#George F. Boyer

[doo-wop-city]

Wildwood Preservation Society Awards

I can't believe that it's been a year since I attended this meeting of the Wildwood Preservation Society at the Boyer Museum. Here are some photos from that wonderful event.

This is Doo Wop City’s 290th post. Keep watching for Doo Wop City’s 300th Post Spectacular! In the meantime, enjoy this entry, then click HERE to see all Stella’s Gallery posts, and enjoy all the mid-20th century fashion and architecture! When Thanksgiving comes around, I look back at my photo memories from the previous Christmas season. Last Veterans’ Day, Wildwood Preservation Society held an…

[the-firebird69]

David Guetta - Titanium ft. Sia (Official Video)

It's a little strange we think that he was the one who was shooting at cops and Houston Texas not garth. And is to get someone out of jail and he is one of the punishers who plays one of them a couple in the movies and I went on the TV show and he's got a white gun that's why they're after him and he was shooting at them and he hit three of them body shots but ran off and he was going to try and break them out of prison

Some people don't believe it's him and they saw the movie but the fat guy is actually Dan in the movie the bad guy is John Travolta and Travolta was thought to be Tommy F and he's not it's actually a Mac and he's doing bad things to people it's really actually David Boyer and he's recently taking a lot of pressure because he was waiting to see what Melissa and her son was doing spying on them and it's one of the few left and is Lily and they're going after him to try and find out what happened and what was going on and whose child it was

Thor Freya

Olympus

Zues

And he's a pig and a f** he's a huge f**** he used to watch me in the room and I'd always close the window blinds we had curtains back then I hate that guy he's a jerk just sit there screw around with you like their b****** he says he has noticed at all time what else do you notice since we know it's a lot of stuff and you'll kill yourself by saying something like that and you probably did that's why you're still out here most you can't control yourself he said and he started to turn into a huge a****** but really he was before and he started saying things through the window at night and stuff one day he thought he heard someone in the woods and he said I'm going to get my weapon so I told Papa he wouldn't get his weapon and he went around front and he said I don't see anyone and I saw David Boyer out front so I went out the window I see it's right there in the front yard and he said I'm looking for someone out here with a gun so that's funny I'm looking for you with a gun and he said she started all this s*** and said it was me and she said someone was out here so I came looking and it said I'm going back in I said you better stay there for a while George went inside and he sat there all night watching and Olivia got up and got him some food and stuff and he said what are you doing and he said thank you very much you can go to sleep so you're awake and I'm sleeping so she did is she snoring and it was real loud he said and he he said who is saying that stupid s*** and all sudden it was funny I said that's what it's like and encountering him so thinking about it and David Boyer was saying things out the window and I told him and I told him and I said then it was quiet so he got to the bottom of it and find out that he was hearing things no but he was a mean person and he found out about it I said who is that and they said it was one of us in the grave so he research didn't find out it was Jim Morrison she started a full investigation and it went round and it was not good anything to me I said it was supposed to him. Then also you got a little angry he said don't have a fart when I'm around he said I must be relaxing like a dog he started laughing and he said oh no this is terrible so I started training dogs and he said I think it's because I said it was relaxing like a dog is that laughing cuz boy they stink when they relax and it's like oh you feeling good you're feeling better oh poo I guess you are

Hera

[diaspora9ja]

2020 AAAS Fellows approved by the AAAS Council

In October 2020, the Council of the American Affiliation for the Development of Science elected 489 members as Fellows of AAAS. These people can be acknowledged for his or her contributions to science and know-how in the course of the 2021 AAAS Annual Assembly. Introduced by part affiliation, they’re:

Part on Agriculture, Meals, and Renewable Sources

Ann M. Bartuska, Sources for the Future

Carl Bernacchi, U.S. Division of Agriculture – Agricultural Analysis Service

Amy O. Charkowski, Colorado State Univ.

Clarice J. Coyne, U.S. Division of Agriculture – Agricultural Analysis Service

Geoffrey E. Dahl, Univ. of Florida

Roch E. Gaussoin, Univ. of Nebraska-Lincoln

Patrick M. Hayes, Oregon State Univ.

Thomas J. (TJ) Higgins, CSIRO Agriculture and Meals (Australia)

Nancy Collins Johnson, Northern Arizona Univ.

Shibu Jose, Univ. of Missouri

Daniel Kliebenstein, Univ. of California, Davis

Rosemary Loria, Univ. of Florida

Shailaja Okay. Mani, Baylor Faculty of Drugs

Rafael Muñoz-Carpena, Univ. of Florida

David D. Myrold, Oregon State Univ.

Okay. Raja Reddy, Mississippi State Univ.

Jean Ristaino, North Carolina State Univ.

Jeanne Romero-Severson, Univ. of Notre Dame

Pablo Juan Ross, Univ. of California, Davis

Jennifer L. Tank, Univ. of Notre Dame

William F. Tracy, Univ. of Wisconsin-Madison

Part on Anthropology

Margaret W. Conkey, Univ. of California, Berkeley

Anne Grauer, Loyola Univ. Chicago

Debbie Guatelli-Steinberg, The Ohio State Univ.

Edward B. Liebow, American Anthropological Affiliation

J. Terrence McCabe, Univ. of Colorado Boulder

Denise Fay-Shen Su, Cleveland Museum of Pure Historical past

Part on Astronomy

Nancy Susan Brickhouse, Harvard-Smithsonian Middle for Astrophysics

John E. Carlstrom, Univ. of Chicago

Sean Carroll, California Institute of Expertise

Timothy Heckman, Johns Hopkins Univ.

Paul Martini, The Ohio State Univ.

Norman Murray, Canadian Institute for Theoretical Astrophysics

Joan R. Najita, Nationwide Science Basis’s NOIRLab

Liese van Zee, Indiana Univ.

Risa Wechsler, Stanford Univ.

Ellen G. Zweibel, Univ. of Wisconsin-Madison

Part on Atmospheric and Hydrospheric Science

Ghassem R. Asrar, Universities House Analysis Affiliation

Elizabeth Boyer, Pennsylvania State

Deborah Bronk, Bigelow Laboratory for Ocean Sciences

Rong Fu, Univ. of California, Los Angeles

Isaac Held, Princeton Univ. Atmospheric and Oceanic Sciences Program

Forrest M. Hoffman, Oak Ridge Nationwide Laboratory

William Okay. M. Lau, Univ. of Maryland

Zhengyu Liu, The Ohio State Univ.

Natalie Mahowald, Cornell Univ.

Sally McFarlane, U.S. Division of Power

Jerry Schubel, Aquarium of the Pacific (Retired)

Patricia L. Wiberg, Univ. of Virginia

Part on Organic Sciences

Mary Catherine Aime, Purdue Univ.

Suresh Okay. Alahari, Louisiana State Univ. Well being Sciences Middle Faculty of Drugs

Gladys Alexandre, Univ. of Tennessee, Knoxville

Craig Reece Allen, Univ. of Nebraska-Lincoln

Sonia M. Altizer, Univ. of Georgia

Swathi Arur, The Univ. of Texas MD Anderson Most cancers Middle

Alison M. Bell, Univ. of Illinois at Urbana-Champaign

Elizabeth T. Borer, Univ. of Minnesota

Lisa Brooks, Nationwide Human Genome Analysis Institute

John Michael Burke, Univ. of Georgia

George A. Calin, The Univ. of Texas MD Anderson Most cancers Middle

Andrew G. Campbell, Brown Univ.

Alice Y. Cheung, Univ. of Massachusetts Amherst

Anita S. Chong, Univ. of Chicago

Gregory P. Copenhaver, Univ. of North Carolina at Chapel Hill

Leah E. Cowen, Univ. of Toronto (Canada)

Dana Crawford, Case Western Reserve Univ.

Charles F. Delwiche, Univ. of Maryland, Faculty Park

Diana M. Downs, Univ. of Georgia

Jeffrey Dukes, Purdue Univ.

Peter Dunn, Univ. of Wisconsin-Milwaukee

Jonathan Eisen, Univ. of California, Davis

Eva Engvall, Sanford Burnham Prebys Medical Discovery Institute

Valerie Eviner, Univ. of California, Davis

Philip Martin Fearnside, INPA – Nationwide Institute of Amazonian Analysis (Brazil)

Gloria Cruz Ferreira, Univ. of South Florida

J. Patrick Fitch, Los Alamos Nationwide Laboratory

John W. Fitzpatrick, Cornell Univ.

Christopher Francklyn, Univ. of Vermont

Serita Frey, Univ. of New Hampshire

Andrea L. Graham, Princeton Univ.

Michael William Grey, Dalhousie Univ. (Canada)

Karen Jeanne Guillemin, Univ. of Oregon

Paul Hardin, Texas A&M Univ.

Stacey Lynn Harmer, Univ. of California, Davis

Jessica Hellmann, Univ. of Minnesota

Nancy Marie Hollingsworth, Stony Brook Univ.

Charles Hong, Univ. of Maryland Faculty of Drugs

Laura Foster Huenneke, Northern Arizona Univ.

Mark O. Huising, Univ. of California, Davis

Travis Huxman, Univ. of California, Irvine

Kenneth D. Irvine, Rutgers, The State Univ. of New Jersey

Ursula Jakob, Univ. of Michigan

Janet Okay. Jansson, Pacific Northwest Nationwide Laboratory

Susan Kaech, Salk Institute for Organic Research

Patricia Kiley, Univ. of Wisconsin-Madison

Joan Kobori, Agouron Institute

Barbara N. Kunkel, Washington Univ. in St. Louis

Armand Michael Kuris, Univ. of California, Santa Barbara

Pui-Yan Kwok, Univ. of California, San Francisco

Douglas Landis, Michigan State Univ.

Samuel J. Landry, Tulane Univ. Faculty of Drugs

Eaton Edwards Lattman, Univ. at Buffalo, the State Univ. of New York (Retired)

Rodney L. Levine, Nationwide Coronary heart, Lung, and Blood Institute/NIH

Han Liang, The Univ. of Texas MD Anderson Most cancers Middle

Senjie Lin, Univ. of Connecticut

Hiten D. Madhani, Univ. of California, San Francisco

Jennifer B. H. Martiny, Univ. of California, Irvine

John McCutcheon, Arizona State Univ.

Rima McLeod, Univ. of Chicago

Paula McSteen, Univ. of Missouri-Columbia

Matthew Meyerson, Dana-Farber Most cancers Institute/Harvard Medical Faculty

Constance Millar, U.S. Forest Service

Lisa A. Miller, Univ. of California, Davis

Beronda L. Montgomery, Michigan State Univ.

Tuli Mukhopadhyay, Indiana Univ.

Katsuhiko (Katsu) Murakami. Pennsylvania State Univ.

William J. Murphy, Texas A&M Univ.

Rama Natarajan, Metropolis of Hope Nationwide Medical Middle

Nicholas E. Navin, The Univ. of Texas MD Anderson Most cancers Middle

Anthony V. Nicola, Washington State Univ.

Basil Nikolau, Iowa State Univ.

E. Michael Ostap, Univ. of Pennsylvania Perelman Faculty of Drugs

Franklin Wayne Outten, Univ. of South Carolina

Abraham Palmer, Univ. of California, San Diego

Maria C. Pellegrini, W. M. Keck Basis

Len Pennacchio, Lawrence Berkeley Nationwide Laboratory

Philip S. Perlman, Howard Hughes Medical Institute.

James Pinckney, Univ. of South Carolina

Judith A. Potashkin, Rosalind Franklin Univ. of Drugs and Science

P. Hemachandra Reddy, Texas Tech Univ. Well being Sciences Middle

William S. Reznikoff, Marine Organic Laboratory

Joan T. Richtsmeier, Pennsylvania State Univ.

Isidore Rigoutsos, Thomas Jefferson Univ.

Charles Rock, St. Jude Kids’s Analysis Hospital

Antonis Rokas, Vanderbilt Univ.

Jeffrey Ross-Ibarra, Univ. of California, Davis

James A. Roth, Iowa State Univ.

Daniel Schaid, Mayo Clinic

G. Eric Schaller, Dartmouth Univ.

Jeremiah Scharf, Massachusetts Basic Hospital

Karen Sears, Univ. of California, Los Angeles

Mark Seielstad, Univ. of California, San Francisco

Peter Setlow, UConn Well being

Sally Shaywitz, Yale Univ.

Alan Shuldiner, Univ. of Maryland Faculty of Drugs

Nathan Michael Springer, Univ. of Minnesota

Jason E. Stajich, Univ. of California, Riverside

James V. Staros, Univ. of Massachusetts Amherst

David Johnston Stewart, Chilly Spring Harbor Laboratory

Joel A. Swanson, Univ. of Michigan Medical Faculty

Rick L. Tarleton, Univ. of Georgia

Nektarios Tavernarakis, Basis for Analysis and Expertise-Hellas/Univ. of Crete Medical (Greece)

Eric W. Triplett, Univ. of Florida

Geoffrey C. Trussell, Northeastern Univ.

Walter Reinhart Tschinkel, Florida State Univ.

Kan Wang, Iowa State Univ.

Pleasure Ward, Univ. of Kansas

Vassie Ware, Lehigh Univ.

Stephen T. Warren, Emory Univ. Faculty of Drugs

Wyeth W. Wasserman, BC Kids’s Hospital/Univ. of British Columbia (Canada)

Daniel J. Wozniak, The Ohio State Univ.

Jin-Rong Xu, Purdue Univ.

Soojin Yi, Georgia Institute of Expertise

Havva Fitnat Yildiz, Univ. of California, Santa Cruz

Fanxiu Zhu, Florida State Univ.

Lee Zou, Massachusetts Basic Hospital Most cancers Middle/Harvard Medical Faculty

Part on Chemistry

José R. Almirall, Florida Worldwide Univ.

Rohit Bhargava, Univ. of Illinois at Urbana-Champaign

Paul V. Braun, Univ. of Illinois at Urbana-Champaign

Joan Blanchette Broderick, Montana State Univ.

Felix (Phil) N. Castellano, North Carolina State Univ.

David E. Chavez, Los Alamos Nationwide Laboratory

Kelsey D. Prepare dinner, Nationwide Science Basis

Yi Cui, Stanford Univ.

Wibe A. de Jong, Lawrence Berkeley Nationwide Laboratory

William Dichtel, Northwestern Univ.

Vishva Dixit, Genentech, Inc.

Paul J. Dyson, Swiss Federal Institute of Expertise Lausanne

Laura Gagliardi, Univ. of Chicago

Jiaxing Huang, Northwestern Univ.

Prashant Okay. Jain, Univ. of Illinois at Urbana-Champaign

Phillip E. Klebba, Kansas State Univ.

Kenneth L. Knappenberger, Pennsylvania State Univ.

Yamuna Krishnan, Univ. of Chicago

Jason S. Lewis, Memorial Sloan Kettering Most cancers Middle

Hongbin Li, Univ. of British Columbia (Canada)

David R. Liu, Harvard Univ.

Tianbo Liu, Univ. of Akron

Tadeusz (Ted) Franciszek Molinski, Univ. of California, San Diego

Janet R. Morrow, Univ. at Buffalo, the State Univ. of New York

John W. Olesik, The Ohio State Univ.

Nicola Pohl, Indiana Univ.

Daniel Raftery, Univ. of Washington

Michael D. Sevilla, Oakland Univ.

David S. Sholl, Georgia Institute of Expertise

Sara E. Skrabalak, Indiana Univ.

Brian House, North Carolina State Univ.

Raymond C. Stevens, Univ. of Southern California

James M. Takacs, Univ. of Nebraska-Lincoln

Chuanbing Tang, Univ. of South Carolina

H. Holden Thorp, Science household of journals

Gregory Tschumper, Univ. of Mississippi

Christopher D. Vanderwal, Univ. of California, Irvine

Nathalie A. Wall, Univ. of Florida

Rory Waterman, Univ. of Vermont

Charles Weschler, Rutgers, The State Univ. of New Jersey

Robert F. Williams, Los Alamos Nationwide Laboratory

Frankie Wooden-Black, Northern Oklahoma Faculty

Karen Wooley, Texas A&M Univ.

Peidong Yang, Univ. of California, Berkeley

Part on Dentistry and Oral Well being Sciences

Renny Theodore Franceschi, Univ. of Michigan

Dennis F. Mangan, Chalk Discuss Science Challenge

Frank C. Nichols, Univ. of Connecticut Faculty of Dental Drugs

Stefan Hans-Klaus Ruhl, Univ. at Buffalo, the State Univ. of New York

Part on Training

James Bell, Middle for Advancing of Casual Science Training.

Michael J. Dougherty, GenomEducation Consulting/Univ. of Colorado Faculty of Drugs

John Kermit Haynes, Morehouse Faculty

Henry Vincent Jakubowski, Faculty of St. Benedict/St. John’s Univ.

Stacey Kiser, Lane Group Faculty

Richard L. Kopec, St. Edward’s Univ.

Xiufeng Liu, Univ. at Buffalo, the State Univ. of New York

David J. Marcey, California Lutheran Univ.

Marsha Lakes Matyas, Analysis for Excellence

Linda Nicholas-Figueroa, Iḷisaġvik Faculty

Dee Unglaub Silverthorn, The Univ. of Texas at Austin Dell Medical Faculty

Edward J. Smith, Virginia Polytechnic Institute and State Univ.

David W. Szymanski, Bentley Univ.

Edna Tan, Univ. of North Carolina at Greensboro

Stephen Younger, TriCore Reference Laboratories

Hinda Zlotnik, Retired

Part on Engineering

Mohammad S. Alam, Texas A&M Univ.

Laura Albert, College of Wisconsin-Madison

William R. Bickford, L’Oréal, Inc.

L. Catherine Brinson, Duke Univ.

Ruben G. Carbonell, North Carolina State Univ.

Michael L. Chabinyc, Univ. of California, Santa Barbara

Manish Chhowalla, Univ. of Cambridge (U.Okay.)

Edwin Okay. P. Chong, Colorado State Univ.

Kristen P. Fixed, Iowa State Univ.

Susan Daniel, Cornell Univ.

Angela Phillips Diaz, Univ. of California, San Diego

Elizabeth C. Dickey, North Carolina State Univ.

Peter S. Fedkiw, North Carolina State Univ.

Eric M. Furst, Univ. of Delaware

Sharon Gerecht, Johns Hopkins Univ.

Richard D. Gitlin, Univ. of South Florida

Michael C. Jewett, Northwestern Univ.

Vistasp M. Karbhari, The Univ. of Texas at Arlington

Michael R. Kessler, North Dakota State Univ.

Behrokh Khoshnevis, Univ. of Southern California

Kristi L. Kiick, Univ. of Delaware

Catherine Klapperich, Boston Univ.

Gerhard Klimeck, Purdue Univ.

Sanjay Kumar, Univ. of California, Berkeley

Ju Li, Massachusetts Institute of Expertise

JoAnn Slama Lighty, Boise State Univ.

Ivan M. Lorković, Raytheon Imaginative and prescient Techniques

Laura Marcu, Univ. of California, Davis

Sudip Okay. Mazumder, Univ. of Illinois at Chicago

Triantafillos (Lakis) Mountziaris, Univ. of Massachusetts Amherst

Uday B. Pal, Boston Univ.

Ah-Hyung (Alissa) Park, Columbia Univ.

Hridesh Rajan, Iowa State Univ.

Gintaras Reklaitis, Purdue Univ.

Robert Oliver Ritchie, Univ. of California, Berkeley

J. Paul Robinson, Purdue Univ.

Nancy R. Sottos, Univ. of Illinois at Urbana-Champaign

Georgia (Gina) D. Tourassi, Oak Ridge Nationwide Laboratory

Paul J. Turinsky, North Carolina State Univ.

John L. Volakis, Florida Worldwide Univ.

Qing Wang, Pennsylvania State Univ.

Lan Yang, Washington Univ. in St. Louis

Part on Basic Curiosity in Science and Engineering

Nan Broadbent, Seismological Society of America

Tinsley Davis, Nationwide Affiliation of Science Writers

Linda D. Harrar, WGBH Instructional Basis

James H. Lambert, Univ. of Virginia

Andrew D. Maynard, Arizona State Univ.

Jeremy B. Searle, Cornell Univ.

Ronald M. Thom, Pacific Northwest Nationwide Laboratory (Emeritus)

Cliff Wang, U.S. Military Analysis Workplace/North Carolina State Univ.

Nan Yao, Princeton Univ.

Part on Geology and Geography

Li An, San Diego State Univ.

David Cairns, Texas A&M Univ.

Richard Walter Carlson, Carnegie Establishment for Science

Charles B. (Chuck) Connor, Univ. of South Florida

Peter B. de Menocal, Woods Gap Oceanographic Establishment

Andrea Donnellan, NASA Jet Propulsion Laboratory

Joshua S. Fu, Univ. of Tennessee, Knoxville

George Helz, Univ. of Maryland, Faculty Park

Tessa M. Hill, Univ. of California, Davis

David A. Hodell, Univ. of Cambridge (U.Okay.)

(Max) Qinhong Hu, The Univ. of Texas at Arlington

Hitoshi Kawakatsu, The Univ. of Tokyo (Japan)

Sheryl Luzzadder-Seashore, The Univ. of Texas at Austin

Vicki McConnell, Geological Society of America

Carolyn Olson, U.S. Geological Survey

Lewis A. Owen, North Carolina State Univ.

David Sandwell, Scripps Establishment of Oceanography

Nathan Dale Sheldon, Univ. of Michigan

Could Yuan, The Univ. of Texas at Dallas

Part on Historical past and Philosophy of Science

Colin Allen, Univ. of Pittsburgh

Rachel Ankeny, Univ. of Adelaide (Australia)

David Cassidy, Hofstra Univ.

Marsha L. Richmond, Wayne State Univ.

Part on Industrial Science and Expertise

Suresh Okay. Bhargava, RMIT Univ. (Australia)

Aaron Dominguez, Catholic Univ. of America

Johney B. Inexperienced, Nationwide Renewable Power Laboratory

James D. Kindscher, Univ. of Kansas Medical Middle

Daniela Rus, Massachusetts Institute of Expertise

Steven Suib, Univ. of Connecticut

Erik B. Svedberg, Nationwide Academies of Sciences, Engineering, and Drugs

Part on Data, Computing, and Communication

James Allen, Univ. of Rochester/Institute for Human and Machine Cognition

James Hampton Anderson, Univ. of North Carolina at Chapel Hill

Carla Brodley, Northeastern Univ.

Lorrie Cranor, Carnegie Mellon Univ.

Pedro Domingos, Univ. of Washington

Kenneth D. Forbus, Northwestern Univ.

Yolanda Gil, Univ. of Southern California

Leana Golubchik, Univ. of Southern California

Yuri Gurevich, Univ. of Michigan

Murat Kantarcioglu, The Univ. of Texas at Dallas

Maria Klawe, Harvey Mudd Faculty

Peter M. Kogge, Univ. of Notre Dame

Patrick Drew McDaniel, Pennsylvania State Univ.

Debasis Mitra, Columbia Univ.

John Douglas Owens, Univ. of California, Davis

Timothy Mark Pinkston, Univ. of Southern California

William C. Regli, Univ. of Maryland, Faculty Park

Munindar P. Singh, North Carolina State Univ.

Anuj Srivastava, Florida State Univ.

David Touretzky, Carnegie Mellon Univ.

Jeffrey S. Vetter, Oak Ridge Nationwide Laboratory

Toby Walsh, Univ. of New South Wales – Sydney and CSIRO Data61 (Australia)

Daniel S. Weld, Univ. of Washington/Allen Institute for Synthetic Intelligence

Hui Xiong, Rutgers, The State Univ. of New Jersey

Part on Linguistics and Language Sciences

John Baugh, Washington Univ. in St. Louis

Bryan Gick, Univ. of British Columbia (Canada)

Colin Phillips, Univ. of Maryland

Joan A. Sereno, Univ. of Kansas

Matthew W. Wagers, Univ. of California, Santa Cruz

Part on Arithmetic

Harold P. Boas, Texas A&M Univ.

Leslie Hogben, Iowa State Univ./American Institute of Arithmetic

Kristin Lauter, Microsoft Analysis

Paul Okay. Newton, Univ. of Southern California

Esmond G. Ng, Lawrence Berkeley Nationwide Laboratory

Karen Starvation Parshall, Univ. of Virginia

Malgorzata Peszynska, Oregon State Univ.

Jack Xin, Univ. of California, Irvine

Part on Medical Sciences

Stephen B. Baylin, Johns Hopkins Univ. Faculty of Drugs

Barbara D. Beck, Gradient

Yasmine Belkaid, Nationwide Institute of Allergy and Infectious Ailments/NIH

Barry B. Bercu, Univ. of South Florida

Keith C. Cheng, Pennsylvania State Univ. Faculty of Drugs

Shi-Yuan Cheng, Northwestern Univ. Feinberg Faculty of Drugs

Ronald W. Davis, Stanford Univ.

Catherine Drennan, Massachusetts Institute of Expertise

Dongsheng Duan, Univ. of Missouri

Carol Fuzeti Elias, Univ. of Michigan

Hudson Freeze, Sanford Burnham Prebys Medical Discovery Institute

Marcia B. Goldberg, Massachusetts Basic Hospital/Harvard T. H. Chan Faculty of Public Well being

David H. Gutmann, Washington Univ. Faculty of Drugs in St. Louis

Thomas H. Haines, Metropolis Faculty of New York (Retired)

Raymond C. Harris, Vanderbilt Univ. Faculty of Drugs

Jeffrey P. Krischer, Univ. of South Florida

Thomas E. Lane, Univ. of California, Irvine

W. Jonathan Lederer, Univ. of Maryland Faculty of Drugs

Bruce T. Liang, Univ. of Connecticut Faculty of Drugs

Jeffrey D. Lifson, Frederick Nationwide Laboratory for Most cancers Analysis

Faina Linkov, Duquesne Univ.

Shan-Lu Liu, The Ohio State Univ.

Karl L. Magleby, Univ. of Miami, Faculty of Drugs

Sendurai Mani, The Univ. of Texas MD Anderson Most cancers Middle

Douglas L. Mann, Washington Univ. Faculty of Drugs in St. Louis

Rodger P. McEver, Oklahoma Medical Analysis Basis

Ross Erwin McKinney Jr., Affiliation of American Medical Schools

Hiroyoshi Nishikawa, Nationwide Most cancers Middle/Nagoya Univ. (Japan)

Richard M. Peek, Vanderbilt Univ. Medical Middle

Sallie R. Permar, Duke Univ.

W. Kimryn Rathmell, Vanderbilt Univ. Medical Middle

D. Nageshwar Reddy, Asian Institute of Gastroenterology (India)

John Jeffrey Reese, Vanderbilt Univ. Medical Middle

Alan Saghatelian, Salk Institute for Organic Research

Suzanne Scarlata, Worcester Polytechnic Institute

Brian Leslie Strom, Rutgers, The State Univ. of New Jersey

Jie Tian, Chinese language Academy of Sciences (China)

Jerrold Ross Turner, Brigham and Ladies’s Hospital/Harvard Medical Faculty

Matthew Bret Weinger, Vanderbilt Univ. Medical Middle

Part on Neuroscience

Patrick Aebischer, Swiss Federal Institute of Expertise Lausanne

Michel Baudry, Western Univ. of Well being Sciences

Nicole Calakos, Duke Univ.

Gabriel Corfas, Univ. of Michigan

Aaron DiAntonio, Washington Univ. Faculty of Drugs in St. Louis

Nita A. Farahany, Duke Univ.

Eva Lucille Feldman, Univ. of Michigan

Eberhard Erich Fetz, Univ. of Washington

Alan L. Goldin, Univ. of California, Irvine

Steve A. N. Goldstein, Univ. of California, Irvine Faculty of Drugs

John Krystal, Yale Univ.

Debomoy (Deb) Okay. Lahiri, Indiana Univ.

Stephen G. Lisberger, Duke Univ.

Wendy Blair Macklin, Univ. of Colorado Denver

Stefan M. Pulst, Univ. of Utah

Nirao M. Shah, Stanford Univ.

Steven L. Small, The Univ. of Texas at Dallas

Paul Taghert, Washington Univ. Faculty of Drugs in St. Louis

Rachel Tyndale, Univ. of Toronto (Canada)/Centre for Dependancy and Psychological Well being

Linda Jo Van Eldik, Univ. of Kentucky Faculty of Drugs

Part on Pharmaceutical Sciences

Patricia Babbitt, Univ. of California, San Francisco

Joseph R. Haywood, Michigan State Univ.

Julie A. Johnson, Univ. of Florida

Lyn H. Jones, Dana-Farber Most cancers Institute

M. N. V. Ravi Kumar, Texas A&M Univ.

Susan L. Mooberry, Univ. of Texas Well being Science Middle at San Antonio

Walter H. Moos, Univ. of California, San Francisco

Raymond Felix Schinazi, Emory Univ. Faculty of Drugs

Thomas D. Schmittgen, Univ. of Florida

Part on Physics

Charles H. Bennett, IBM Thomas J. Watson Analysis Middle

Eberhard Bodenschatz, Max Planck Institute for Dynamics and Self Group (Germany)

Steven E. Boggs, Univ. of California, San Diego

Jesse Brewer, Univ. of British Columbia (Canada)

Bulbul Chakraborty, Brandeis Univ.

Andre De Gouvea, Northwestern Univ.

Peter Fisher, Massachusetts Institute of Expertise

Chris L. Fryer, Los Alamos Nationwide Laboratory

Alexandra Gade, Michigan State Univ.

Graciela Gelmini, Univ. of California, Los Angeles

Neil Gershenfeld, Massachusetts Institute of Expertise

Tony Gherghetta, Univ. of Minnesota

Marcelo Jaime, Los Alamos Nationwide Laboratory

Spencer R. Klein, Lawrence Berkeley Nationwide Laboratory/Univ. of California, Berkeley Nationwide Laboratory/Univ. of California, Berkeley

Yuri V. Kovchegov, The Ohio State Univ.

Ying-Cheng Lai, Arizona State Univ.

Konrad W. Lehnert, Nationwide Institute of Requirements and Expertise/Univ. of Colorado Boulder

Manfred Lindner, Max Planck Institute for Nuclear Physics (Germany)

Eric Mazur, Harvard Univ.

Michael A. McGuire, Oak Ridge Nationwide Laboratory

Roberto Morandotti, INRS – Nationwide Institute of Scientif c Analysis (Canada)

Jason Petta, Princeton Univ.

Thomas Proffen, Oak Ridge Nationwide Laboratory

Laura J. Pyrak-Nolte, Purdue Univ.

Talat Shahnaz Rahman, Univ. of Central Florida

Susan Seestrom, Sandia Nationwide Laboratories

Jonathan V. Selinger, Kent State Univ.

Arthur John Stewart Smith, Princeton Univ.

Christopher Stubbs, Harvard Univ.

Nandini Trivedi, The Ohio State Univ.

Yuhai Tu, IBM Thomas J. Watson Analysis Middle

Clare Yu, Univ. of California, Irvine

Anvar A. Zakhidov, The Univ. of Texas at Dallas

Part on Psychology

Tammy D. Allen, Univ. of South Florida

Peter R. Finn, Indiana Univ.

Howard Goldstein, Univ. of South Florida

William (Invoice) P. Hetrick, Indiana Univ.

Stefan Hofmann, Boston Univ.

Elaine Hull, Florida State Univ.

Blair T. Johnson, Univ. of Connecticut

Angeline S. Lillard, Univ. of Virginia

Raymond G. Miltenberger, Univ. of South Florida

Jay Myung, The Ohio State Univ.

Steven L. Neuberg, Arizona State Univ.

Barbara A. Wanchisen, Nationwide Academies of Sciences, Engineering, and Drugs

Cathy Spatz Widom, John Jay Faculty of Legal Justice

Part on Social, Financial, and Political Sciences

John Maron Abowd, U.S. Census Bureau/Cornell Univ.

Melissa S. Anderson, Univ. of Minnesota

Janet Field-Steffensmeier, The Ohio State Univ.

R. Alta Charo, Univ. of Wisconsin-Madison

Nazli Choucri, Massachusetts Institute of Expertise

Elizabeth Cooksey, The Ohio State Univ.

Paul Allen David, Stanford Univ.

Joane P. Nagel, Univ. of Kansas

Kristen Olson, Univ. of Nebraska-Lincoln

Susan E. Quick, Brown Univ.

Part on Societal Impacts of Science and Engineering

Gregg M. Garfin, Univ. of Arizona

Leah Gerber, Arizona State Univ.

Ramanan Laxminarayan, Middle for Illness Dynamics, Economics & Coverage/Princeton Univ.

Mary E. Maxon, Lawrence Berkeley Nationwide Laboratory

James Bradley Miller, Smithsonian Nationwide Museum of Pure Historical past

Oladele (Dele) A. Ogunseitan, Univ. of California, Irvine

Lawrence J. Satkowiak, Oak Ridge Nationwide Laboratory

Vaughan Charles Turekian, Nationwide Academies of Sciences, Engineering, and Drugs

Part on Statistics

Sudipto Banerjee, Univ. of California, Los Angeles

David L. Banks, Duke Univ.

Deborah J. Donnell, Fred Hutchinson Most cancers Analysis Middle

Timothy C. Hesterberg, Google, Inc.

Qi Lengthy, Univ. of Pennsylvania

Ying Lu, Stanford Univ. Faculty of Drugs

Richard L. Smith, Univ. of North Carolina at Chapel Hill

Elizabeth A. Stuart, Johns Hopkins Bloomberg Faculty of Public Well being

Source link

from Diaspora9ja https://diaspora9ja.com/2020-aaas-fellows-approved-by-the-aaas-council/?utm_source=rss&utm_medium=rss&utm_campaign=2020-aaas-fellows-approved-by-the-aaas-council

[saulcastillo]

mucho más » semana CDLIV (6Jl)

Un domingo más es hora de encender las máquinas para repasar una a una las mejores infografías que se han publicado en la prensa a lo largo de esta semana. Arrancamos el ‘Mucho más’ tras el salto:

Trabajo: La peste negra resurge en Mongolia con dos nuevos casos confirmados | Autores: C. Alejandro Sánchez, Ismael F. Mira, Roberto Alvarado y Luisa Ortega | Medio: La Razón (México), del 6 de julio | Alta resolución »

Trabajo: Los 20 penaltis seguidos sin fallo de Sergio Ramos | Autor: Germán Pizarro | Medio: Marca, del 6 de julio | Alta resolución »

Trabajo: Cómo volar con seguridad durante la pandemia | Autora: Verónica Bravo | Medio: USA Today, del 6 de julio | Alta resolución »

Trabajo: El turismo internacional, fuertemente perjudicado durante la pandemia | Autores: Marianne Boyer, Eugénie Dumas, Maxime Mainguet | Medio: Le Monde, del 7 de julio | Alta resolución »

Trabajo: La mutación del coronavirus | Autor: Artur Galocha | Medio: El País, del 8 de julio | Alta resolución »

Trabajo: Cómo las burbujas ayudan a contener los rebrotes | Autores: Jim Sergent y Jennifer Boressen | Medio: USA Today, del 8 de julio | Alta resolución »

Trabajo: Consejos para ponerse la mascarilla | Autor: Ricard Gràcia | Medio: El Periódico, del 9 de julio

Trabajo: El virus en el aire | Medio: La Voz de Galicia, del 9 de julio

Trabajo: Seis cosas a tener en cuenta a la hora de rescatar nuestras bicicletas tras la pandemia | Autores: George Petras y Karl Gelles | Medio: USA Today, del 10 al 12 de julio | Alta resolución »

Trabajo: El gol de Iniesta en el Mundial 2010 | Autores: J. de Velasco y J. Torres | Medio: ABC, del 11 de julio

Trabajo: Cómo actuar ante un contagiado en un autobús | Autora: Laura Placer | Medio: La Voz de Galicia, del 11 de julio

Trabajo: Las fechas clave de la historia del pazo de Meirás | Medio: La Voz d Galicia, del 12 de julio | Alta resolución »

__________________ inconsolata te ofrece la oportunidad de analizar en profundidad cualquier gráfico de la página. Si quieres ver u obtener alguna de estas infografías en mayor calidad, no dudes en ponerte en contacto con nosotros. También nos puedes encontrar en nuestra cuenta de Twitter.

© 2020

[citizenscreen]

It’s been the practice here to honor notable film-related anniversaries at the onset of every year – Looking back to move forward, if you will. This year there is particular excitement across social media because 2020 brings with it echoes of a century ago, the decade called The Roaring Twenties when youth threw caution to the wind and enjoyed life to its fullest. It was an era of economic prosperity and interesting (to say the least) social and artistic changes, an era of happenings and creativity. Some of that is reflected in films depicting the Roaring Twenties, which – luckily for us – happens to be this month’s theme on TCM.

In all pictures about the Roaring Twenties you’re likely to see the Flapper, perhaps the most familiar symbol of the era. The Flapper helped the decade retain a certain “feel,” one of partying and promiscuity with distinct style and energy. In movie terms you might look to Colleen Moore and Clara Bow to get a sense of what the Flapper was like.

Colleen Moore

Clara Bow

While the flapper enjoyed life throughout the decade, she gained considerable freedoms in 1920. On August 18 of that year the 19th Amendment was passed, giving women the right to vote. Due to the great economy at the time, millions of women worked in white-collar jobs and could afford to contribute in ways they previously could not. The increased availability of birth-control devices allowed for more personal choice and advances in technology helped the effort as well. Many homes in America, especially in the industrialized cities, were now powered by electricity, and effort-saving devices such as refrigerators, washing machines, irons, and vacuum cleaners, most of which were used by women, made life much easier as well.

Other inventions that came to be in 1920 include the hair dryer, invented by a women who inserted a hose in the exhaust of a vacuum cleaner. Brilliant! The traffic light was also born that year thanks to police officer William Potts who used red, amber, and green lights and $37 worth of wire to make his traffic light in Detroit, Michigan. The Band-Aid was invented by a man called Earle Dickson for his wife Josephine who cut herself often. The final invention worth noting was the automobile with the combustion, probably the most popular invention in the 1920s, which facilitated the Flapper lifestyle and led to many new jobs. The popular, reliable, and inexpensive Ford Model T made it all possible – and made it in the movies.

Harold Lloyd in GET OUT AND GET UNDER 1920

Stan Laurel in a Ford Model T 1920, which appeared in several Laurel and Hardy movies

  While previously mentioned freedoms were expanded, others were curtailed in 1920. The most famous being the 18th Amendment to the Constitution, ratified in 1919, but put into effect in 2020. The Federal Volstead Act, formally the National Prohibition Act, established to carry out the intent of the 18th Amendment, banned the manufacture and sale of “intoxicating liquors,” and at 12 A.M. on January 16, 1920, the Act closed every tavern, bar and saloon in the United States. Tragic as that may seem to some, there was plenty of booze to go around thanks to unseemly types who took control of underground “wet” businesses.

Hollywood’s fascination with Prohibition and the times during which it took place have resulted in fantastic film offerings through the decades. Sam Mendes’ Road to Perdition (2002) is one example of a great modern film dealing with the subject. But I am here for the classics and suggest you revisit the following to get a sense of how colorful the world was during the Prohibition era:

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Another right was curtailed on June 13, 1920 when the US Post Office stated that children could not be sent by parcel post. Various instances of this occurrence made the law a necessity.

More interesting facts about 1920:

The average life span in the United States that year was about fifty-four years.

The top ten toys of the 1920s were:

Teddy bears

Erector sets

Lionel trains

Lincoln Logs

Raggedy Ann

Radio Flyer Wagon

Tinker Toys

Crayons

Tin toys

Tiddlywinks

On January 29, 1920 Walt Disney started work as an artist with KC Slide Co. for $40 a week.

On May 1, 1920 legendary slugger Babe Ruth hit his 50th career home run, his first for the NY Yankees in a 6-0 win over the Boston Red Sox. How sweet it was.

On May 16 Joan of Arc (Jeanne D’arc c. 1412 – May 30, 1431) was canonized a saint. Her life has inspired numerous films starting as early as 1900 with Georges Méliès’ Joan of Arc. I must admit I’ve only seen two films on this topic, but can recommend both: Carl Theodor Dreyer’s deeply affecting The Passion of Joan of Arc (1928) and Victor Fleming’s visually appealing Joan of Arc (1948).

On June 2 the Pulitzer prize for Drama was awarded to Eugene O’Neill for Beyond the Horizon.

On July 29 rebel leader Pancho Villa surrendered to Mexican authorities. As it turns out Villa who had an interesting connection to movies as this Smithsonian Magazine article explains.

On November 2, 1920 the first commercially licensed radio broadcast was heard, from KDKA in Pittsburgh, Pennsylvania. The first broadcast was live results of the presidential election, a transmission of breaking news that was new and unprecedented. The impact of the medium of radio and the importance of this 1920 event cannot be overstated.

1920 in Hollywood

By the early 1920s, the film industry had made its (more or less) permanent move to Hollywood from the East Coast. The face of American cinema was transformed. Hollywood was now the world’s film capital producing virtually all films shown in the United States and 80 percent of the revenue from films shown abroad. Many American towns had a movie theater with over 20,000 movie houses operating in the U.S. by that year. Most Americans went to see the movies at least once a week. The movie industry became a big business. And Hollywood’s position only got stronger as many of Europe’s most talented movie players arrived.

By the end of the decade, the movies claimed to be the nation’s fifth largest industry, attracting 83 cents out of every dollar Americans spent on amusement. It’s only natural then that through this journey Hollywood also became the ideal of many things in the audience’s eyes. In particular the movies excelled at extravagance, fun, and glamour – and they were the primary distraction through tough times. Here’s more…

In 1920, Metro Pictures Corporation (with its already-acquired Goldwyn Pictures Corporation) was purchased by early theater exhibitor Marcus Loew of Loew’s Inc. In another acquisition, Loew merged his Metro-Goldwyn production company with Louis B. Mayer Pictures.

In 1920 C.B.C. Film Sales Corporation was founded in 1920 by brothers Jack and Harry Cohn, and Joseph Brandt. C.B.C. was renamed Columbia in 1924.

On March 28, 1920 the wedding of the century took place when Douglas Fairbanks and Mary Pickford joined in matrimony. Fairbanks bought a lodge for his new bride and it was named Pickfair, a place that soon became the social center of Hollywood. In June 1920 the couple joined fellow newlyweds Frances Marion and Fred Thomson on a European honeymoon.

On April 3, 1920 F. Scott Fitzgerald wed novelist Zelda Sayre at St. Patrick’s Cathedral in New York.

Director John Ford wed Mary Smith in 1920.

Charlie Chaplin discovered Jackie Coogan and chose him to play The Kid released in 1921.

Alice Guy, the world’s first female filmmaker and a key figure in the development of narrative film, directed her final film, the feature-length Tarnished Reputations (1920).

Born in 1920

I am astounded by the talent born in 1920. Expect major centennial celebrations for these important people who have given us so much joy through film and television.

Vincent Gardenia

Constance Moore

DeForest Kelley

Federico Fellini

Delbert Mann

James Doohan

Toshiro Mifune

Jack Webb

Denver Pyle

Peggy Lee

Yul Brynner

Maureen O’Hara

Shelley Winters

Ray Bradbury

Jack Warden

Mickey Rooney

William Conrad

Walter Matthau

Laraine Day

Montgomery Clift

Merlina Mercouri

Hy Averback

Nanette Fabray

Gene Tierney

Ricardo Montalban

Noel Neill

Virginia Mayo

Frances Gifford

Jack Lord

Tony Randall

Ray Harryhausen

Deaths in 1920

1920 is relatively early in the life of the movies so it’s not surprising only one stood out as notable…and particularly sad. On or about September 10 of that year actor Olive Thomas ingested bi-chloride of mercury from a French-labeled bottle in a darkened bathroom, believing it to be another medication. Found unconscious, she died five days later. The death made worldwide headlines. Olive was only 25 when she died.

With Olive’s death came a flood of stories linking her to alcohol and drug use and to sexual promiscuity. The evils of “movie people” were spotlighted along with her death by moralists everywhere. Regardless of the circumstances, which I believe have never come to light, this was the tragic death of a 25-year-old woman. Olive was survived by her husband Jack Pickford who was with her in Paris when the tragedy occurred. You can read more about the life and death of Olive Thomas at Silents are Golden.

Olive Thomas c. 1919

Among the notables who made their film debuts in 1920…

Mary Astor made her film debut by way of an uncredited part in Buster Keaton’s The Scarecrow

Madge Bellamy made her debut in Edward José’s The Riddle: Woman.

Charles Boyer in Marcel L’Herbier’s L’homme de Large

Greta Garbo in Ragnar Ring’s How Not to Dress, which according to the New York Times obituary is a short sponsored by the department story where Greta worked as a sales clerk.

Alfred Hitchcock – Hitchcock submitted a portfolio of title cards for The Sorrows of Satan and The Great Day and is hired by Famous Players-Lasky British Producers Limited. (Hitchcock.zone)

Barbara La Marr , the girl who was too beautiful caught everyone’s attention when she co-starred with Douglas Fairbanks in The Nut in 1921, but she made her debut the year prior in Bertram Bracken’s Harriet and the Piper.

Victor McLaglen in A. E. Coleby’s The Call of the Road (1920) he gets a starring role right off the bat as a gambler-turned-boxer.

Nita Naldi – the story goes that her dancing was spotted by John Barrymore, who obtained her debut role for her in Dr. Jekyll and Mr. Hyde (1920).

Claude Rains – we see him for a brief moment at the end of the film, but it’s a brilliant turn he delivers in his formal film debut as James Whale’s The Invisible Man in 1933, but as is news to me at this writing, Rains appeared in Fred Goodwins’ Build Thy House in 1920.

Notable Film Releases

Germany’s silent landmark classic, director Robert Wiene’s The Cabinet of Dr. Caligari was released in the US in 1920.

Douglas Fairbanks’ first swashbuckler, Fred Niblo’s The Mark of Zorro (1920).

Buster Keaton made his first solo film appearance in the comedy short One Week (1920), after co-starring with Roscoe Arbuckle for the three previous years.

Legendary Broadway stage star John Barrymore appeared in the adapted Robert Louis Stevenson tale-horror film Dr. Jekyll and Mr. Hyde (1920) directed by John. S. Robertson.

Ernst Lubitsch’s Passion was released in the U.S. bringing attention to Polish actress Pola Negri.

Way Down East, a romantic drama directed by D. W. Griffith and starring Lillian Gish was a top grossing movie of the year.

Harold Lloyd and Buster Keaton released several shorts each that are worth watching so check out their filmographies and get to it. Roscoe Arbuckle had a slow year given his star status in 1920, but that would all fall apart in 1921 following the Virginia Rappe scandal.

Harry Millarde’s Over the Hill to the Poorhouse or just Over the Hill starring Mary Carr was one of the top grossing films of the decade.

Paul Powell’s Pollyanna starring Mary Pickford was popular despite both screenwriter Frances Marion and Mary Pickford not liking it.

Shipwrecked Among Cannibals, a travelogue/documentary directed by William F. Adler, was the first Universal film to gross $1,000,000.

Cecil B. DeMille’s Something to Think About starring Elliott Dexter, Gloria Swanson and Monte Blue was popular with audiences.

Top Money-making actors

According to Quigley Polls from results of 1919 film releases.

Wallace Reid

Marguerite Clark

Charles Ray

Douglas Fairbanks

Mary Miles Minter

Mary Pickford

Clara Kimball Young

William S. Hart

Norma Talmadge

Theda Bara

Theda Bara in THE LIGHT 1919

◊

I hope you enjoyed these hundred-year-old highlights. I look forward to what I hope will be a stellar, enjoyable year of blogging and wish you and yours the very best. Now, in 1920s lingo, “Go chase yourself!”

HAPPY NEW YEAR…1920, A Centennial Celebration It's been the practice here to honor notable film-related anniversaries at the onset of every year - Looking back to move forward, if you will.

[oh-sewing-circle]

"Facing bankruptcy in 1926, Alla Nazimova decided to transform her 2.5-acre estate at the corner of Sunset Boulevard and Crescent Heights into an Ace Hotel-style party destination, featuring 25 villas surrounding an always-hopping swimming pool. The Garden of Allah Hotel opened its doors Jan. 27, 1927. It took its name from the 1904 Robert Smythe Hichens novel about an artisanal-liqueur-making monk who abandons his vows to rescue an heiress in North Africa; Charles Boyer and Marlene Dietrich played the star-crossed lovers in a 1936 movie adaptation, the first shot in Technicolor.

Over the next decade, the Garden became Hollywood's living room: Humphrey Bogart, Laurence Olivier, John Barrymore, Charlie Chaplin, Vivien Leigh, Gloria Swanson, the Marx brothers, Errol Flynn, Greta Garbo, Lillian Gish and Marlene Dietrich all either lived there or partied there so often, it felt as if they did. On Sundays, Nazimova hosted "girls only" parties that catered to fresh-off-the-bus ingenues. (The boys, meanwhile, were welcome to show off their talents at afternoon mixers held at the nearby home of George Cukor. 'George would be very angry if anything untoward occurred,' recalls one attendee. 'If Cole Porter fancied a guy, he would very gradually take him aside and give him a phone number to call.')

Nazimova sold the place by 1930 and headed back to Broadway, just as the East Coast literati began making their way westward. George S. Kaufman, F. Scott Fitzgerald, John Steinbeck, William Faulkner, Ernest Hemingway and Dorothy Parker all flocked to the Garden for its permissive (read: alcohol-soaked) atmosphere and smart, starry clientele. When Nazimova returned to Hollywood in 1938, she rented Villa 24 and lived there until her death in 1945.

By 1959, the once-resplendent Garden had grown seedy and neglected. The Lytton Savings and Loan Co. bought the property for $775,000. But before it razed the spot to make room for a bank and parking lot, the seller, nightclub impresario Morris Markowitz, threw one final costume party. His wife dressed up as Nazimova, he came as Cecil B. DeMille, and a thousand revelers showed up as silent-era stars like Rudolph Valentino, Chaplin and Mae West. Nazimova's Salome ��� "a hothouse orchid of decadent passion!" — was projected on a screen; by midnight, the pool was filled with empty liquor bottles. A McDonald's stands on the spot today."

[tasksweekly]

[TASK 095: GUYANA]

There’s a masterlist below compiled of over 120+ Guyanese faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever character or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK -  examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

F:

Shakira Caine (1947) Indo-Guyanese-British [Kashmiri] - actress and fashion model.

Pauline Melville (1948) Guyanese [Unspecified Indigenous, Afro Guyanese, Scottish] / English - actress and writer.

C.C.H. Pounder (1954) Afro Guyanese - actress.

Flora Cheong-Leen (1959) Guyanese [Chinese] / Hong Konger - actress.

Carol Kenyon (1959) Afro Guyanese - singer.

Dawnn Lewis (1961) Guyanese / African-American - actress and singer-songwriter.

Des’ree / Desiree Annette Weeks (1968) Guyanese / Barbadian - singer-songwriter.

Nicole Narain (1974) Guyanese [Afro Guyanese / Indo Guyanese, Chinese] - model and actress.

Stephanie St. James (1974) Guyanese / Russian Jewish - actress and singer.

Deborah Cox (1974) Afro Guyanese - singer-songwriter and actress.

Alison Hammond (1975) Afro Guyanese / Afro Nevisian - tv personality.

Tina Barrett (1976) Guyanese / English - actress, singer-songwriter, and dancer.

Abiola Abrams (1976) Afro Guyanese - tv personality, internet personality, filmmaker, and author.

Vanessa Cobham (1976) Guyanese - actress.

Nikhol Hing (1978) Guyanese [Chinese / Afro Guyanese, Portuguese] - reality tv personality.

Emma Heming (1978) Indo Guyanese / English - model and actress.

Andrea Drepaul (1979) Guyanese, Portuguese - actress.

Angel Coulby (1980) Afro Guyanese, possibly Indian / English - actress and singer.

Yaani King / Yaani King Mondschein (1981) Guyanese [Carib, Afro Guyanese] - actress.

Su-Elise Nash (1981) Afro Guyanese, possibly other - singer and tv personality.

Maiko Watson (1981) Guyanese - singer-songwriter.

Thara Prashad (1982) Indo Guyanese / African-American, Irish - singer, pianist, and model.

Anjulie / Anjulie Persaud (1983) Indo Guyanese - singer-songwriter, percussionist, guitarist, and pianist.

Sarah-Jane Crawford (1983) Afro Guyanese [including Nigerian, Beninese, Togolese] / Irish, possibly other - actress, tv presenter, and radio presenter.

Melanie Fiona (1983) Guyanese [Afro Guyanese, Indo Guyanese, Portuguese] - singer-songwriter.

Shaya / Marianna Hansen (1983) Indo Guyanese, Greenlandic Inuit, Greek / Danish - singer and dancer.

Nicole Holness (1984) Guyanese, Unspecified Caribbean, Unspecified Native Canadian, Scottish - singer and tv host.

Vanessa Lee Chester (1984) Guyanese - actress.

Leona Lewis (1985) Afro Guyanese / Italian, Irish, Welsh - singer-songwriter.

Jade Eshete (1985) Guyanese / Ethiopian - actress.

Lyric Greene (1985) Afro Guyanese - reality tv personality.

Skyla Marista (1986) Jamaican, Guyanese, Chinese - producer.

Racquel Natasha (1987) Guyanese - blogger.

Shari McEwan (1987) Guyanese, Barbudan, Antiguan - model.

Dana Jeffrey (1988) Ojibwe, Cree, Afro Guyanese, Icelandic - actress.

Arti Cameron (1988) Guyanese - model.

Runa Lucienne (1988) Guyanese, African-American - model and actress.

Danielle Peazer (1988) Guyanese / Italian, English - model and dancer.

Kara Lord (1988) Guyanese - Miss Guyana 2011.

Kylie Bunbury (1989) Afro Guyanese / Polish, Swedish, English, German - actress.

Sammi Maria (1989) Afro Guyanese, Chinese / English - youtuber.

Tasie Lawrence (1990) Guyanese / English - actress and singer-songwriter.

Katherina Roshana (1990) Indo Guyanese - Miss Guyana 2013 and Miss India Guyana 2013.

Sonal Sagaraya (1990) Indo Guyanese - youtuber.

Niketa Barker (1990) Guyanese - model.

Ruqayyah Boyer (1990) Guyanese [Dutch, possibly other], Afro Surinamese - actress, singer-songwriter, and model.

Candace Charles (1990) Guyanese - beauty ambassador and model.

Sandhja / Sandhja Kuivalainen (1991) Indo Guyanese / Finnish - singer.

Sheriza R (1991) Guyanese - youtuber.

Lisa Punch (1992) Afro Guyanese - singer-songwriter, actress, and dancer.

Melinda Shankar (1992) Indo Guyanese - actress.

Letitia Wright (1993) Afro Guyanese - actress.

Sherryanna Balkaran (1996 or 1997) Guyanese [Patamona] - Miss Indigenous Heritage Guyana 2017.

Holly Hendrix (1997) Guyanese / Unspecified Other - actress and model.

Leah Allyannah (1997) Indo Guyanese / Afro Guyanese, Chinese - youtuber.

Dolly Chambers (1998 or 1999) Guyanese [Pemon] - Miss Indigenous Heritage Guyana 2017 second runner-up.

Narefa Allicock (1998 or 1999) Guyanese [Lokono] - Miss Indigenous Heritage Guyana 2017 Region 2.

Anastacia Harripersaud (1999 or 2000) Guyanese [Lokono] - Miss Congeniality for the Miss Indigenous Heritage Guyana 2017.

Junisha Ann Johnny (1999 or 2000) Guyanese [Macuxi] - Miss Indigenous Heritage Guyana 2017 first runner-up.

Shanna Boyle (1999 or 2000) Guyanese [Lokono] - Miss Indigenous Heritage Guyana 2017 third runner-up.

Roberta Alpin (1999 or 2000) Guyanese [Lokono] - Miss Indigenous Heritage Guyana 2017 fourth runner-up.

Cassie Junior (1999 or 2000) Guyanese [Lokono, Afro Guyanese] - Miss Indigenous Heritage Guyana 2017 Region 4.

Selina George (2000 or 2001) Guyanese [Lokono] - Miss Indigenous Heritage Guyana 2017 Region 3.

Rose Windross (?) Afro Guyanese - singer-songwriter.

Simone Denny (?) Guyanese - singer.

MC Chickaboo / Jeanine Green (?) Guyanese - rapper.

Alyson Cambridge (?) Guyanese / Danish - singer.

Sabra Williams (?) Guyanese, Carib, Russian, Romanian, British - actress and presenter.

Alicia Thorgrimsson (?) Guyanese, Icelandic, Scottish - actress.

JaNae Armogan (?) Guyanese, Unspecified Other / Unspecified Other - actress.

Nadine Bhabha (?) Guyanese, South African, Indian - actress.

Shanna Armogan (?) Guyanese Indian / Black American - actress.

Celeste Sully (?) Afro/Indo Guyanese / Irish, German, French, Norwegian - actress.

Rohshan Juliana (?) Guyanese / Unspecified - actress.

Janice MacGregor (?) Guyanese, possibly other - actress.

Portia Freno (?) Guyanese, Sicilian, English - actress.

Maia Watkins (?) Guyanese, Russian / Jamaican - actress.

Rianna Scipio (?) Guyanese - actress.

Olivia Rose Wallace (?) Guyanese / Irish, Italian - actress and writer.

Christa Simmons (?) Guyanese - Miss Guyana 2008.

M:

Tony Tornado (1930) Guyanese / Brazilian - actor and singer.

Eddy Grant (1948) Guyanese [Indo Guyanese, Afro Guyanese] - singer, guitarist, bassist, drummer, and keyboardist.

Rafael Cameron (1951) Guyanese - singer-songwriter.

Gordon Warnecke (1962) Indo Guyanese, German - actor.

Damon D’Oliveira (1964) Guyanese [Portuguese, possibly other] - actor and producer.

Joe Dixon (1965) Afro Guyanese - actor.

Tricky / Adrian Thaws (1968) Afro Jamaican / Guyanese [English, Unspecified Other] - singer, keyboardist, harmonicist, actor, and producer.

Maestro / Wesley Williams (1968) Afro Guyanese - rapper, MC, actor, producer, author, and motivational speaker.

Sean Patrick Thomas (1970) Afro Guyanese - actor.

Tony Momrelle (1973) Afro Guyanese - singer.

Derek Luke (1974) Guyanese / Nigerian - actor.

Giles Terera (1976) Afro Guyanese - actor, musician, composer, and filmmaker.

Red Café / Jermaine Denny (1976) Afro Guyanese - rapper.

Vaughn Lal (1978) Guyanese - bassist.

Saukrates / Karl Amani Wailoo (1978) Afro Guyanese - rapper, singer-songwriter, and producer.

Dave Baksh (1980) Indo Guyanese - singer, guitarist, and producer.

McLean / Anthony McLean (1980) Afro Guyanese - singer-songwriter.

Phaldut Sharma (1981) Indo Guyanese - actor and dancer.

Eon Sinclair (1981) Guyanese - bassist.

Asher D / Ashley Walters (1982) Afro Guyanese - rapper and actor.

Smoke DZA / Sean Pompey (1984) Afro Guyanese - rapper.

Dev Hynes (1985) Guyanese / Sierra Leonean - singer-songwriter, multi-instrumentalist, composer, producer, and author.

Wretch 32 / Jermaine Scott Sinclair (1985) Afro Guyanese / Afro Jamaican - rapper and singer-songwriter.

Frenchie / Greg Hogan (1985) Guyanese, African-American - rapper.

Donae’O / Ian Greenidge (1985) Guyanese / Ghanaian, Nigerian - singer and rapper.

Smiler / Joseph Barlett-Vanderpuye (1985) Guyanese, Jamaican, Zambian - rapper.

Ukweli Roach (1986) Guyanese / English - actor.

P Reign / Raynford Humphrey (1986) Afro Guyanese - rapper-songwriter.

JDiggz / Jonathan Matthew Poirer (1986) Guyanese / French - rapper and producer.

Never Yet Contested / Joshua Solomon Jeremiah Jordan (1987) Afro Guyanese / Afro Grenadian - rapper-songwriter, producer, and artist.

Edward Prince (1987) Guyanese - youtuber.

Nick Sagar (1988) Guyanese / Jamaican - actor.

Raymond Ablack (1989) Indo Guyanese - actor.

Jermain Jackman (1985) Afro Guyanese - singer.

Roy Woods (1996) Afro Guyanese - singer-songwriter.

Ryan Madray (1995) Guyanese - actor.

More or Les / Leslie Seaforth (?) Afro Guyanese - rapper, DJ, and producer.

Terry Gajraj (?) Indo Guyanese - musician.

Odario Williams (?) Afro Guyanese - musician and broadcaster.

Rich London / Richard Davidson (?) Afro Guyanese - rapper.

Keith Waithe (?) Guyanese [Macuxi, Afro Guyanese] - musician.

Jon Madray / JonOne (?) Guyanese - youtuber.

Ian Collins (?) Guyanese Canadian /  Scottish Canadian - actor.

Mahadeo Shivraj (?) Guyanese - actor.

Shemar Jonas (?) Guyanese - actor.

Gregory Omar Osborne (?) Guyanese - actor and dancer.

Jotae Fraser (?) Guyanese, African-American - actor.

NB:

Rose Brescenio (1997 or 1998) Guyanese [Warao] - Tida Wena - Miss Indigenous Heritage Guyana 2017 Region 1.

Problematic:

Rihanna / Robyn Rihanna Fenty (1988) Afro Guyanese / Afro Barbadian, English, Scottish, Irish - singer-songwriter, model, and actress - appropriated and sexualized the Japanese kanzashi and kimono, appropriated and sexualized the Indian bindi and sari, sexualized the Hindu deity Shiva, appropriated Egyptian culture, consistently referred to a Vietnamese woman (Karrueche Tran) as “rice cakes”/”rice”, and did “c***k eyes”.

[laurent-bigot]

Ce n’est pas le moindre des paradoxes de l’Occupation à de nombreux jeunes acteurs de se révéler au public. La plupart rapidement au vedettariat au cours des années 50, mais si on excepte quelques chefs-d’œuvre fulgurants, Ils seront souvent mal employés.

Danielle Darrieux

Bernard Blier

Pierre Brasseur

Suzy Delair

Jean Marais

Danièle Delorme

Pierre Fresnay

François Perrier

Daniel Gélin

Dany Bobin

Micheline Presle

Martine Carol

Simone Signoret

PIERRE FRESNAY, en 1945, fut victime de la campagne déclenchée contre Le Corbeau, où il avait trouvé son meilleur rôle, avec celui du capitaine de Boieldieu de La Grande Illusion. Il était alors au sommet de sa gloire, un des tout premiers acteurs français, après une première carrière, qui comprenait entre autres le Marius (1931) de Korda et sa suite, La Dame aux camélias (1934) d’Abel Gance, Adrienne Lecouvreur (1938) de L’Herbier et L’Assassin habite au 21 (1942) de Clouzot. Après quelques mois d’interdiction succédant à quelques semaines de séjour à Fresnes, il effectuait sa rentrée dans Fille du diable (1945) de Decoin et retrouvait rapidement sa place au premier rang des vedettes françaises. De nouveaux triomphes personnels l’attendaient, dans des films parfois inégaux. Parmi ceux-ci, on doit rappeler sa mémorable composition de saint Vincent-de-Paul, dans le Monsieur Vincent (1947) de Maurice Cloche écrit par Jean Anouilh ou son savoureux Offenbach de La Valse de Paris (1949) de Marcel Achard. Son meilleur rôle de cette seconde période fut sans doute celui de Dieu a besoin des hommes (1950) de Delannoy. Après cela, le niveau des films dans lequel il parut commença à baisser. On peut encore retenir le curieux Défroqué (1953) de Léo Joannon et le vieux marquis des Aristocrates (1954) de Denys de la PatelIière. Fresnay, qui avait débuté à la Comédie-Française et continué de jouer au Boulevard, retourna au théâtre. II fit d’admirables créations, surtout Le Neveu de Rameau de Diderot et Mon Faust de Valéry, dont la télévision a gardé le souvenir. Il mourut en 1975, à Paris (où il était né en 1897).

MONSIEUR VINCENT de Maurice Cloche (1947) avec Pierre Fresnay, Aimé Clariond, Jean Debucourt

MARIUS réalisé par Alexander Korda (1931), écrit par Marcel Pagnol d’après sa pièce éponyme, représentée pour la première fois en décembre 1927 sur la scène du Théâtre de Paris, Marius est le premier volet de la trilogie marseillaise de Pagnol. Avec Raimu, Pierre Fresnay, Orane Demazis

LE CORBEAU – Henri Georges Clouzot (1943) – Pierre Fresnay

DANIELLE DARRIEUX (née à Bordeaux en 1917) avait été une des grandes vedettes d’avant-guerre et de l’Occupation grâce à des films comme Mayerling (1936) de Litvak où elle incarnait une inoubliable Marie Vetsera, ou à ceux qu’elle interpréta sous la direction de son mari Henri Decoin, Retour à l’aube (1938), Battements de cœur (1939) et Premier Rendez-vous (1941). Elle avait excellé dans des rôles de jeunes filles modernes, enjouées et mutines, mais qui finissaient toujours par tomber dans les bras du beau jeune premier. Dotée d’une voix agréable, elle susurrait souvent de jolies mélodies, un peu sirupeuses comme le voulait le goût de l’époque et généralement promises à un grand succès, comme la célèbre “chamade” de Battements de cœur. Après trois ans d’interruption, Danielle Darrieux revint à l’écran en 1945, pour une seconde carrière encore plus brillante que la première. Épanouie, mûrie, ayant pris de l’autorité, c’est alors qu’elle interpréta quelques-uns de ses plus beaux rôles, comme la reine de Ruy Blas (1947) dans le film de Cocteau et Pierre Billon ou la fantasque Amélie de Feydeau, dans Occupe-toi d’Amélie (1949) d’Autant-Lara. Mais c’est surtout grâce à Ophuls qu’elle put se surpasser, dans La Ronde (1950), Le Plaisir (sketch de La Maison Tellier d’après Maupassant, 1951) et surtout l’exquise Madame de (1953) d’après Louise de Vilmorin, où elle était une épouse frivole qui finissait par mourir d’amour. Elle fut également remarquable dans La Vérité sur Bébé Donge (1951) où elle retrouvait Decoin, dont elle avait divorcé dix ans plus tôt et dans Le Bon Dieu sans confession (1953) d’Autant-Lara. Elle est décédée en octobre 2017.

OCCUPE-TOI d’AMELIE de Claude Autant-Lara (1949), adapté de la pièce éponyme de Georges Feydeau avec Danielle Darrieux, Jean Desailly, Julien Carette

MADAME DE… de Max Ophuls (1953), adapté du roman éponyme de Louise de Vilmorin paru en 1951 avec Danielle Darrieux, Charles Boyer, Vittorio De Sica, Jean Debucou

RETOUR A L’AUBE – Henri Decoin (1938) – Danielle Darrieux, Pierre Dux, Jacques Dumesnil, Pierre Mingand

PIERRE BRASSEUR (1905-1972) tourna beaucoup et aussi de temps en temps n’importe quoi avant de parvenir à imposer son talent exceptionnel. Réserve faite de la gifle mémorable du Quai des brumes (1938) de Carné, ce n’est qu’avec les années 40 qu’il commença à trouver l’occasion de s’employer. Ce fut surtout grâce à Jacques Prévert qui écrivit pour lui quelques rôles sur mesure, destinés à mettre en valeur un abattage extraordinaire. On en eut un premier aperçu avec le peintre alcoolique de Lumière d’été (1942), le meilleur film de Grémillon, où il éclipsait ses nombreux et remarquables partenaires. Mais c’est l’année suivante qu’il allait rencontrer le rôle de sa vie, avec le fameux Frédérik Lemaître des Enfants du paradis (1943-1945), le chef-d’œuvre de Carné-Prévert. Dans cette évocation d’un “monstre sacré” du romantisme, il fut éblouissant, truculent et gouailleur à la fois, émouvant et sobre quand il le fallait, bref acteur complet et génial. Après cela, il parut presque effacé dans Les Portes de la nuit (1946) de Carné-Prévert, bien qu’il y fût excellent, mais eut l’occasion d’un nouveau grand numéro dans Les Amants de Vérone (1948) de Cayatte-Prévert. Il fut aussi un savoureux Barbe- bleue (1951) pour Christian-Jaque et un héros de Sartre dans Les Mains sales (F, Rivers, 1951), Après un truculent Buridan dans La Tour de Nesle de Gance (1954), et un pittoresque Juju pour René Clair (Porte des Lilas, 1956), il incarna de nombreux rôles jusqu’à sa mort (Les Bonnes causes, Christian-Jaque, 1962), mais plus rien de très marquant. Il fut marié à Odette Joyeux, dont il eut un fils, le comédien Claude Brasseur.

LES BONNES CAUSES est un film franco-italien réalisé par Christian-Jaque et sorti en 1963 avec Pierre Brasseur, Marina Vlady, Bourvil

LUMIERE D’ETE de Grémillon (1943) avec Madeleine Robinson, Paul Bernard, Madeleine Renaud, Pierre Brasseur

LES PORTES DE LA NUIT – Marcel Carné (1946), Pierre Brasseur

SIMONE SIGNORET (née Simone Kaminker en 1921, à Wiesbaden et morte en 1985 à Autheuil-Authouillet (Eure)) fut une des premières jeunes actrices à s’imposer comme vedette au lendemain de la Libération. Figurante et secrétaire du journaliste Jean Luchaire sous l’Occupation elle décrocha quelques petits rôles, avant d’être lancée par les films d’Yves Allégret, son premier mari, Les Démons de l’aube (1945) et surtout Dédée d’Anvers (1947) qui fit d’elle une grande vedette, dans un rôle pourtant assez conventionnel de fille de maison close, emploi qu’elle tint plusieurs fois dans sa carrière. Elle fut également fille “mauvaise femme”, ambitieuse et sans scrupule dans Manèges (1949), film très noir, le dernier qu’elle fit pour Yves Allégret, dont elle divorça peu après. Après deux ou trois films anglo-saxons sans intérêt, et quelques productions françaises très médiocres, on la retrouva dans La Ronde (1950) d ‘Ophuls et surtout dans son plus grand rôle, Casque d’Or (1951), le chef-d’œuvre de Jacques Becker. Faisant un curieux couple avec Serge Reggiani, elle y était belle, simple et émouvante, dans son personnage de fille du peuple, amoureuse et heureuse de vivre. Malheureusement, ni Thérèse Raquin (1953) de Carné, ni Les Diaboliques (1954) de Clouzot, ni La Mort en ce Jardin (1956) de Buñuel n’eurent la même valeur. Avec un film anglais assez moyen de Jack Clayton, Les Chemins de la haute ville (Room at the Top, 1958), Simone Signoret obtint un Oscar. Puis elle vieillit et changea d’emploi, tirant un parti parfois un peu appuyé des changements physiques apportés par le passage des ans. Mariée à Yves Montand, elle le suivit dans ses prises de position politiques. On lui doit un livre de souvenirs : “La nostalgie n’est plus ce qu’elle était.”

THERESE RAQUIN de Marcel Carné (1953) avec Simone Signoret, Raf Vallone, Sylvie, Jacques Duby, Roland Lesaffre

CASQUE D’OR de Jacques Becker (1952), inspiré de l’histoire vraie d’Amélie Élie, surnommée « Casque d’or », avec Simone Signoret, Serge Reggiani, Claude Dauphin

DEDEE D’ANVERS d’Yves Allégret  (1948) avec Bernard Blier, Simone Signoret, Marcello Pagliero, Marcel Dalio

JEAN MARAIS (né en 1913 et décédé en 1998), grande révélation du cinéma de l’Occupation avec L’Éternel Retour (1943), fut pendant plusieurs années le jeune premier idéal du cinéma français. Son nom demeure étroitement lié à celui de Jean Cocteau, et c’est au cinéaste-poète qu’il doit le meilleur de sa carrière. Prince charmant et monstre émouvant dans La Belle et la Bête (1945), “ver de terre amoureux d’une étoile” dans Ruy Blas (1947), anarchiste épris de sa victime dans L’Aigle à deux têtes (1947), enfant gâté des Parents terribles (1948), poète maudit d’Orphée (1949), cette série de rôles incomparables lui valut une popularité comme il y en eut peu dans le cinéma français. Sa voix étrange et sa blondeur irrésistible en firent l’enfant chéri de plusieurs générations de spectatrices. Tout cela achevait d’irriter une critique qui le bouda longtemps et fut longue à lui reconnaître un talent qui pourtant était réel. D’autres cinéastes que Cocteau surent l’utiliser, de Christian-Jaque (Voyage sans espoir, 1943) à Jean Renoir (Elena et les hommes, 1956) en passant par René Clément (Le Château de verre, 1950) et Yves Allégret (Nez-de-cuir, 1951). Jean Marais se reconvertit ensuite avec bonheur dans le film de cape et d’épée, sous la direction d’André Hunnebelle : Le Bossu (1959), Le Capitan (1960), Le Miracle des loups (1961). Son dernier grand rôle fut dans Peau d’âne (1970) de Jacques Demy.

L’AIGLE A DEUX TETES de Jean Cocteau, adapté de sa pièce éponyme (1948) avec Edwige Feuillère, Jean Marais, Silvia Monfort, Jean Debucourt, Jacques Varennes

LE SECRET DE MAYERLING de Jean Delannoy (1949) avec Jean Marais, Dominique Blanchar, Jean Debucourt, Silvia Monfort, Jane Marken

LE SECRET DE MAYERLING est un film français consacré au drame de Mayerling, réalisé par Jean Delannoy et sorti en 1949 avec Jean Marais, Dominique Blanchar, Jean Debucourt, Silvia Monfort, Jane Marken

MARTINE CAROLE, née Maryse Mourer (1920-1967), fut pendant une dizaine d’années la star d’une période un peu creuse du cinéma français. Blonde, éclatante, un rien de vulgarité qu’excusait un côté bonne fille, elle parut dans de nombreux films, souvent médiocres, mais dont elle assurait le succès. Un succès qu’elle poursuivit pendant des années, entre ses débuts (1943) et sa consécration en 1950, par tous les moyens : un faux suicide, des idylles tapageuses, un grand sens de la publicité. En 1950, ce fut enfin Caroline chérie, assez platement réalisé par Richard Pottier, mais l’héroïne du best-seller de Cecil Saint-Laurent, au prénom prédestiné, semblait avoir été inventée pour elle. Son charme blond, appuyé par des dialogues impertinents d’Anouilh, fit merveille. Plus tard, mariée à Christian-Jaque, elle interpréta pour lui une série de films, bâtis à peu près sur le même principe : Lucrèce Borgia (1952), Madame du Barry (1954), Nana (1955). Ce furent ses plus grands succès commerciaux avec un niveau au-dessus, Les Belles de nuit (1952) de René Clair. Il est permis de juger plus intéressante son interprétation dans un film méconnu de Lattuada, La Pensionnaire (La Spiaggia, 1954). Enfin, elle restera toujours dans le souvenir des cinéphiles, grâce à un seul film, mais quel film ! Lola Montès (1955), le chef-d’œuvre sans égal de Max Ophuls, où, brune pour une fois, elle confirmait un vrai talent qui soutenait une photogénie éclatante. Ensuite, ce fut le déclin rapide, les épreuves, les trahisons de la mode, bref une fin de carrière désolante, dénouée par une mort tragique. On peut encore en extraire un dernier film : Austerlitz (1960) d’Abel Gance, où elle incarnait Joséphine de Beauharnais.

LE DESIR ET L’AMOUR  d’Henri Decoin (1951) avec Martine Carol, Antonio Vilar, Françoise Arnoul

CAROLINE CHERIE de Richard Pottier (1951), avec Martine Carol, adapté d’un roman de Cécil Saint-Laurent avec Martine Carol, Jacques Dacqmine, Marie Déa

LOLA MONTES  Max Ophüls (1955) avec Martine Carol, Peter Ustinov, Anton Walbrook

FRANÇOIS PÉRIER (né en 1919 et mort en 2002), grâce à un personnage charmant de jeune premier fantaisiste, connut une très grande popularité dans les années 40. Entrevu dans Hôtel du Nord (1938) puis révélé au théâtre, c’est sous l’Occupation qu’il devint vedette, avec Lettres d’amour (1942), petit chef-d’œuvre méconnu d’Autant-Lara, Le Camion blanc (1942) de Léo Joannon ou Bonsoir mesdames, bonsoir messieurs de Roland Tuai (1943). Il confirma les mêmes qualités d’esprit et d’intelligence dans Un Revenant (1946) de Christian-Jaque, Le Silence est d’or (1947) de René Clair ou dans Souvenirs perdus, de nouveau avec Christian-Jaque (sketch de Jeanson, 1950). Il étendit, avec un égal succès, son registre vers la gravité avec l’excellent film de Jean Faurez, La Vie en rose (1947) et avec Orphée (1949) de Cocteau, où il fut un étonnant Heurtebise. La suite de sa carrière fut plus décevante sauf Les Nuits de Cabiria (Le notti di Cabiria, 1956) de Fellini, et il se consacra surtout au théâtre où il continue de triompher.

ORPHEE est un film français réalisé par Jean Cocteau, sorti en 1950 avec Jean Marais, François Périer, Maria Casarès, Marie Déa

LE CAMION BLANC est un film français réalisé par Léo Joannon, sorti en 1943 avec Jules Berry, Blanchette Brunoy, François Périer

UN REVENANT – Christian-Jaque (1946) – Louis Jouvet, Jean Brochard, Gaby Morlay, Ludmila Tcherina, François Périer

SUZY DELAIR (née le 31 décembre 1916 à Paris) commença à la fois Comme figurante et Comme chanteuse de music-hall, débutant dans des établissements populaires parfois modestes. C’est dans un de ces lieux qu’il affectionnait que Clouzot la découvrit et prit sa carrière en main, en même temps qu’il allait partager sa vie une dizaine d’années environ. Il la fit débuter à la Continental en 1941, dans Le Dernier des six écrit par lui mais réalisé par Georges Lacombe, puis dans L’assassin habite au 21, qu’il réalisa lui-même en 1942. Dans l’un et l’autre, elle incarnait Mila-Malou, la petite amie volcanique de l’inspecteur Wens, joué par Pierre Fresnay. D’emblée, elle imposa ce personnage “d’une incroyable vulgarité”, qui prenait sous la direction de Clouzot un style assez “flamboyant” (Jacques Siclier). Toujours avec Clouzot, elle eut son plus grand rôle, dans Quai des Orfèvres (1947), celui de la chanteuse Jenny Lamour trépidante sur scène, et dans la vie adorant son “biquet” (B. Blier). Un rôle où elle avait mis beaucoup d’elle-même, de ses souvenirs de début et de sa vie avec Clouzot (on se souviendra de son numéro: “Avec son tralala” ). Elle fut aussi Lady Paname (1949) pour Henri Jeanson, dans sa seule mise en scène, un personnage assez voisin du précédent et la partenaire de Laurel et Hardy dans leur dernier film, Atoll K (1951). La même année elle faisait un duo irrésistible avec François Périer, dans le sketch de Jeanson réalisé par Christian-Jaque pour Souvenirs perdus. Dans le registre dramatique, son plus grand rôle fut celui de la fille cynique de Pattes blanches (1948), chef-d’œuvre encore trop ignoré de Grémillon. Par la suite, il faut encore mentionner Gervaise (René Clément, 1955) et Rocco et ses frères (Rocco e i suoi fratelli, Visconti, 1960). Simultanément, Suzy Delair poursuivait une brillante carrière au théâtre, lyrique particulièrement. Mais on doit regretter que le cinéma français n’ait pas su employer davantage ce tempérament dramatique exceptionnel, fait d’une authentique verve populaire.

QUAI DES ORFÈVRES – Henri-Georges Clouzot (1947) – Louis Jouvet, Suzy Delair, Bernard Blier, Simone Renant

PATTES BLANCHES de Jean Grémillon (1949), avec Suzy Delair, Fernand Ledoux, Paul Bernard, Arlette Thomas et Michel Bouquet

LADY PANAMA est un film français réalisé par Henri Jeanson, sorti en 1950 avec Louis Jouvet, Suzy Delair, Jane Marken

MICHELINE PRESLE est née Micheline Chassagne à Paris, en 1922. Elle connut ses premiers succès au début de la guerre et de l’Occupation avec Paradis perdu (1939) de Gance et La Comédie du bonheur (1940) de L’Herbier. Ce furent ensuite deux films du même, Histoire de rire (1941) et La Nuit fantastique (1942), suivis de deux créations importantes qui ne sortirent qu’après la Libération, Félicie Nanteuil (1942) de Marc Allégret et Falbalas (1944) de Jacques Becker. Jeune fille ou jeune femme, parfois hésitant entre les deux, tous ses personnages sont marqués de sa forte personnalité et d’un talent aussi heureux dans le registre comique que dans le dramatique. Ces qualités se confirmèrent dans le fameux Diable au corps (1946), d’Autant-Lara, ou dans L’Amour d’une femme (1953) de Grémillon. Les Américains la remarquèrent et elle fut engagée à Hollywood où elle ne fit pas grand-chose, sauf “le plus mauvais film de Fritz Lang” (Pierre Rissient). Par contre, elle fut excellente dans un fameux film anglais de Losey, L’Enquête de l’inspecteur Morgan (Chance Meeting, 1959). Longtemps fiancée à Louis Jourdan, elle fut aussi mariée avec Bill Marshall, ex-mari de Michèle Morgan.

BOULE DE SUIF de Christian-Jaque (1945) avec Micheline Presle, Louis Salou et Berthe Bovy

LE DIABLE AU CORPS – Claude Autant-Lara (1947) avec Gérard Philipe, Micheline Presle, Denise Grey, Jean Debucourt

LA BELLE DE PARIS (Under My Skin) Jean Negulesco (1950) avec John Garfield et Micheline Presle

BERNARD BLIER (né en 1916 et décédé en 1989) a imposé sa rondeur joviale dans d’innombrables films. Élève de la classe de Louis Jouvet au Conservatoire, il débute au théâtre et décroche quelques petits rôles au cinéma à la veille de la guerre (Hôtel du Nord, Le Jour se lève). Il atteint le vedettariat pendant l’Occupation, dans plusieurs films où il impose une drôle de silhouette de jeune premier maigre (à cause des restrictions) et au front dégarni. On le découvre ainsi dans L’Assassinat du Père Noël (1941) et La Symphonie fantastique (1941) de Christian-Jaque, dans La Nuit fantastique (1941) de L’Herbier, dans Marie Martine (1942) d’Albert Valentin et dans Les Petites du quai aux Fleurs (1943) de Marc Allégret. Après la guerre, sa silhouette s’épaissira progressivement de film en film, ce qui ne l’empêche pas de garder la vedette jusqu’aux abords de la quarantaine, dans des œuvres aussi diverses que Orfèvres (Clouzot, 1947), L’Ecole buissonnière (Le Chanois, 1948), Sans laisser d’adresse (Le Chanois, 1950) ou Le Dossier noir (Cayatte, 1955). L’âge venu, Bernard Blier deviendra un remarquable acteur de composition, dans les registres les plus variés, passant du drame à la comédie avec le même succès, et ses rôles ne se comptent plus. Il excelle dans la méchanceté où son apparente bonhomie lui permet de saisissantes créations. Il a été plusieurs fois dirigé par son fils, le réalisateur Bertrand Blier Buffet froid 1980.

HÔTEL DU NORD – Marcel Carné (1938) – Louis Jouvet, Annabella, Arletty, Jean-Pierre Aumont, Bernard Blier

LE SEPTIEME JURE de Georges Lautner (1962) d’après le roman de Francis Didelot avec Bernard Blier, Danièle Delorme

QUAI DES ORFÈVRES – Henri-Georges Clouzot (1947) – Louis Jouvet, Suzy Delair, Bernard Blier, Simone Renant

DANIÈLE DELORME (Danièle Girard) a débuté à seize ans, dans de petits rôles que lui confiait Marc Allégret dans ses films. Elle se fit remarquer dès Les Petites du quai aux Fleurs, (1943), aux côtés d’un autre débutant Gérard Philipe. Après quelques silhouettes encore épisodiques dans divers films, elle fit ses débuts de grande vedette grâce à Colette, qui la choisit pour incarner Gigi (1949) dans la version de Jacqueline Audry. Encadrée de deux fameux monstres sacrés, Gaby Morlay et Yvonne de Bray, elle était parfaitement à l’aise, et ce fut la gloire immédiate. Son physique et sa voix de ravissante ingénue, un peu acide, firent merveille dans toute une série de films de valeur malheureusement inégale. A part Miquette et sa mère (1949), seule tentative comique de Clouzot, les meilleurs furent encore ceux de la série de J. Audry-Colette : Minne, l’ingénue libertine (1950) et Mitsou (1956), On peut aussi y ajouter Sans laisser d’adresse (Le Chanois, 1950), La Jeune Folle (Y. Allégret, 1952) et Voici le temps des assassins (Duvivier, 1955). D’abord mariée à Daniel Gélin, elle épousa ensuite le réalisateur-producteur comédien Yves Robert, dont elle partage les activités. Productrice avisée, on ne compte plus ses succès. De temps à autre on la retrouve dans un film, toujours étonnamment juvénile, notamment dans les œuvres de son mari (Un Eléphant ça trompe énormément, 1976).

MIQUETTE ET SA MERE d’Henri-Georges Clouzot (1950) – Bourvil et Danièle Delorme

VOICI LE TEMPS DES ASSASSINS de Julien Duvivier (1956) avec Jean Gabin, Danièle Delorme, Gérard Blain, Lucienne Bogaert, Germaine Kerjean

GIGI de Jacqueline Audry (1949), adaptation du roman éponyme de Colette, Gigi avec Danièle Delorme, Gaby Morlay, Jean Tissier, Franck Villard

DANIEL GÉLIN (né en 1921 et décédé en 2002) a mis près de dix ans avant de devenir un des jeunes premiers les plus aimés du public des années 50. Quasi-figurant à la veille de la guerre, il obtient quelques bouts de rôle, souvent minuscules, pendant l’Occupation. On l’entrevoit ainsi dans Premier Rendez-vous (1941) de Decoin ou dans Lucrèce (1942) de Léo Joannon. Après 1945, ses rôles s’étoffent dans des films secondaires comme Martin Roumagnac (1946) de Lacombe ou Le Mannequin assassiné (1947) de Pierre de Hérain. En 1949, Jacques Becker en fait une vedette, en lui confiant le rôle principal de Rendez-vous de juillet, son grand film sur la jeunesse d’après-guerre. Son succès personnel est très grand, et le pose en rival de Gérard Philipe alors en pleine gloire. Leur confrontation dans La Ronde (1950) d’Ophuls, semble même tourner à son avantage. Plusieurs bons films vont achever de consacrer Daniel Gélin qui, dans la vie, forme avec Danièle Delorme le nouveau couple-vedette du cinéma français. Ce sont d’abord deux délicieuses comédies de Jacques Becker, son metteur en scène fétiche : Édouard et Caroline (1950) et Rue de l’Estrapade (1952). Ce sont aussi le grand succès de Delannoy, Dieu a besoin des hommes (1950), le troisième sketch (Le Modèle) du Plaisir d’Ophuls (1951) et Napoléon de Guitry (1954), dans lequel il incarne Bonaparte jeune. Comme réalisateur, Daniel Gélin a dirigé Les Dents longues (1952), avec Danièle Delorme et lui-même en vedettes, film qui n’était pas sans qualités.

RENDEZ-VOUS DE JUILLET Jacques Becker (1949) avec Daniel Gélin, Nicole Courcel, Brigitte Auber, Maurice Ronet

RETOUR DE MANIVELLE de Denys de La Patellière (1957), adapté du roman éponyme de James Hadley Chase avec Michèle Morgan, Daniel Gélin, Bernard Blier, Peter van Eyck

LA RONDE de Max Ophüls (1950), le scénario du film est tiré de La Ronde, une pièce de théâtre de l’écrivain autrichien Arthur Schnitzler avec Jean-Louis Barrault, Danielle Darrieux, Daniel Gélin, Fernand Gravey, Odette Joyeux, Gérard Philipe, Simone Signoret, Simone Simon

DANY ROBIN (née en 1927) commença par décrocher un premier prix du Conservatoire de danse et se produisit à l’Opéra. Puis elle étudia la comédie et décrocha également un premier prix de Conservatoire. Marc Allégret la fit débuter dans un petit rôle de Lunegarde (1944), puis on la remarqua dans Les Portes de la nuit (1946) de Carné et dans une scène du Silence est d’or de Clair (1946). Le public apprécia rapidement son jeu aigu et son physique de blonde ingénue souriante. Elle forma longtemps un couple idéal avec Georges Marchal, beau jeune premier à la mode, et tourna de nombreux films, où malheureusement les chefs-d’œuvre sont rares. De son abondante filmographie, il faut retenir : Les Amoureux sont seuls au monde (Decoin, 1947), La Soif des hommes (S. de Poligny, 1949) en compagnie de Georges Marchal et de la pathétique Andrée Clément, Deux Sous de violettes (1951), un film réalisé par Jean Anouilh, trop oublié des historiens, La Fête à Henriette (Duvivier, 1952), Julietta (1953), jolie réussite de Marc Allégret d’après Louise de Vilmorin, Frou-Frou (Genina, 1954). Dans Napoléon (1954) de Guitry, elle était Désirée Clary, la fiancée abandonnée de Bonaparte. Plus tard elle fut la partenaire de Peter Sellers, dans un film anglais tiré d’une pièce d’Anouilh, Les Femmes du général (The Waltz of the Toreadors, 1962). Elle fut aussi une des rares Françaises à avoir l’honneur d’être dirigée par le grand Hitchcock dans L’Etau (Topaz, 1969).

LA FETE A HENRIETTE de Julien Duvivier (1952) avec Dany Robin, Michel Auclair, Michel Roux, Henri Crémieux, Louis Seigner

LES AMOUREUX SONT SEULS AU MONCE d’ Henri Decoin (1948) avec Louis Jouvet, Dany Robin, Renée Devillers

JULIETTA de  Marc Allégret (1953) avec Jean Marais, Dany Robin, Jeanne Moreau, Denise Grey

A voir également

VISAGES FAMILIERS DU CINÉMA FRANÇAIS (partie 1)

  Ce n'est pas le moindre des paradoxes de l'Occupation à de nombreux jeunes acteurs de se révéler au public. La plupart rapidement au vedettariat au cours des années 50, mais si on excepte quelques chefs-d’œuvre fulgurants, Ils seront souvent mal employés. Ce n'est pas le moindre des paradoxes de l'Occupation à de nombreux jeunes acteurs de se révéler au public.

[filmstruck]

Timeless Love: THREE COMRADES (’38) by R. Emmet Sweeney

THREE COMRADES brought together an improbable confluence of talent, all trying to find a way to work around the implacable censoriousness of the Hollywood system. Based on an Erich Maria Remarque novel, adapted into a screenplay by F. Scott Fitzgerald and directed by Frank Borzage, it tells the story of a trio of traumatized WWI vets and how a transcendent, tragic romance brings hope and happiness back into their lives. It had the inopportune fate to be a German story when MGM was still courting that market despite the ascendancy of the Nazi party. All political elements had to be scrubbed and the film okayed by German diplomats. And yet Borzage found a way to work around these constraints to build a film of trembling beauty, positing love as a force not bound by time or space.

The idea to adapt Remarque’s 1936 novel of the same name came from Charles Boyer. In his Frank Borzage biography Hervé Dumont relates that between takes on HISTORY IS MADE AT NIGHT (’37) Boyer urged the director to read Remarque’s latest book. Ominously, the most recent adaptation of Remarque’s novels, James Whale’s THE ROAD BACK (’37) was re-edited and partially re-shot to address complaints of the German consul Georg Gyssling. Three Comrades was optioned for a feature before it was even published, as the glow of ALL QUIET ON THE WESTERN FRONT (’30), also adapted from Remarque’s work, still shone in executives’ eyes.

F. Scott Fitzgerald was brought in to write a script after rejected attempts by British playwright R.C. Sherriff. Executive producer Joseph Mankiewicz hired Fitzgerald because “Scott was one of my idols. I hired him personally for this film, and had to fight, while everyone in the studio said he was finished; why take a risk with him?” Fitzgerald’s alcoholism had torpedoed his Hollywood reputation, and Mankiewicz was unable to insulate him for executive meddling. According to Dumont, Louie B. Mayer’s fixer Eddie Mannix “forced Mankiewicz to go back on his word by imposing Edward E. Paramore as co-scriptwriter.” Others would secretly do polishes, including Lawrence Hazard and poet David Hertz. Fitzgerald would write to his producer, “Can’t producers ever be wrong? Oh Joe! I’m a good writer, honest!” Dumont estimates that “only a third” of Fitzgerald’s script appears in the completed film.

Borzage was a natural choice considering his familiarity with the novel. The two main stars were initially set to be Spencer Tracy and Luise Rainer, who had just acted in Borzage’s BIG CITY (’37), but they dropped out, replaced by Robert Taylor and Margaret Sullavan. Taylor plays Erich Lohkamp, a WWI vet who starts up an auto repair shop in Germany with his war buddies Otto (Franchot Tone) and Gottfried (Robert Young). All are reluctant to fully re-enter civilian life, but soon Erich is entranced by Patricia (Sullavan), a once-rich socialite now nearly destitute after the death of her parents. Bewitched by her carefree nature, Erich allows himself to enter back into society. What Patricia doesn’t reveal, however, is her terminal disease. Not wanting to ruin the dream of their love, Patricia keeps Erich in the dark until her sickness makes it impossible. With the help of Otto and Gottfried, who form a makeshift family and support system, they try to nurse Patricia back to health. 

But some wounds cannot heal, and Patricia tries to prepare Erich for the possibility of her death. “We love each other beyond time and place now,” she tells him. Their bond extends beyond what is visible, into the unknown. What is effaced are the anonymous irruptions of violence in the city, meted out by violent gangs that are never identified, though they are very obviously stand-ins for the Nazis. Gottfried is the political one of the group, and he helps a street preacher out from imminent mob violence, only to be gunned down by a callow looking blond youth. Fitzgerald wanted to end the film with Erich and Otto returning to Berlin to “enter the struggle against the evil force that is now engulfing their fatherland.” This gave MGM the vapors, since Gyssling (who had initiated the gutting of THE ROAD BACK) had been complaining to Joseph Breen of the Production Code Administration about the project, indicating it would incite protests from German-Americans and would “definitely be banned in Germany and Italy.” Breen would suggest to MGM that they indicate that the gang violence was initiated by Communists, to salve the hurt Nazi ego. They didn’t take this drastic action (which Mankiewicz strongly objected to), but they were forced to move the timeline of the film from 1928 back to 1920, placing it before the rise of Nazism.

It is remarkable that THREE COMRADES remains as coherent as it is considering the amount of upheaval that occurred during pre-production. And production wasn’t smooth sailing either, what with legendary DP Karl Freund (DRACULA [’31]) getting fired after two weeks, replaced by Joseph Ruttenberg (GIGI [’58], MRS. MINIVER [’42], GASLIGHT [’44]). Borzage had to shoot Germany as non-Germany, with no identifying marks, so it comes off as a series of generic Hollywood backlots, not that the casting would have added much of a Germanic flair, what with all-American Robert Taylor and Margaret Sullavan as the central figures, their aw-shucks demeanor more suited to Boise than Berlin.

But somehow all this de-localizing allows Borzage the room to emphasize his theme of a transcendent love. It doesn’t matter the specific time or place – for these characters this is a love that will outlive all of them. They cling to it like sailors on a sinking ship. With no hope in their country their business or themselves, they throw all their belief into the bond between Erich and Patricia. Through radiant close-ups Borzage abstracts them from their city and inscribes them into a plane of pure emotion. In any other filmmaker’s hands such material would become laughable, but with Borzage’s completely unselfconscious treatment, it becomes sublime. In the ecstatic final sequence, Sullavan stares up with religious intensity, her tone calm and firm: “It’s right for me to die, darling. It isn’t hard. And I’m so full of love.” For the three comrades and Patricia, death is not the end, just an extension of their bond into the unknown.

[wallpaperpainter]

20 Things You Need To Know About Sunset Bob Ross Today | Sunset Bob Ross

CLEVELAND, Ohio – A legend, and a Legend, are amid the week’s best advancing new music releases …

Album of the week: “Rough and Rowdy Ways” (Columbia), Bob Dylan’s aboriginal set of aboriginal actual in eight years, has already afflicted things up with the about 17-minute “Murder Best Foul,” about the John F. Kennedy assassination, and throughout the anthology he name-checks Glenn Frey and the Eagles, Jimmy Reed, a accumulation of applesauce musicians (including Charlie Parker, Thelonious Monk, Art Pepper and Stan Getz) and aggressive generals William Tecumseh Sherman and George Patton.

Album appellation of the week: Clint Black, “Out of Sane” (Blacktop).

Did ya know? Neil Young’s “Homegrown” (Reprise) unearths an anthology he recorded during 1974 but accounted “too claimed and absolute to betrayal in the bloom of those times,” opting to absolution the aphotic “Tonight’s the Night” instead.

New and noteworthy: Blackberry Smoke, “Live From Capricorn Sound Studios” (3 Legged Records); Cro-Mags, “In the Beginning” (Mission Two Entertainment); Shirley King, “Blues For a King” (Cleopatra Blues); John Legend, “Bigger Love” (Columbia); Lamb of God, “Lamb of God” (Epic); Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile, “Not Our Aboriginal Goat Rodeo” (Sony Music Masterworks); Jason Mraz, “Look for the Good” (BMG); Jesse Ware, “What’s Your Pleasure?” (Interscope).

Also out: Amo Amo, “Canta” (Pacific Standard); The Avalanche, “Owen” (Polyvinyl); John Craigie, “Asterisk the Universe” (Thirty Tigers); Gabby Garrett, “Goldmine” (Warner Music Nashville); Braids, “Shadow Offering” (

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[softball29]

Pretty cool stop. Also has a #geocache! (at Wildwood Historical Society - George F. Boyer Museum) https://www.instagram.com/p/B2ceBKIhUu2/?igshid=fqnej4odc3vp

[nutmeg-smithy-165]

And here are some more pictures from @wildwoodhistoricalsociety . #wildwoodnj #wildwoodcrest #wildwoodhistoricalsociety #rainydayactivities (at Wildwood Historical Society - George F. Boyer Museum) https://www.instagram.com/p/B2HKLFUnxVm/?igshid=1dmjzus0ng96v

[theharrisoninn]

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[ashleyrosecm]

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[wikitopx]

There are a lot of things to do in Wildwood, with the beach and boardwalk to keep visitors of all ages entertained.

There’s also different water parks to attend and aquariums, to see all different wildlife animals. Picking just a few can be difficult, so here’s a list that can help decide for those traveling to Wildwood, NJ.

1. Wildwood Boardwalk

A huge place for shoppers to enjoy themselves, the Wildwood Boardwalk is a great place to do a little shopping and spend some time playing games with the kids. There are 38 blocks of rides, games, shops and food to see and enjoy. But watch out for the tram cars! They run up and down the boardwalk and visitors do not want to get in the way of one.

2. Wildwood Beach

The beach is always a great place to visit to soak in some sun and play in the sand. The beach is a beautiful place to visit and do a little swimming. Just remember to bring some sunscreen as this beach gets a great amount of sun and looking like a lobster is not as fun as it sounds.

3. Morey's Piers

This is a great place to take the kids that enjoy rides. It’s on the boardwalk, and some of the rides can actually be seen from a few blocks away since they are so tall. There are water slides, a play area that has buckets of water raining down on those staying underneath it, and some amazing roller coasters for all ages!

4. Splash Zone Water Park

Another great waterpark to visit that is right on the boardwalk, this water zone is great for the older kids. They have rides where visitors can learn to use a surfboard or water skis, huge water slides, and a lazy river for all those who just want to relax and enjoy the water.

5. Seaport Aquarium

This is just a little aquarium on the boardwalk that visitors can go into for a small fee. They have a lot of reptiles and some birds, the occasional monkey, and some cool looking fish. It doesn’t take a whole lot of time to go through the aquarium, but kids will really like seeing all of the different animals. Customers can also feed some of the animals if they want to. Beside each animal is a little blurb about the creature that is in the tank or the cage, and it’s fascinating to learn about all those different creatures. This is a great way to get out of the sun for a little while.

6. The Original Fudge Kitchen

This is a candy store located on the boardwalk. Fudge is the main candy here but it’s not the only sweet that resides in the store. There are different gummy candies, hard candies, and ice cream for everyone to enjoy. Customers pay by the pound for candy but the prices aren’t too bad for it all being homemade. Those who are in need for a sweet treat on the boardwalk are in luck as this is the best place to visit to treat that sweet tooth!

7. Hang Loose Parasail

While parasailing is one of the events this group hosts, there is also dolphin watching as well as a speed boat that can do some pretty fun things. Parasailing though is the most fun as visitors are lifted up into the sky with a parachute behind them. They can sit by themselves or with a partner. They have extremely safe belts and buckles that the workers put on the riders before going up. It’s great seeing all the wildlife in the water from above and the sun shining on the water. This is a great experience for those that aren’t afraid of heights.

8. Jurassic Adventure Mini Golf

A mini golf sight for those that like the game, the theme of this mini golf course is dinosaurs! A great game for kids that understand the game, they can walk around different dinosaurs and enjoy the creativity of the little area. This is a great way to spend a couple of hours when the weather cooperates.

9. Sightseer Whale and Dolphin Cruises

To see whales and dolphins is a treat for everyone who loves animals. While there aren’t always whales on the cruise, most of the time dolphins can be seen by the groups and it’s fun watching them jump out of the water. The boat can be a little rocky from the ocean waves so it’s best for those who get sea sick to take something or skip the boat trip.

10. George F. Boyer Historical Museum

The George F. Boyer Historical Museum is maintained by the Wildwood Historical Society. It covers the whole history of the beach community from the beaches to the police, education and fire department. They have lots of photos and videos and mounted exhibits. Guests get to trace back the history of Rock n Roll in the area as well.

Read also: Top 10 things to do in Jackson Hole

From : https://wikitopx.com/travel/top-10-things-to-do-in-wildwood-nj-702078.html

[jackson38toh]

Gaslighting: The ‘in’ word?

Q: It seems to me that the “in” word right now may be “gaslighting.” People are in an awful hurry to use it. Your take?

A: Well, “gaslighting” is definitely an “in” word now, but we wouldn’t go so far as to say it’s the “in” word.

The verbal noun “gaslighting” was a runner-up for the Oxford Dictionaries 2018 word of the year (“toxic” was the winner).

And the verb “gaslight” won the Most Useful/Likely to Succeed category in the American Dialect Society’s 2016 word-of-the-year competition (“dumpster fire” was the overall winner).

As it turns out, “gaslight” and “gaslighting” aren’t especially new. The two terms have been used for dozens of years to describe the psychological manipulation of people into questioning their sanity.

The ultimate source of the usage is Patrick Hamilton’s 1938 play Gas Light, which inspired the 1940 British film Gaslight and the better-known American version of 1944.

In the American Gaslight, directed by George Cukor, a husband (Charles Boyer) tries to drive his wife (Ingrid Bergman) crazy by insisting that the flickering gaslights in their house don’t really flicker. A detective (Joseph Cotten) comes to the rescue.

However, the words “gaslight” and “gaslighting” aren’t actually used in the play or the films, as contributors to the ADS mailing list pointed out in an early 2017 discussion initiated by the language commentator Ben Yagoda.

The linguist Ben Zimmer, for example, noted the use of “gaslight” as an adjective in “Gracie Buying Boat for George,” an Oct. 30, 1952, episode of The Burns and Allen Show.

“At 16:20 in the YouTube video,” Zimmer wrote, “Harry (Fred Clark) says to Gracie, ‘Give him the gaslight treatment!’ and then explains what that means. A bit later you hear George say, ‘So they sold Gracie on the gaslight bit.’ ”

(Josh Chetwynd, author of Totally Scripted: Idioms, Words, and Quotes From Hollywood to Broadway That Have Changed the English Language, 2017, cites the adjectival usage in Burns and Allen as well as in the ’50s sitcom Make Room for Daddy and the ’60s series Car 54, Where Are You?)

Zimmer also pointed out the use of “gaslight” as a verb (in “The Grudge Match,” a Nov. 12, 1965, episode of the sitcom Gomer Pyle: USMC):

Duke: You know, you guys, I’m wondering. Maybe if we can’t get through to the Sarge we can get through to the Chief.

Frankie: How do you mean?

Duke: I mean psychological warfare.

Gomer: Huh?

Duke: The old war on nerves. We’ll gaslight him.

Stephen Goranson, a library assistant at Duke University, noted the use of the verb “gaslight” as a psychological term in Culture and Personality, a 1961 book by Anthony F. C. Wallace:

“It is also popularly believed to be possible to ‘gaslight’ a perfectly healthy person into psychosis by interpreting his own behavior to him as symptomatic of serious mental illness.”

Goranson also cited the use of the verbal noun “gaslighting” in Culture and Personality: “While ‘gaslighting’ itself may be a mythical crime, there is no question that any social attitude which interprets a given behavior or experience as symptomatic of a generalized incompetence is a powerful creator of shame.”

So if “gaslight” and “gaslighting” are dozens of years old, why have they showed up in recent word-of-the year competitions?

Yagoda, the language writer who initiated the ADS discussion, suggests that the recent prominence of the terms may have been inspired by President Trump’s behavior.

In a Jan. 12, 2017, post on Lingua Franca, the language blog of the Chronicle of Higher Education, he writes:

“The new prominence came from Donald Trump’s habitual tendency to say X and then, at some later date, indignantly declare, ‘I did not say X. In fact, I would never dream of saying X.’ ”

Yagoda cites several headlines tracked down by Zimmer, including these two—the first published shortly before the President was elected and the second a month after:

“Donald Trump self-sabotage gambit: He’s used ‘gaslighting’ in place of apologies for his actions” (Salon, Oct. 16, 2016), and “Donald Trump Is Gaslighting America” (Teen Vogue, Dec. 10, 2016).

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