there till morning. I wasn't drunk when I was driving. It was when I lay down that the whiskey hit me," he claimed. "I drove the car all the time. It's my car," McKinnon asserted. 

"What were you doing in the back seat when Kay was in the front," Crown Attorney Allin Annis inquired. McKinnon said both had been riding in the front seat and that he had crawled over the back of it to search for the shovel.

“I’m going to give you the benefit of the doubt, Kay. There's some doubt as to why you were behind the wheel, but I'm going to accept the evidence on this point and dismiss this charge against you," the court ruled.

"From now on we are going to have to deal with such cases far more severely. You don't look like the ordinary type of men who get into such difficulties. You are engaged in very important work requiring that you be in first-class physical condition."

Martin Hickey, munitions worker, pleaded not guilty on charges of wounding Corporal Robert Watson of the plant staff of guards, assaulting Corporal Watson, and assaulting Jack Johnston, caretaker of his bunkhouse.

Magistrate Ebbs convicted him of assaulting the constable and reserved his decision on the other two charges.

[byneddiedingo]

Louis Wolheim and John Barrymore in Dr. Jekyll and Mr. Hyde (John S. Robertson, 1920)

Cast: John Barrymore, Brandon Hurst, Martha Mansfield, Charles Lane, Cecil Clovelly, Nita Naldi, Louis Wolheim. Screenplay: Clara Beranger, based on a novel by Robert Louis Stevenson. Cinematography: Roy F. Overbaugh. Art direction: William Cameron Menzies, Clark Robinson. 

Almost from the moment that Robert Louis Stevenson published his novella Strange Case of Dr Jekyll and Mr Hyde in 1886, theatrical producers were snapping it up for adaptation. It was a great vehicle for ham actors who relished the transformation scenes, as long as it could be spiced up a little with a little sex -- the novella is more interested in the psychology of Jekyll/Hyde than in the lurking-horror and damsels-in-distress elements added to most stage and screen versions. There were several film versions before John Barrymore, the greatest of all ham actors, took on the role in 1920. It's an adaptation by Clara Beranger of the first major stage version by Thomas Russell Sullivan, who added a central damsel in distress as Jekyll's love. She's called Millicent Carewe (Martha Mansfield) in the film, which also adds a "dance hall girl" named Gina (Nita Naldi) to the mix. Mansfield is bland and Naldi is superfluous, though rather fun to watch when she goes into her "dance," which consists of a lot of hip-swinging and arm-waving. Barrymore, however, is terrific, giving his transformation into Hyde everything he's got in the way of contortions of face and body. Though the screenplay makes much of the distinction between the virtuous Jekyll and the dissolute Hyde, Barrymore manages to suggest the latency of Hyde in Jekyll even before he swallows the sinister potion -- a reversion to Stevenson's original, in which Jekyll is not quite the upstanding fellow the adaptations tried to make him.

[ulkaralakbarova]

A hospice nurse working at a spooky New Orleans plantation home finds herself entangled in a mystery involving the house’s dark past. Credits: TheMovieDb. Film Cast: Caroline Ellis: Kate Hudson Violet Devereaux: Gena Rowlands Luke Marshall: Peter Sarsgaard Ben Devereaux: John Hurt Jill: Joy Bryant Bayou Woman: Marion Zinser Mama Cynthia: Maxine Barnett Hallie: Fahnlohnee R. Harris Desk Nurse: Deneen Tyler C.N.A.: Ann Dalrymple Nurse Trula: Trula M. Marcus Madeleine Thorpe: Jen Apgar Robertson Thorpe: Thomas Uskali Grace Thorpe: Jamie Lee Redmon Martin Thorpe: Forrest Landis Nurse Audrey: Tonya Staten Creole Gas Station Owner: Isaach De Bankolé Creole Mother: Christa Thorne Papa Justify: Ronald McCall Mama Cecile: Jeryl Prescott Frail Customer: Lakrishi Kindred Luke’s Secretary: Sabah Paramedic: Joe Chrest Party Guest: David J. Curtis Party Guest: Tiffany Helland Party Guest: Brian Ruppert Film Crew: Producer: Stacey Sher Set Decoration: Beauchamp Fontaine Original Music Composer: Ed Shearmur Costume Design: Louise Frogley Producer: Iain Softley Director of Photography: Dan Mindel Art Direction: Drew Boughton Producer: Michael Shamberg Unit Production Manager: Clayton Townsend Casting: Ronna Kress Production Design: John Beard Producer: Daniel Bobker Editor: Joe Hutshing Writer: Ehren Kruger Costume Supervisor: Joyce Kogut Producer: Lorenzo P. Lampthwait Steadicam Operator: Colin Anderson Carpenter: Leo Lauricella Sound Mixer: Peter J. Devlin Set Production Intern: Hiro Taniguchi Key Hair Stylist: Susan Germaine Gaffer: Adam Harrison Sound Designer: Harry Cohen Standby Painter: Andrew P. Flores Location Manager: M. Gerard Sellers Production Supervisor: Gary R. Wordham Visual Effects Coordinator: Stephanie Pollard Greensman: Ronald S. Baratie Key Grip: Thomas Gibson Craft Service: Chris Winn Stunt Coordinator: Buddy Joe Hooker Lighting Technician: Greg Etheredge Supervising Sound Editor: Wylie Stateman Construction Foreman: Chuck Stringer Painter: Andrew M. Casbon III Stunts: Liisa Cohen Transportation Captain: Louis Dinson Scoring Mixer: Chris Fogel Video Assist Operator: Greg Mitchell Special Effects Supervisor: Jason Hamer Thanks: Michelle Guish Post Production Supervisor: Tania Blunden Stand In: Lexi Shoemaker Digital Compositors: Sean McPherson Art Department Coordinator: Stephanie Higgins Frey Makeup Artist: June Brickman Set Costumer: Laurel Frushour Set Dressing Artist: Dale E. Anderson Propmaker: William Davidson Rigging Gaffer: Martin Bosworth Production Manager: Kimberly Sylvester Music Supervisor: Sara Lord Leadman: Jason Bedig Leadman: Brad Bell Grip: Gordon Ard Production Intern: William Jackson Transportation Coordinator: Ed Arter Set Designer: Mick Cukurs First Assistant Camera: John T. Connor Visual Effects Supervisor: Karl Herbst Script Supervisor: Elizabeth Ludwick-Bax Best Boy Electric: Larry Cottrill Production Coordinator: Zoila Gomez Still Photographer: Merrick Morton Special Effects Coordinator: Bob Stoker Editorial Production Assistant: Jen Woodhouse Foley: Craig S. Jaeger Dolby Consultant: Thom ‘Coach’ Ehle Art Department Assistant: Amanda Fernald Jones Sculptor: Fred Arbegast Aerial Director of Photography: Phil Pastuhov Orchestrator: Robert Elhai Visual Effects Supervisor: Dan DeLeeuw Construction Coordinator: Dave DeGaetano Seamstress: Giselle Spence Driver: Bill C. Dawson Property Master: Peter C. Clarke Publicist: Patti Hawn ADR Supervisor: Hugh Waddell Sound Effects Editor: Christopher Assells Assistant Art Director: Jann K. Engel Hairstylist: Kathryn Blondell First Assistant Director: Gary Marcus First Assistant Editor: Davis Reynolds Electrician: Jimmy Ellis Production Accountant: Gregory D. Hemstreet I/O Supervisor: Ryan Beadle Set Medic: John Lavis Visual Effects Producer: Gary Nolin Rigging Grip: Mike Nami Jr. Boom Operator: Kevin Cerchiai Casting Associate: Courtney Bright Stunt Coordinator: Tom Bahr Stunts: Conrade Gamble Stunts: Annie Ellis ADR Mixer: Jeff Gomillion Camera Production Assistant: Alex Scott Storyboard Artist: Richard K. Buoen Assistant Location Manager...

[wahwealth]

🏙️Sylvia Sydney, Estelle Taylor, David Landau | Street Scene (1931) | 

Street Scene is a 1931 US drama produced by Samuel Goldwyn and directed by King Vidor.  Except for one scene (inside a taxi), the film takes place on one set of a city block in old New York.   Estelle Taylor, David Landau, Sylvia Sidney, William Collier Jr., and Beulah Bondi are the stars. CAST Sylvia Sidney as Rose Maurrant William Collier Jr. as Sam Kaplan Estelle Taylor as Mrs. Anna Maurrant Beulah Bondi as Emma Jones David Landau as Frank Maurrant Matt McHugh as Vincent Jones Russell Hopton as Steve Sankey Greta Grandstedt as Mae Jones Eleanor Wesselhoeft as Marguerite "Greta" Fiorentino Allan Fox as Dick McGann Nora Cecil as Alice Simpson (welfare worker) Margaret Robertson in a minor role Walter James as Marshal James Henry Max Montor as Abe Kaplan Walter Miller as Bert Easter (Rose's boss) T.H. Manning as George Jones Conway Washburne as Danny Buchanan John M. Qualen as Karl Olsen Ann Kostant as Shirley Kaplan Adele Watson as Olga Olsen Lambert Rogers as Willie Maurrant George Humbert as Filippo Fiorentino Helen Lovett as Laura Hildebrand Richard Powell as Officer Harry Murphy Jane Mercer in a minor role Monti Carter as Monti Carter Harry Wallace as Fred Cullen Never miss a video. Join the channel so that Mr. P can notify you when new videos are uploaded: https://www.youtube.com/@nrpsmovieclassics

[brookstonalmanac]

Birthdays 7.5

Beer Birthdays

Alfred Marti (1886)

Five Favorite Birthdays

Jean Cocteau; French film director, writer (1889)

Eva Green; actor (1980)

Katherine Helmond; actor (1928)

James Lofton; Green Bay Packers WR (1956)

Bill Watterson; cartoonist (1951)

Famous Birthdays

P.T. Barnum; circus showman (1810)

Dwight Davis; tennis player (1879)

A.E. Douglass; astronomer (1867)

Edie Falco; actor (1963)

David Farragut; admiral (1801)

Shirley Knight; actor (1936)

Jan Kubelik; Czech violinist (1880)

Wanda Landowska; harpsichordist (1879)

Huey Lewis; pop singer (1951)

Henry Cabot Lodge Jr.; diplomat (1902)

John Northrop; biochemist (1891)

Shohei Ohtani; baseball player (1994)

Stamford Raffles; founded Singapore (1781)

Cecil Rhodes; English statesman (1853)

Robbie Robertson; rock guitarist (1944)

George Rochberg; composer (1918)

Etienne de Silhouette; silhouette named for him (1709)

Janos Starker; cellist (1924)

Clara Zetkin; German feminist (1857)

[thxnews]

King Approves New Bishop of Exeter

The King of England has given his approval for the nomination of The Right Reverend Mike Harrison as the new Bishop of Exeter. Currently serving as the Suffragan Bishop of Dunwich in the Diocese of St Edmundsbury and Ipswich, Bishop Harrison is set to succeed The Right Reverend Robert Atwell, who recently retired from the post. The momentous announcement coincided with the celebration of Devon Day on June 4, 2024.  

Introduction

The appointment of Bishop Harrison marks a new chapter in the rich history of the Diocese of Exeter. With a strong background in mission, evangelism, and engaging with youth, he brings a fresh perspective and a wealth of experience to the role. As the spiritual leader for the Anglican community in Devon, Bishop Harrison will undoubtedly play a pivotal role in shaping the future of the Church in the region.  

A Spiritual Journey

Mike Harrison's path to becoming the Bishop of Exeter has been marked by a diverse range of experiences and a deep commitment to his faith. After completing his undergraduate studies in Mathematics & Statistics at Selwyn College, Cambridge, he worked as both a Management Consultant and a Social Worker in London. This unique blend of analytical thinking and compassionate service laid the foundation for his future ministry. Answering the call to serve, Mike trained for ministry at Oxford and began his clerical journey as Assistant Curate at St Anne and All Saints, South Lambeth in the Southwark Diocese. During this time, he also pursued a PhD in Doctrine at King's College, London University, further deepening his theological understanding.  

A Heart for Mission and Ministry

Throughout his career, Bishop Harrison has demonstrated a keen focus on mission, evangelism, discipleship, and cultivating vocations. As Chaplain at Bradford University and Bradford and Ilkley Community College, he also served as Diocesan World Development Advisor and completed an MA in International Development Studies at Bradford University. This global perspective has undoubtedly shaped his approach to ministry and his understanding of the Church's role in the world. As Vicar of Holy Trinity, Eltham in the Diocese of Southwark, Bishop Harrison also served as Rural Dean of Eltham and Mottingham. In 2006, he moved to Leicester Diocese as Director of Mission and Ministry, further honing his skills in leadership and pastoral care.  

A New Chapter for Exeter

Bishop Harrison's nomination as the Bishop of Exeter comes at a significant time for the Diocese and the county as a whole. As Devon Day celebrations on June 4th highlight the rich cultural heritage and traditions of the region, the Church of England also recognizes the importance of spiritual leadership in fostering community and promoting the common good. With his wife Rachel, an Occupational Therapist, and their four adult children by his side, Bishop Harrison embarks on this new journey with a sense of purpose and a commitment to serving the people of Devon. As a passionate supporter of Bolton Wanderers, a beekeeper, and a baker of cakes, he brings a well-rounded perspective and a genuine love for life to his new role. As the 10 Downing Street announcement on Devon Day underscores, the appointment of Bishop Harrison represents a new era for the Diocese of Exeter. Building upon the legacy of his predecessors, including the recently retired Bishop Robert Atwell, he will undoubtedly leave his own mark on the spiritual landscape of Devon.  

A Legacy of Faith

The Diocese of Exeter has been blessed with a long line of distinguished spiritual leaders, each contributing to the rich tapestry of faith in the region. The last 10 Bishops of Exeter, spanning over a century of service, include: Bishop Years of Service Robert Atwell 2014-2023 Michael Langrish 1999-2013 Hewlett Thompson 1985-1999 Eric Mercer 1973-1985 Robert Mortimer 1949-1973 Charles Curzon 1936-1948 Lord William Cecil 1916-1936 Archibald Robertson 1903-1916 Herbert Edward Ryle 1901-1903 Edward Bickersteth 1885-1900   Final Thoughts As Bishop Harrison takes up the mantle, he stands on the shoulders of giants, ready to lead the Diocese of Exeter into a new era of faith, hope, and love. With his unique blend of experience, compassion, and vision, he is poised to make a lasting impact on the spiritual life of Devon and beyond. The King's approval of Bishop Harrison's nomination is a testament to his character, his dedication, and his potential to lead the Church of England in Exeter with grace and wisdom. As the diocese embarks on this new chapter, the people of Devon can look forward to a future filled with spiritual growth, community engagement, and the enduring message of the Gospel.   Sources: THX News, Wikipedia, Catholic Hierarchy, Visit Mid Devon, Devon City Council & Prime Minister's Office, 10 Downing Street. Read the full article

[wellfedhare]

Eric Robertson, 1887 - 1941. Artist. With Mary Newbery, 1890 - 1985 by Cecile Walton