#June 12 1967

[thislovintime]

Peter Tork with Bob Rafelson, May 1968. Photos by Henry Diltz.

From Peter's Q&A at the 2006 United Fan Convention. “When I recorded ‘Can You Dig It,’ the guitar solo originally ran about three or four minutes all by itself. We cut that back to a minute and a half. Bob Rafelson took a pair of scissors and snipped off the end of it. He didn’t ask me to shorten it, which I would have been glad to do. He just chopped it off. Son of a bitch! I have a lot of gripes about that, but that’s neither here nor there.” - Peter Tork, Blitz!, May/June 1980 “[M]y personal belief is that Bob [Rafelson] is an evil-minded man. He likes to bring people down. Bob was often unsupportive as a human being and distinctly negative — and I was on the short end of that. There’s one example [in the film] — where Ray Nitschke, the football player, keeps hitting me. He was a Hall of Famer for the Green Bay Packers. He’s doing his best to hit me but not to give it all he’s got because if he does, I’m a squashed bug. So this guy’s one of the toughest men in football, he’s coming at me and I’m scared [but] figure it’s good to be scared because that’s what an actor should do. But Bob goes: ‘Ha, ha! Look at Peter! He’s scared! Ha, ha!’ I was just about the kick him in the balls. It was like, For fuck’s sake, Rafelson! You’re making fun of me ‘cos I’m scared? How do you think that’s going to affect the quality of your movie, pal? I was so angry! That’s the style in which he damaged what could have been a fulfilling quality experience.” - Peter Tork, MOJO, June 2002 “I didn’t have much to do with Kirshner and that which I did have to do with him was strained, difficult and incomprehensible. Schneider I love; he’s a hero of mine. Rafelson, the less said about, the better.” - Peter Tork, Goldmine, May 1982 “There was one guy, Steve [Stills], whom I liked enormously. Unfortunately he wasn’t quite right, but he had musical intelligence and I went so far as to ring him up and ask him along again. When he realized he wasn’t going to make it he suggested I get in touch with someone he knew, a certain Peter Thorkelson. I might have said ‘Yeah’ and forgotten about it — particularly as this Peter Thorkelson hadn’t even answered the ad and we had a lot of guys who had. Yet I remember I went to great lengths to contact him. I found him working as a dishwasher — not even as a musician, so you can imagine it took a while tracing him. But when I heard him, I knew at once he was right. I was knocked out.” - Bob Rafelson, NME, August 12, 1967 “The movie portrays them with not so much sweetness and brightness [as the TV show]. It’s a much heavier and far-out thinking group. I wouldn’t call it uncharitable. I thought it was expanding my sense of who they were. There’s a boxing scene in which Micky says, ‘Take this, you dummy.’ Suddenly the music changes and Peter appears in the corner, Christ-like, and says, ‘Micky, I’m the dummy. I’m always the dummy.’ The point was that he was always asked to be the dummy, so here he’s acknowledging it. But he’s also the one who’s given the longest speech in the movie about spiritual evolution, which he’s learned from the guru in the steam room. I was trying to give him a chance to be himself, but in a symbolic way. He is that way today, by the way. In other words, The Monkees became what they really were.” - Bob Rafelson, MOJO, June 2002 “Working for Bob was tough.” - Peter Tork, Shindig Magazine, 2010 “‘Most people are dazzled by the psychedelia, and that’s fine, but for me finally the point of the movie is the Monkees never get out,’ Tork says sadly. ‘Which is to say Bob Rafelson’s view of life is you never get out of the black box you’re in. There’s no escape.’ So how would a Peter Tork cut of Head end? ‘There might have been a scene where we get out,’ he says wistfully. ‘We jump in the water and get away.’“ - The Guardian, April 28, 2011

[voguefashion]

Alain Delon on French ELLE

with Nathalie Delon, June 15, 1967 / with Anne Parillaud, June 22, 1981 / with Mireille Darc, February 15, 1982 / June 13, 1983 / May 21, 1984 / with Fiona Gélin, August 12, 1985 / January 21, 1991 / May 4, 1992

[kwebtv]

TV Guide - September 19 - 25, 1964

Fall Preview:  1964 - 1965 Shows

ABC

12 O'Clock High  (September 18, 1964 – January 13, 1967)

ABC Scope  (November 11, 1964 – March 2, 1968)

The Addams Family  (September 18, 1964 – April 8, 1966)

Bewitched  (September 17, 1964 – March 25, 1972)

The Bing Crosby Show  (September 14, 1964 – April 19, 1965)

Broadside  (September 20, 1964 – May 2, 1965)

F.D.R.  (January 8, 1965 - July 23, 1965)

Jonny Quest  (September 18, 1964 – March 11, 1965)

The King Family Show  (January 23, 1965 – September 10, 1969)

Mickey  (September 16, 1964 – January 13, 1965)

No Time for Sergeants  (September 14, 1964 – May 3, 1965)

Peyton Place  (September 15, 1964 – June 2, 1969)

Shindig!  (September 16, 1964 – January 8, 1966)

The Tycoon  (September 15, 1964 – April 27, 1965)

Valentine's Day  (September 18, 1964 – May 7, 1965)

Voyage to the Bottom of the Sea  (September 14, 1964 – March 31, 1968)

Wendy and Me  (September 14, 1964 – May 24, 1965)

CBS

The Baileys of Balboa  (September 24, 1964 – April 1, 1965)

The Cara Williams Show  (September 23, 1964 – April 21, 1965)

The Celebrity Game (April 6, 1964 - September 13, 1964 / April 8, 1965 - September 9, 1965)

The Entertainers  (September 25, 1964 –March 27, 1965)

Fanfare (June 19, 1965 - September 11, 1965)

For the People  (January 31 – May 9, 1965)

Gilligan's Island   (September 26, 1964 – April 17, 1967)

Gomer Pyle, U.S.M.C.  (September 25, 1964 – May 2, 1969)

Many Happy Returns  (September 21, 1964 – April 12, 1965)

Mr. Broadway  (September 26 – December 26, 1964)

The Munsters  (September 24, 1964 – May 12, 1966)

My Living Doll  (September 27, 1964 – March 17, 1965)

On Broadway Tonight  (July 8, 1964 - March 12, 1965)

Our Private World  (May 5 – September 10, 1965)

The Reporter  (September 25 – December 18, 1964)

World War One  (September 22, 1964 - April 18, 1965)

NBC  

90 Bristol Court  (October 5, 1964 - January 4, 1965)

Branded  (January 24, 1965 – September 4, 1966)

Cloak of Mystery  (May 11 - August 8, 1965)

Daniel Boone  (September 24, 1964 – May 7, 1970)

The Famous Adventures of Mr. Magoo  (September 19, 1964 – April 24, 1965)

Flipper  (September 19, 1964 – April 15, 1967)

Harris Against the World   (October 5, 1964 - January 4, 1965)

Hullabaloo  (January 12, 1965 – August 29, 1966)

International Showtime (September 15, 1961 - September 10, 1965)

Karen  (October 5, 1964 – April 19, 1965)

Kentucky Jones  (September 19, 1964 – April 10, 1965)

The Man from U.N.C.L.E.  (September 22, 1964 – January 15, 1968)

Moment of Fear (May 19 - September 15, 1964 /  25 May 25 - August 10, 1965)

NBC Wednesday Night at the Movies (September 16, 1964 - September 8, 1965)

Profiles in Courage   (November 8, 1964 – May 9, 1965)

The Rogues  (September 13, 1964 – April 18, 1965)

Tom, Dick and Mary  (October 5, 1964 - January 4, 1965)

[citizenscreen]

Lewis Gilbert’s YOU ONLY LIVE TWICE, the fifth in the #JamesBond series produced by Eon Productions, enjoyed its premiere in London on June 12, 1967. Sean Connery stars as Agent 007.

[queenoffishingandcookies]

Currently considering the level of trauma that Rosa suffered in her early childhood, and a really weird headcanon(?) that my brain came up with. Specifically, her trauma pertaining to Beatrice and her siblings.

Then weird kind-of parallels between Beatrice’s incident and the destruction of her stuffed rabbit, Uu-tan, at the hands of Rudolf.

Spoilers for Banquet of the Golden Witch (Ep3 of Umineko) below.

Starting point was wondering if Uu-tan was ripped up before or after the incident. I think it was before, since she looks younger in the manga panels of Twilight, and mentions fearing the witch of the forest, but I’m not sure? In the manga, beat up as poor Uu-tan seems, I think Rosa did try to fix them, though.

I'll try my best to be somewhat coherent. Going back to 1967 for this.

Rosa…literally saw this girl she’d just met, a girl who was noticeably naive and had little concept of danger, just a little bit older than her, literally plummet over thirty feet to her death.

The lines in the VN make it clear, too, that Rosa ran down to ask if Beatrice was alright. That she stayed by Beatrice’s side for a while, shaking her corpse and trying to get her to react, all the while watching as blood and brain matter seeped from the elder girl’s broken skull and wouldn’t stop.

Beatrice died with her eyes open, too - so Rosa would have been staring down at the unfaltering literal death stare of a young woman she had literally just been speaking to, and trying to get her to move and react to see if she was okay.

The manga panels of Beatrice’s body after the fall were horrifying to look at, the first time I saw them. It makes sense, considering just how far she fell, but - imagine a child seeing that? Especially the way her fingers were bent?

I...am not going to put a photo of Beatrice's body here, solely for peace of my own mind.

Rosa was in middle school at the time. At the youngest, she could have been 12. The eldest she could have been was 15. Her birthday falls in June, but I don’t think we’re ever given any indication when in the year the incident happened.

My really morbid thought was that, maybe Rosa grew more dependent on her toys - especially Uu-tan - due to the trauma of witnessing Beatrice’s death (this is probably more likely if Uu-tan had been ripped up after the incident, but my line of thought is that Rosa still clung to them some time after trying to repair them).

It’s noted multiple times throughout the VN, especially in Turn, that there is a sizable age difference between Rosa and her elder siblings. They didn’t get along with Rosa, because she was so young and additionally, their own trauma and aspirations - if anything, they took their trauma and abuse out on her.

Krauss used to take her toys as punishment for things she didn’t remember doing, Eva would lie and trick her, and Rudolf would do both but make it ten times worse for Rosa, because Krauss and Eva were just as awful to him, and he could take it on on Rosa. And this is just the simplified rundown of the situation, doesn’t even touch on the full complexity of the layers of abuse and trauma that eventually are brought to bear their weight on Rosa’s shoulders.

On top of being unable to reach out to her elder siblings, Rosa lives and is brought up on an isolated island. She likely went to school off-island and made friends there, but it’s a known fact that Rokkenjima could be a difficult island to reach, despite its small size, even if a small amount of wind picked up.

Rosa has no close neighbors, no easy way of conversing with friends from school or visiting their houses. The closest she might have had for companions were the servants hired to work in the mansion.

This is what, similarly to her daughter Maria in the next generation, led Rosa to be reliant on the toys she owned for friends and company. Namely, her stuffed rabbit Uu-tan.

I’m not exactly sure about the scenario, but I think that Rosa only ever mentioned what happened to Genji - and that was to tell him about Beatrice’s fall. I think she was even told not to mention it to anyone else?

She couldn’t talk to her siblings about it, definitely couldn’t talk to her parents about it, so who else did she have to turn to, but her stuffed animals and dolls?

In the manga, Uu-tan literally had their head and arm ripped straight off by Rudolf. Their stomach was also torn open. It's some hardcore gore, even for a plushie. Which is my brain must have tied then to Beatrice.

In Twilight of the Golden Witch, when Rosa and Maria are hiding in Rosa's old room, Rosa actually finds Uu-tan on accident - and this is what I meant when I mentioned it looked like someone had tried to put them back together. Uu-tan's arm and head were reconnected to the body, and the stomach sewn up a little bit. Badly, as stuffing was still leaking out, some several decades later - but someone had tried to fix Uu-tan. They even had a little bandage around a leg,

My first morbid line of thought was that if Uu-tan had been ripped apart after Beatrice's death, it would have been made ten times worse by the fact that Rosa had already seen another person die from brutal head trauma, and something like seeing Uu-tan's head getting ripped off just made me think about Beatrice's fall.

If Uu-tan was ripped apart beforehand, and Rosa had tried to sew them back together, I imagined the comparison of Uu-tan's damaged body - despite the best repair efforts - and the leaking stuffing to the appearance of Beatrice's corpse post-fall.

The imagery is stuck in my brain, I swear. don't know if this makes much sense, but my brain won't drop it, so I decided to post about it. Literally has no bearing on the actual story, except for additional trauma for Rosa which...isn't good for anybody.

I'd call this self-indulgent rambling, but really this is just very morbid thoughts rambling which came to haunt me at one in the morning.

[wheelsgoroundincircles]

1963 AC SHELBY COBRA

1963 AC SHELBY COBRA 4.7-LITRE MARK II ROADSTER  REGISTRATION NO. OYM 28A CHASSIS NO. CSK2116 ENGINE NO. CSX2116

Footnotes

Rightly regarded as one of the all-time great classic sports cars, the muscular, fire-breathing Cobra succeeded in capturing the hearts of enthusiasts like few of its contemporaries. Only 1,000-or-so Cobras of all types were built between 1962 and 1967, but such was the model's enduring popularity that production was resumed in 1982 under the auspices of Brooklands-based Autokraft. 

Convinced that a market existed for an inexpensive sports car combining European chassis engineering and American V8 power, Le Mans-winning Texan racing driver Carroll Shelby concocted an unlikely alliance between AC Cars and the Ford Motor Company. The former's Ace provided the simple twin-tube chassis frame - designed by John Tojeiro - into which was persuaded one of Ford's lightweight, small-block V8s. It was discovered that the latter was lighter than the six-cylinder Ford Zephyr unit that AC was using, yet with vastly greater potential. To cope with the projected power increase, the Ace chassis was strengthened with heavier gauge tubing and supplied fitted with four-wheel disc brakes. Weighing a mere 1.5cwt more than a Bristol-engined Ace yet endowed with double the power and torque, the Cobra turned in a breathtaking performance, racing to 60mph in 4.4 seconds and reaching the 'ton' in under 12, exceptional figures by early 1960s standards and none too shabby even today.

The 260ci (4.2-litre) prototype first ran in January 1962, with production commencing later that year. Exclusively for the USA initially, Cobras - minus engines - were sent from England to be finished off by Shelby in California, and it was not until late in 1963 that AC Cars in Thames Ditton got around to building the first fully finished cars to European specification. 

After 75 Cobras had been built with the 260ci engine, the more powerful 289ci (4.7-litre) unit was standardised in 1963. Rack-and-pinion steering was the major MkII up-date; then in 1965 a new, stronger, coil-suspended MkIII chassis was introduced to accommodate Ford's 427ci (7.0-litre) V8, an engine that in race trim was capable of producing well in excess of 400bhp. Wider bodywork, extended wheelarch flares and a bigger radiator intake combined to create the definitive - and much copied - Cobra MkIII look. Keeping ahead of the competition on the racetrack had been the spur behind Shelby's adoption of the 427 engine, but some MkIIIs to 'street' specification came with Ford's less powerful 428ci hydraulic-lifter V8. 

But for Brian Angliss, the Cobra story would have ended in 1967. The Autokraft boss had built up a business restoring Cobras and supplying parts, and in the early 1980s acquired the rights to the AC name plus a quantity of jigs and tooling from the old Thames Ditton factory. Keeping the overall style of the MkIII, Autokraft produced the MkIV, which was appropriately updated to meet current legislation and powered by a 'Federalised' Ford 5.0-litre V8 engine. Around 480 were built. 

Chassis number 'CSX2116' was invoiced to Shelby American on 16th April 1963 and shipped to Los Angeles three days later aboard the 'SS Loch Gowan'. Invoiced on 18th June 1963 to Burton Motors of Sacramento, California, the Cobra was sold new to a local doctor who used it for a few years before giving it to his daughter. She used the car as daily transport for several years before the clutch failed, at which time it was sold to Steve Dangremond of Santa Rosa, California. The Cobra was advertised for sale by Mr Dangremond in late 1977 and bought by Dr Grant Hill of Chotoka, Alberta. Dr Hill fitted Weber carburettors and raced 'CSX2116', eventually trading it to Fred Yule in Portland, Oregon. At that time, the car was still finished in its original colour scheme of dark blue and retained its original black leather interior. 

'CSX2116' returned to the UK in the late 1980s and was advertised through Hampson's Ltd, by which time it had been refinished in red and fitted with a full-width roll bar. Subsequent owners in England were Dr Carlos Barbot, Trojan boss Peter Agg and Formula 1 racing driver Rupert Keegan. 'CSX2116' was last restored in 1988, records on file indicating that an extensive mechanical restoration was undertaken at this time. The car still retains its original black leather interior though the Weber carburettors have gone, replaced by an easier to maintain four-barrel Holley. There is considerable additional accompanying documentation including correspondence between previous owners, a copy of the original bill of sale, Shelby American Automobile Club letter of authentication, FIA papers and Swansea V5 registration document. The car has belonged to the current owner since 2006.  Early Cobras are offered for sale only rarely and this example represents a wonderful opportunity to acquire a fine example of this classic of Anglo-American sports car design. 

[eretzyisrael]

by Shiryn Ghermezian

Academy Award-winning Jewish American songwriter Richard M. Sherman, one of the creative geniuses behind some of Walt Disney’s most iconic and timeless songs, died on Saturday at the Cedars-Sinai Medical Center in Beverly Hills “due to age-related illness,” the Walt Disney Company announced. He was 95 years old.

The Walt Disney Company described Sherman as “one of the most prolific composer-lyricists in the history of family entertainment, and a key member of Walt Disney’s inner circle of creative talents.” The company added that it will announce at a later date its plans for celebrating Sherman’s life.

“Richard Sherman was the embodiment of what it means to be a Disney Legend, creating along with his brother Robert the beloved classics that have become a cherished part of the soundtrack of our lives,” said Bob Iger, CEO of The Walt Disney Company. “From films like Mary Poppins and The Jungle Book to attractions like ‘It’s a Small World,’ the music of the Sherman Brothers has captured the hearts of generations of audiences. We are forever grateful for the mark Richard left on the world, and we extend our deepest condolences to his family.”

Sherman and his late brother, Robert B. Sherman, made up the songwriting team known as the Sherman Brothers. Together they wrote music for the 1964 film Mary Poppins, including “Chim Chim Cher-ee,” “Supercalifragilisticexpialidocious,” “A Spoonful of Sugar,” and the lullaby “Feed the Birds.” The brothers won the Oscars for Best Score – Substantially Original and Best Original Song for “Chim Chim Cher-ee.” “Supercalifragilisticexpialidocious” made it on the Billboard Hot 100 chart in 1965 and “Feed the Birds” was one of Walt Disney’s favorite songs.

“You don’t get songs like ‘A Spoonful of Sugar’ without a genuine love of life, which Richard passed on to everyone lucky enough to be around him,” said Pete Docter, chief creative officer of Pixar Animation Studios. “Even in his 90s he had more energy and enthusiasm than anyone, and I always left renewed by Richard’s infectious joy for life.”

Born on June 12, 1928, in New York City, Richard’s family relocated to Beverly Hills in 1937. He attended Beverly Hills High School and later studied music at Bard College. He was drafted into the United States Army and served as conductor for the Army band and glee club from 1953 to 1955.

Walt Disney hired the Sherman brothers as staff songwriters for The Walt Disney Studios after the success of their song “Tall Paul,” which sold more than 700,000 singles. The brothers together ultimately wrote more than 200 songs for some 27 Disney films and 24 television productions. Their credit included The Horsemasters (1961), The Absent-Minded Professor (1961), The Parent Trap (1961), Summer Magic (1963), The Sword in the Stone (1963), That Darn Cat! (1965), Winnie the Pooh and the Honey Tree (1966), The Jungle Book (1967), The Happiest Millionaire (1967), The Aristocats (1970), Bedknobs and Broomsticks (1971), and The Tigger Movie (1998). Richard later wrote new lyrics for the live-action The Jungle Book in 2016 and two years after appeared in the film Christopher Robin, for which he also composed three new songs.

The Sherman brothers also wrote music for Disney theme park attractions around the world, including “There’s a Great Big Beautiful Tomorrow,” “The Tiki, Tiki, Tiki Room,” and “It’s a Small World.” In the early 1980s, they wrote songs for EPCOT and Tokyo Disneyland, including “One Little Spark” and “Meet the World.”

The Sherman brothers left The Walt Disney Studios in the early 1970s and went on to write music, songs, and screenplays for films such as Chitty Chitty Bang Bang (1968), Snoopy Come Home (1972), Charlotte’s Web (1973), The Adventures of Tom Sawyer (1973), Huckleberry Finn (1974), and The Slipper and the Rose (1976).

In 1972, the duo became the only Americans to ever win 1st Prize at the Moscow Film Festival for their film musical The Adventures of Tom Sawyer, for which they wrote the script and music. The brothers were inducted as Disney Legends in 1990 and into the Songwriters Hall of Fame in 2005. Three years later, the brothers were awarded the National Medal of the Arts.

In 2010, Richard and award-winning composer John Debney collaborated on the song “Make Way for Tomorrow Today” for Marvel Studios’ Iron Man 2.

Over the course of his 65-year career, Richard received nine Academy Award nominations, won three Grammys, and received 24 gold and platinum albums. Richard’s father, Al Sherman, was also a songwriter.

[bzhitstruth]

A little about music and numbers

CPN, fiction, fake

On June 12, ELLE magazine's Weibo account made two posts:

First post text: «In the universe of time and space, a moment is an instant without scale, and eternity represents infinity. For this shoot, we were inspired by "Playtime" directed and starring Jacques Tati, and invited young actor @UNIQ-王一博 to interpret the story behind minutes and seconds».

Text of the second: «@UNIQ-Wang Yibo is like "Monsieur Hulot" in the movie "Playtime", roaming from day to midnight in a non-reflective space, and waiting from early morning to early morning. As time goes by, he seems to have changed, but also seems to have not changed. In the past year, from Mr. Ye, who is both evil and good in "Hidden Blade", to Lei Yu and Chen Shuo, who are passionate and youthful in "King of the Sky" and "One and Only", to Wei Ruolai, the "storm chaser" who has a strong belief recently, Wang Yibo has become more and more popular. Wang Yibo knows more and more how to grasp the role».

It's talking about the film "Playtime" (1967) by the French director, screenwriter and actor Jacques Tati. This is the comedy in which Jacques Tati played the main role - Monsieur Hulot.

In today's GG's vlog, two soundtracks are used - at the very beginning, in the introduction, this is music from the film "Jour de fête" (1949), in the main part - music from the film "Mon oncle" (1958) by the same French director Jacques Tati, who in all three mentioned films he acted as a director, screenwriter and actor.

I don’t think there is so little French music in the world that two people who have nothing to do with each other would find themselves connected to the films of the same director, and even in such a short period of time. But even if it's a coincidence, I don't mind. The universe has played a joke once again!

And about the numbers: Apple Music has an album by Jacques Tati called “Sonorama!”, and these soundtracks used in GG's vlog are numbered 8 and 28. And all these three films were shot in the period of 18 years — 1949-1967.

A little more about the numbers: on June 16, GG posted his famous post with a pig’s snout and the selfie taken in the toy store. This toy store is very close to the route that DD is supposed to run on July 14th as Olympic torchbearer. From the day of GG's post until July 14, exactly 28 days will pass.

Too many strange coincidences. But they happen all the time.

sources: one, two, three

[kemetic-dreams]

Nina Mae McKinney (June 12, 1912 – May 3, 1967) was an American actress who worked internationally during the 1930s and in the postwar period in theatre, film, and television, after beginning her career on Broadway and in Hollywood. Dubbed "The Black Garbo" in Europe because of her striking beauty, McKinney was both one of the first African-American film stars in the United States and one of the first African-Americans to appear on British television.

[hearteyesmcgarrett]

Stargate Character Birthdays

Ever wondered what Stargate characters' birthdays were? Or their zodiac signs? I offer you this:

SG-1

Daniel Jackson - July 8th, 1965 (Cancer)

Major Paul Davis - July 8th, 1969 (Cancer)

Sam Carter - December 29th, 1968 (Capricorn)

Jack O'Neill - October 20th, 1952 (Libra)

Teal'c - no date, 1899, though Chris Judge's birthday is October 13th (Libra)

Jonas Quinn - no date, but Corin Nemec's birthday is November 5th, 1971 (Scorpio)

General Hammond - no date, but Don S. Davis' is August 4th, 1942 (Leo)

Cam Mitchell - no date, but I was told that it was May/June, 1970 (Taurus or Gemini, depending)

Vala Mal Doran - no date, but Claudia Black's is October 11th, 1972 (Libra)

General Landry - October 6, 1945 (Libra)

SGA

John Sheppard - June 14th, 1970 (Gemini)

Rodney McKay - April 18th, 1968 (Aries)

Teyla Emmagan - no date, but Rachel Luttrell's is January 19th, 1971 (Capricorn)

Ronon Dex - no date, but Jason Momoa's is August 1st, 1979 (Leo)

Elizabeth Weir - October 14th, 1974 (Libra)

Evan Lorne - July 22nd, 1970 (Cancer)

Radek Zelenka - February 7th, 1967 (Aquarius)

Aiden Ford - no date, 1979, though Rainbow Sun Francks' is December 3rd (Sagittarius)

Richard Woolsey - no date, but Robert Picardo's is October 27th, 1953 (Scorpio)

Carson Beckett - January 5th, 1967 (Capricorn)

Jennifer Keller - no date, but Jewel Staite's is June 2, 1982 (Gemini)

SGU

Nicholas Rush - no date, but Robert Carlyle's is April 14, 1961 (Aries)

Everett Young - no date, 1968/1969, but Louis Ferreira's is February 20 (Pisces)

Matthew Scott - no date, 1983, but Brian J. Smith's is October 12 (Libra)

Tamara Johansen - no date, 1983, but Alaina Huffman's is April 17th (Aries)

Eli Wallace - no date, 1984, but David Blue's is January 17th (Capricorn)

Ronald Greer - no date, but Jamil Walker Smith's is August 20th, 1982 (Leo)

Chloe Armstrong - no date, 1986, but Elyse Levesque's is September 10th (Virgo)

Camille Wray - no date, but Ming-Na Wen's is November 20, 1963 (Scorpio)

David Telford - no date, between 1969-1974, but Lou Diamond Phillips is February 17th (Aquarius)

All dates were taken from the SGCommand Wiki!

[barkingbonzo]

Katharine Hepburn

Katharine Houghton Hepburn (May 12, 1907 – June 29, 2003) was an American actress whose career as a Hollywood leading lady spanned six decades. She was known for her headstrong independence, spirited personality, and outspokenness, cultivating a screen persona that matched this public image, and regularly playing strong-willed, sophisticated women. She worked in a varied range of genres, from screwball comedy to literary drama, and earned her various accolades, including four Academy Awards for Best Actress—a record for any performer. In 1999, Hepburn was named the greatest female star of classic Hollywood cinema by the American Film Institute.

Raised in Connecticut by wealthy, progressive parents, Hepburn began to act while at Bryn Mawr College. Favorable reviews of her work on Broadway brought her to the attention of Hollywood. Her early years in film brought her international fame, including an Academy Award for Best Actress for her third film, Morning Glory (1933), but this was followed by a series of commercial failures culminating in the critically lauded box office failure Bringing Up Baby (1938). Hepburn masterminded her comeback, buying out her contract with RKO Radio Pictures and acquiring the film rights to The Philadelphia Story, which she sold on the condition that she be the star. That comedy film was a box office success and landed her a third Academy Award nomination. In the 1940s, she was contracted to Metro-Goldwyn-Mayer, where her career focused on an alliance with Spencer Tracy. The screen partnership spanned 26 years and produced nine films.

Hepburn challenged herself in the latter half of her life as she tackled Shakespearean stage productions and a range of literary roles. She found a niche playing mature, independent, and sometimes unmarried women such as in The African Queen (1951), a persona the public embraced. Hepburn received three more Academy Awards for her performances in Guess Who's Coming to Dinner (1967), The Lion in Winter (1968), and On Golden Pond (1981). In the 1970s, she began appearing in television films, which later became her focus. She made her final screen appearance at the age of 87. After a period of inactivity and ill health, Hepburn died in 2003 at the age of 96

[inkstainedheartbeats]

Okay @scarlet-bitch (hope you don’t mind the tag) this is the very basic like timeline of that thing I mentioned. It’s a super crossover xD

—//—//—//—

1917

James “Bucky” Barnes is born March 10

Howard Stark is born August 15

1918

Steve Rogers is born July 4

1921

Margaret “Peggy” Carter is born April 21

1930

Eric Lehnsherr is born May 25

1932

Charles Xavier is born July 13

1939

Howard Stark starts up Stark Industries

1950

Nick Fury is born July 4

1954

John Winchester is born April 22

Mary Winchester is born December 4

1956

David Rossi is born May 9

1958

Henry Winchester stumbles upon a mutant/human co-op trying to force mutations in humans. He is saved by an undercover CIA agent and forced into Witness Protection without his wife and child. The CIA agent has betrayed the CIA and is instead working with the co-op.

The CIA agent, calling herself Abbadon, starts to subtly threaten Millie.

1960

Harold Finch (Thomas) is born April 9

1962

Abbadon injects John with a prototype serum that is supposed to force a mutation out of him. It seems to fail.

Nathan Ingram is born June 6

Olivia Manx is born July 5

1964

Phil Coulson is born July 8

1965

Abbadon scares Millie, who believes that she has hidden John’s existence from Abbadon as the ex-CIA agent never threatens him, away. Millie leaves John with her sister Maisy. She takes on the name Maria.

Millie meets and falls in love with Howard Stark.

Nathan Ford is born August 16

Carl Elias is born August 18

1966

Robert Hersh is born May 7

Mark Snow is born May 22

1967

Anthony Marconi is born November 23

1968

Lionel Fusco is born March 17

James “Rhodey” Rhodes is born October 6

1969

Bruce Banner is born December 18

1970

Tony Stark is born May 29

Emily Prentiss is born October 12

1971

Clint Barton is born June 18

Aaron Hotchner is born November 2

1972

Joycelyn Carter is born March 7

Haley Hotchner is born July 16

1973

Derek Morgan is born June 6

1974

Pepper Potts is born February 12

1975

John Reese (Harris) is born May 4

1977

Elle Greenaway is born June 24

Penelope Garcia is born July 7

1978

Sam Wilson is born September 23

1979

Dean Winchester is born January 24

1981

Samantha Groves is born September 4

Sean Hotchner is born August 7

Spencer Reid is born October 28

1982

Maria Hill is born April 4

1983

Grant Ward is born January 7

Sam Winchester is born May 2

Nathan Ingram leaves MIT with an unfinished degree to start IFT May 29

Michael Cole is born July 10

Sameen Shaw is born October 25

Mary Winchester dies November 2

1984

Jessica Moore is born January 24

Will Ingram Finch is born August 31

Natasha Romanov is born November 20

1985

Devon Grice is born November 30

1986

Alec Hardison is born April 13

Dum E is created June 18

1987

Tony graduates from MIT June 5

Leo Fitz is born August 19

Jemma Simmons is born September 11

1988

Skye (Daisy Johnson) is born July 2

1989

This is the last year that Millie Winchester was seen alive. This is because she abandons the name and steps fully into her Maria Stark alias.

Pietro & Wanda Maximoff are born January 1

1990

Adam Milligan is born September 29

1991

Maria and Howard Stark die December 16

1992

Theresa Whitaker is born March 7

John Winchester drops his sons off with his half brother Tony Stark April 20

July 20 Tony manages to gain custody of his nephews.

1993

John Winchester suffers a mental break and kills Kate Milligan and kidnaps his son on October 3

October 11 Adam is dropped of with Tony which causes a scandal

1995

Caleb Phipps is born July 26

1997

Taylor Carter is born June 18

1999

Masha Ingram-Finch is born February 24

2000

Lee Fusco is born January 9

2001

Peter Parker is born August 10

2003

Genrika Zhirova is born December 13

2004

Lionel and his wife divorce

2005

Jack Hotchner is born October 7

“The Machine” goes online February and the next day sold.

2007

On February 5 Tobias Hankel kidnaps Spencer Reid.

2008

Henry LaMontagne is born November 12

2009

Tony is kidnapped by 10 Rings February 13

2010

The Ferry bombing happens killing Nathan Ingram September 26

Sometime during October or November Rick Dillinger is hired by Finch

Dillinger dies December 5ish

2012

May 4; Battle of New York happens.

[thislovintime]

Photo 1 is a screenshot from Peter’s My Generation interview, photos 2-4 by Ann Moses, Monkee Spectacular, Nurit Wilde.

“During the actual concerts [at Monterey Pop Festival] I acted as an announcer to some of the acts and was especially happy to have been able to announce The Buffalo Springfield. As I have told you before, my best buddy Steve Stills is the lead singer, but apart from being prejudiced in that respect, they really are an outta sight group!” - Peter Tork, Fabulous 208, July 15, 1967

“While I was sitting in the stands [at Forest Hills Stadium in 1967], I looked to the right and I saw this beautiful fringed jacket and it was Stephen Stills of the Buffalo Springfield. I asked him for an autograph. And I asked him what he was doing at a Monkees concert, and he said his best friend was Peter Tork.” - Cindy Marino, The Herald Statesman, May 12, 1998

“[Peter] has had a great effect on the way I perform. The way he used to move, the way he used his accent, his whole attitude toward the theater, the entire theater, gave him a great basis from which to work. He never looks past the fact that he’s supposed to be up there: to entertain the people. And every time he got up there he would perform and do his whole number, exuding all the personality he could and he did some marvelous comedy routines. It was mostly by watching him that I picked up some of those things.” - Stephen Stills, Tiger Beat, June 1967

“When we’re not playing music or listening to music, we’re usually picking things apart — groups, ideas we hear from people, pieces of music, each other’s brain. The quality I respect, more than anything else in Peter, is his honesty. More than any person I know, Peter gives of himself. If you have a problem you can always depend on him for some kind of answer or some kind of suggestion, no matter what it is. He doesn’t worry about offending you, because he just wants to be honest. To me, that’s being a true friend." - Stephen Stills, Tiger Beat, July 1967

[the-garbanzo-annex-jr]

by David Solway

Despite all the pitfalls on the long journey to statehood, on May 11, 1949, the UN General Assembly, by the requisite two-thirds majority, approved the application to admit Israel to the UN by General Assembly Resolution 273. We should consider, too, aside from the legal documentation we are examining here, that Israel is replete with stories, memorial scriptures and artifacts from pre-Biblical times and possesses a calendar that dates to 5783. Israel’s existence is not only official but immemorial.

Following Israel’s victory in the Six-Day War and its acquisition of territory, anti-Zionists demanded that Israel return to its shrunken 1967 borders, proclaiming their opposition to “the immoral and impractical policies that deny Palestinians equal rights,” calling for an end to “the siege on Gaza” and for “a permanent ceasefire,” and putting the onus on Israel to comply. Jimmy Carter’s mendacious book "Palestine: Peace Not Apartheid" is worth examining in some detail. Among the weave of falsehoods that bind its pages, we find that UN Resolution 242 demands that Israel return to Palestinians all land captured in the 1967 war.  

This is utter fiction. Carter and his ideological descendants have probably never heard of or paid much attention to Eugene Rostow, former U.S. Undersecretary of State for Political Affairs and one of the leading architects of UN Resolution 242. Rostow explained in The New Republic for Oct. 21, 1991, that the Resolution allows Israel to administer its conquered territories until a just and lasting peace in the Middle East is achieved and that “the Jews have the same right to settle there as they have to settle in Haifa.” 

Further, no Palestinian leader and few Western pundits have acknowledged the raw fact that there are no 1967 borders to which Israel is required to return. In fact, there are only armistice lines that have no bearing on future negotiations to determine final borders. The late Hugh Foot, Lord Caradon, formerly Britain’s ambassador to the United Nations and, along with Rostow, one of the drafters of Resolution 242, stated in the Beirut Daily Star on June 12, 1974, that “It would have been wrong to demand that Israel return to its positions of June 4, 1967, because those positions were undesirable and artificial.” 

Lord Caradon’s account of the meaning and history of the Resolution is supported by the remaining two framers, Arthur Goldberg and Baron George-Brown, who are equally explicit in asserting its original intention. Resolution 242 is a pro-Israel and not, as constantly misreported, a pro-Palestinian article. Yet in the interests of peace, Israel has fruitlessly surrendered much of its war gains in Gaza and the West Bank, creating unnecessary misery for itself.  

It follows that Israel’s enemies, and antisemites in general, are either credulous or savage or both. Generally speaking, their leaders are political operators with gelatinous souls, concerned mainly for their personal safety and privilege and cathected on the Islamic voting bloc. Moreover, far too many ordinary citizens are unable to distinguish between a forgery (e.g., "The Protocols of the Elders of Zion") and a scrupulous work of historical documentation (e.g., the aforementioned "From Time Immemorial"). They are culpably deaf and blind, as Richard Ibrahim indicates, to the purport of an ISIS audio recording titled And Kill Them Wherever You Find Them (Koran 9:5) that pronounces the jihadist worldview of Islam: “The battle with the Jews is a religious one and not a national or populist one! It is not a battle for land, soil, or borders! In fact, it is a war that is legitimized by the Book and the Sunnah.”

[citizenscreen]

Lewis Gilbert’s YOU ONLY LIVE TWICE, the fifth in the James Bond series, premiered in London on June 12, 1967. #OnThisDay #JamesBond

[mapsontheweb]

Road to Destruction: Arab deployment for attack Israel, 1967.

On June 5, 1967, Israel was isolated, but its military commanders had conceived a brilliant war strategy. The entire Israeli Air Force, with the exception of just 12 fighters assigned to defend Israeli air space, took off at 7:14 a.m. in Operation Moked (aka Operation Focus) with the intent of bombing Egyptian airfields while the Egyptian pilots were eating breakfast. The day before the attack, Rabin visited several air bases and told the pilots: