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twentiethcenturymoviesandtv · 4 years ago

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12 Angry Men: The Story

At first, the story of 12 Angry Men seems straightforward, to-the-point, and pretty darn boring.

A jury consisting of twelve men (most of them middle class, middle age, and white) are locked into a jury room on a stiflingly hot day to determine the fate of a boy (lower class, young, and Puerto Rican) who allegedly stabbed his father to death with a switchblade knife. Once locked into the room, eleven out of twelve decide instantly that the boy is guilty, but one, Juror #8, (Henry Fonda) isn’t so certain. The film then follows Juror #8’s attempts to go through the information presented in court in order to figure out what really happened.

Like I said, it could be considered boring, if that’s all you consider. But as it turns out, just like the case in the film there’s a bit more to it than what appears on the surface. Let’s take a look.

12 Angry Men opens with one of two sequences that do not take place within the jury room. A camera pans over the outside of the Manhattan’s Court of General Sessions, meandering through corridors and staircases, before making its way to our destination: room 228. There, a tired sounding judge orders the beginning of the jury deliberation process after a six-day-long trial, “a long and complex case of murder in the first degree”. He sends our jury off with these final, sobering words:

“If there’s a reasonable doubt in your minds as to the guilt of the accused, a reasonable doubt, then you must bring me a verdict of not guilty. If however, there is no reasonable doubt, then you must in good conscience find the accused guilty. However you decide, your verdict must be unanimous. In the event that you find the accused guilty, the bench will not entertain a recommendation for mercy. The death sentence is mandatory in this case. You are faced with a grave responsibility. Thank you, gentlemen.”

It is now that the audience, for the first and only time, gets a look at the defendant: a wide-eyed, terrified looking Puerto Rican boy from the slums, who helplessly watches the jury march off to decide his fate.

The jury (and camera) moves to the jury room, where we will spend almost the entire rest of the film. It is the hottest day of the year, and the men are clearly already agitated, removing jackets, lighting cigarettes, and complaining. The door behind them is locked, and the twelve men talk amongst themselves for a few moments. Notably, Juror #3 remarks that this is an open-and-shut case, Juror #7 is anxious to leave to get to a baseball game he has tickets for, and Juror #10 has this to say:

“It’s pretty tough to figure, isn’t it? A kid kills his father. Bing! Just like that…It’s the element…I’m telling ya, they let those kids run wild up there. Well, maybe it serves ‘em right.”

Meanwhile, Juror #8 stands at the window, saying nothing.

Juror #1 calls for a preliminary vote, and the men take their seats (arranged by number) around the table. Juror #1 calls for those who vote not guilty, and, some (Jurors #1, 3, 4, 7, and 12) quickly raise their hands, while Jurors #2, 5, 6, 11 and 9 do so more slowly. One lone man raises his hand for not-guilty: Juror #8.

Interestingly, Juror #8 is not fully convinced that the boy on trial is innocent, unlike many instances of the Rogue Juror used afterwards. What he is convinced of is that this is a serious case, with a serious charge, with a grim penalty. He calls for a discussion, going over the evidence. Juror #3 disagrees:

“The kid’s a dangerous killer, you could see it…He stabbed his own father, four inches into the chest. They proved it a dozen different ways in court, would you like me to list them for ya?”

Juror #8 is not dissuaded, and calmly replies:

“It’s not easy to raise my hand and send a boy off to die without talking about it first…We’re talking about somebody’s life here. We can’t decide in five minutes. Supposin’ we’re wrong.”

Juror #7 is unmoved, claiming his opinion won’t change, no matter how long they talk. Despite the resistance, Juror #8 moves on with his discussion, pointing out the defendant’s upbringing and background.

“Look, this kid’s been kicked around all of his life. You know, born in a slum. Mother dead since he was nine. He lived for a year and a half in an orphanage when his father was serving a jail term for forgery. That’s not a very happy beginning. He’s a wild, angry kid, and that’s all he’s ever been. And you know why, because he’s been hit on the head by somebody once a day, every day. He’s had a pretty miserable eighteen years. I just think we owe him a few words, that’s all.”

Juror #10 argues:

“I don’t mind telling you this, mister. We don’t owe him a thing. He got a fair trial, didn’t he? What do you think that trial cost? He’s lucky he got it. You know what I mean? Now look, we’re all grown-ups in here. We heard the facts, didn’t we? You’re not gonna tell me that we’re supposed to believe this kid, knowing what he is. Listen, I’ve lived among them all my life. You can’t believe a word they say. You know that. I mean, they’re born liars.”

Another voice enters the scene, Juror #9, with a biting reply:

“Only an ignorant man can believe that…Do you think you were born with a monopoly on the truth?”

Within only a few moments, already we’ve established quite a lot. The belligerence of Jurors #3 and #10, as well as their bias, Juror #8’s thoughtful, honest nature, and Juror #9’s reasonableness and willingness to stand up for people. Add to that Juror #7’s impatience to leave, and you’ve already got a bit of character to go on to understand what’s going on. As the film progresses, the case unfolds, and we learn more about it, as well as learning more about the characters within, making the plot, although it never leaves the jury room, feel like it is moving.

Juror #12 suggests that they go around the table, giving each juror a chance to explain his standpoint in an effort to convince #8 of the defendant’s guilt. One by one, the jurors bring up their evidence, and to each, Juror #8 has questions that render the arguments a little more doubtful than they would seem to be on the surface.

Juror #2 doesn’t really have any evidence to bring, meekly stating that he thought he was guilty, it seemed obvious. No one can prove that he didn’t do it, after all. Juror #3, however, has more to say on the subject, citing an eyewitness testimony of an old man who lived in the apartment below where the killing took place. According to the witness, he heard a fight, and the voice of the boy crying out: “I’m gonna kill you!” and the sound of a body hitting the floor. The old man ran to the door in time to see the boy run down the stairs. Furthermore, the boy’s alibi (being at the movies) seems flimsy, as he was not able to remember the names of the films he saw, or any of the actors in them. On top of that, there is another eyewitness testimony: a woman in the building across from them saw it happen through the passing cars of an el-train that ran between the buildings. These, Juror #3 declares, are facts.

Other jurors give their reasons, or lack thereof: Juror 5 doesn’t comment, Juror #6 thinks the motive is evidence, and Juror #7 brings up the boy’s violent history, including knife-fighting.

This sparks something for Juror #3, who cites his history with his own son, explaining that kids these days don’t have any respect. He tells a story about how, when his son was nine years old, he ran away from a fight, humiliating Juror #3. He resolved to ‘make a man’ out of his son, and according to him, he did. When his son was 15, he punched Juror #3 in the jaw. It has been three years since the two have seen each other.

Other jurors add their reasons, including the boy’s background in the slums. This line of reasoning upsets Juror #5, who, he explains, was also raised in the slums. Okay, fine, so his background isn’t enough, his upbringing flimsy evidence at best….what about the knife?

The knife (wiped of fingerprints) found in the body of the father was a very unique switchblade. The boy bought a knife matching its description on the night of the murder, and claimed it fell through a hole in his pocket on the way to the movies. A knife that unique surely must be evidence-

Juror #8 pulls out a knife of his own, an exact match to the one found in the body, and sticks it in the table for all to see (which is not legal in a real legal scenario, but this is a movie). Someone, he explains, could have bought an identical knife, and killed the father with it while the boy was at the movies.

“It’s possible,” he says.

“But not very probable!” Juror #4 counters.

Seeing that this is going nowhere fast, Juror #8 says this:

“I’m gonna call for another vote. I want you eleven men to vote by secret written ballot. I’ll abstain. If there are eleven votes for guilty, I won’t stand alone. We’ll take in a guilty verdict to the judge right now. But if anyone votes not guilty, we stay here and talk it out.”

They count up the eleven votes. Ten guilty, one not-guilty. Juror #9 has switched sides.

Looking again at the eyewitness accounts, Juror #8 theorizes that, with the train passing by the exact time of the murder, it would be impossible to hear voices and a body hitting the floor upstairs. Furthermore, he determines that it would be equally impossible for an old man with a limp to make it to the door to see the boy go down the stairs in the amount of time that he said it did. (Again, not legal in a jury, but it’s a movie.) Juror #9 speculates that it is possible that the old man did not lie, rather convinced himself that he saw it in excitement about having 15 Minutes of Fame in his old age.

Juror #5, swayed, switches his vote to not-guilty. The debate goes on.

Juror #11 is now starting to think, asking questions of his own: If the boy killed his father, why return home three hours later?

To get the knife, the explanation goes.

If the defendant had a clear enough head to wipe his fingerprints from the knife and go back to get it, how was he in such a panic that he left it in the body in the first place?

Juror #11 switches his vote. It’s now 8 to 4, and still hot as all get out, and they’re all still in a claustrophobic room with a broken fan. Juror #3, aggravated from the beginning, flips out.

“Assumed? Brother, I’ve seen all kinds of dishonesty in my day, but this little display takes the cake. You all come in here with your hearts bleeding all over the floor about slum kids and injustice. You listen to some fairy tales. Suddenly, you start getting through to some of these old ladies. Well, you’re not getting through to me. I’ve had enough. What’s the matter with you guys? You all know he’s guilty. He’s got to burn. You’re letting him slip through our fingers.”

Interesting statement from a supposedly unbiased jury member. This doesn’t go uncommented on, as Juror #8 snaps back:

“Slip through our fingers? Are you his executioner?”

“I’m one of ‘em.”

“Perhaps you’d like to pull the switch.”

“For this kid? You bet I would.”

After another brief exchange, Juror #3 lunges at Juror #8, screaming: “I’ll kill you!” an eerie echo of the supposed words of the boy. This further cements Juror #8’s point: we say stuff like “I’ll kill you” all the time, without meaning, or thinking about it.

Jurors #2 and #6 switch sides. It’s 6-6, all tied up.

Outside, it starts raining. The broken fan starts working. The discussion turns to the boy’s alibi.

Juror #4 points out that the boy could not remember the names of the films he saw, or anyone in them. Juror #8 counters by turning the question around and asking him to recall details of a trip to the movies a few days prior. When Juror #4 cannot give a full, definitive answer, Juror #8 also addresses the fact that when the boy was first asked what the names of the films were, he was in his apartment, cornered by the police, with his father’s body still in the apartment. In other words, the kid was possibly too stressed and frazzled to remember.

Juror #2 brings up the stab wound itself, saying that it was a downward stab wound, and asked how that would be possible, as the father was over six feet tall, and the boy was only 5’7. Juror #3 stands up, taking the knife and, in a tense display, demonstrates on Juror #8 how this could be done, by gripping the knife overhand.

Juror #5 steps up with an argument. He, as he mentioned earlier, was raised in the slums, and he’s seen knife-fights before. Nobody who knew what they were doing would hold a switchblade overhand. It can’t open that way. The boy had been in knife fights before, and it’s unlikely that he would have made such a rookie mistake.

Another voted is called. It’s 9-3, Not Guilty.

Juror #10, enraged, stands up and begins to rant:

“You’re not gonna tell me you believe that phony story about losing the knife, and that business about being at the movies. Look, you know how these people lie. It’s born in them…They don’t know what the truth is. And let me tell ya, they don’t need any real big reason to kill someone either. No, sir. They get drunk. Ah, they’re real big drinkers, all of 'em. You know that. And bang, someone’s lying in the gutter. Well, nobody’s blamin’ 'em for it, that’s the way they are, by nature, you know what I mean? Violent!…Human life don’t mean as much to them as it does to us. Look, they’re lushing it up and fighting all the time, and if somebody gets killed, so somebody gets killed - they don’t care. Oh sure, there are some good things about 'em, too. Look, I’m the first one to say that. I’ve known a couple who are okay, but that’s the exception, you know what I mean? Most of them, it’s like they have no feelings. They can do anything. What’s going on here? I’m tryin’ to tell ya. You’re making a big mistake, you people. This kid is a liar. I know it. I know all about them. Listen to me, they’re no good. There’s not a one of 'em who’s any good….This kid on trial here…well, don’t you know about them? There’s a danger here. These people are dangerous. They’re wild. Listen. Listen to me.”

One by one, the other jurors turn their backs on him and his racially prejudiced tirade, until, subdued, he goes to sit by himself in a corner with nothing else to say.

Juror #8 makes another impassioned speech:

“I don’t really know what the truth is. I don’t suppose anybody will ever really know. Nine of us now seem to feel that the defendant is innocent, but we’re just gambling on probabilities. We may be wrong. We may be trying to let a guilty man go free, I don’t know. Nobody really can, but we have a reasonable doubt and that’s something that’s very valuable in our system. No jury can declare a man guilty unless it’s sure. We nine can’t understand how you three are still so sure.”

Juror #4 brings up the woman’s testimony from across the street. He is quickly shot down by Juror #9’s sharp eyes: the woman had marks on her nose from glasses, suggesting that she wore them often. People who wear glasses do not sleep with them on (as someone who wears glasses, I can confirm). She was in bed at the time of the killing, happening to look out her window at around midnight to see the murder through the passing cars of an el-train, about six seconds of time total, in the dark, not wearing her glasses.

Juror #4 changes his vote, as does Juror #10. It’s 11-1, Not Guilty. This time, Juror #3 is the lone holdout. He goes on a tirade as well, ranting about having all of the facts, all of the evidence on his side, and as he pulls out his wallet to prove it, a picture falls out: one of his and his son.

In a burst of realization that his anger is not directed towards the defendant, but rather his own son, Juror #4 breaks down, and the final vote is called: unanimous, Not Guilty.

Juror #1 knocks on the door and tells the guard that they’re ready to give their verdict. The men file out, Juror #8 staying behind a moment to hand #3 his jacket.

Once outside the courthouse, Juror #9 and Juror #8 exchange names and smiles. Juror #9, McCardle, says ‘so long’, and heads off. Juror #8, Davis, walks down the courthouse steps, and disappears out of shot.

The end.

For being just over an hour and a half with only three settings, the film seems like there is a lot more to it than one would think. We don’t even learn most of the juror’s names, and yet they seem like fully developed characters, and we feel the satisfaction of justice well served.

Or do we?

One of the most interesting things about this movie is that neither the jury, nor the audience, ever finds out if the boy is guilty, or not. Only that there is reasonable doubt. By the same token, there is plenty of evidence to convict him. Even Juror #8 admits that he does not know if the boy is innocent, or guilty, and it’s left to the audience, as it was left to the jury, to make up our own minds about it.

Sobering, isn’t it?

As for me? I don’t know. Maybe he’s guilty. Maybe he isn’t. That doesn’t change the thrust of the movie.

The idea of the movie, the point of it, is that we have this system for a reason, and by showing us an assortment of the type of people who can end up on a jury, we are called to think about, and respect, our duty to our legal system. We don’t want to be Juror #7, switching sides based on how fast he thinks they can get out so he can get to his ball game, or Juror #10, who allowed his hatred to cloud his reason, or Juror #3, who didn’t realize that he was trying to punish his own son based on his anger, instead of the actual defendant based on reason. We want to take this seriously, like #9 and 11. We want to know, want to believe, that in the end, there is a truth, and justice will prevail.

We want to be the Hero, Juror #8, on his Hero’s Journey for the truth.

Another thing we don’t know is what happens to each juror after the movie is over. The film takes place over the span of one day. We have no way of knowing if this affects anyone, if Juror #7 learns to be more cognizant of things around him, if Juror #10 turns from his racist views, or if Juror #3 reconciles with his son. We just don’t know. The film is full of ambiguity, and in that, it feels bitterly real, even if it isn’t realistic.

In that respect, the film makes quite an impact. It stays with you. It makes you think.

And the audience is the better for it.

Thanks so much for reading! If you enjoyed it, please stay tuned to join us for the remainder of our study of 12 Angry Men. Don’t forget that my ask box is always open. Thank you guys so much for reading, and I’ll see you all in the next article!

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silenthillmutual · 5 years ago

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Danganronpa 1 & 2 characters as High School “recommended reading” books I actually read

Makoto Naegi

To Kill a Mockingbird by Harper Lee when i read it: 5th grade for fun, 10th grade for English class did i like it? well enough yeah content warnings: thematic & period-typical racism, ableism, and sexism about: Recounts a summer in which Scout and her brother, Jem, watch their lawyer father defend a black man accused of raping a white woman in the south while balancing raising them alone. Other stuff happens, but that’s the most important plot thread.

Sayaka Maizono

Medea by Euripides when i read it: i don’t remember, maybe 9th for drama, 12th for English? did i like it? yep! content warnings: child murder, infidelity, some pretty brutal other character deaths, sexism about: Medea, who has sacrificed everything to be with her husband - even committed treason - has been left by the man so he can move on to woo and wed a princess. And she loses her shit.

Leon Kuwata

The Adventures of Huckelberry Finn by Mark Twain when i read it: 11th grade did i like it? yeah! content warnings: thematic & period-typical racism (use of the n-word), domestic abuse, classism iirc? about: After his abusive dad comes back and demands money under the threat of death, Huck Finn runs away with a fugitive slave down the Mississippi River. Being Mark Twain, it’s a comedy, although Huck’s father is genuinely kind of frightening and his friendship with Jim is kind of heartwarming.

Chihiro Fujisaki

Frankenstein by Mary Wollstonecraft Shelley when i read it: 10th grade for fun, 12th grade & freshman year of college for class did i like it? I’ve got mixed feelings; i love the book, hate most peoples’ interpretations of it. content warnings: character death, incest (depending on the version of the novel you read), unethical doctors, neglectful parents about: Thinking he knows better than literally anyone else he’s ever met, Victor Frankenstein decides it’s his birthright to play god. He robs graves to build the perfect body, and then, once he’s successful, flips his shit and refuses to acknowledge any part he played in the creation, wrecking the lives of like everyone he knows.

Mondo Oowada

The Outsiders by S.E. Hinton when i read it: like 6th or 7th grade, for fun did i like it? i loved it! content warnings: abuse, thematic classism, character death about: Honestly the most obvious choice to make for Mondo. Ponyboy Curits, a greaser, recounts the last few months of his life in which, after being repeatedly harassed and then nearly killed by gang of rich kids, his friend Johnny stabs one to death. In order to keep Johnny out of prison and Ponyboy out of a boys’ home, the two run away. Considering Ponyboy is also being raised by an older brother, this totally fits Mondo.

Kiyotaka Ishimaru

King Lear by William Shakespeare when i read it: twice in college (discliamer: as an english major i had to taken an entire course on shakespeare, so he shows up a lot here between that and having done theatre) did i like it? no content warnings: a surprising amount of gore for a stage play, including a guy getting his eyes gouged out and someone getting beheaded iirc about: The king’s getting up in years, so he’s hoping he can drop the workload off onto his three daughters while remaining the figurehead. His youngest, Cordelia, who he loves best, refuses to kiss his ass by saying that he’ll still have power over her once she’s married, and this pisses him off so he disinherits her. Then her sisters, annoyed with their father and his favoritism, decide that with Cordelia out of the way they can now do basically whatever they want and determine to make his life hell. Since he named them Goneril and Regan, I don’t blame them.

Hifumi Yamada

The Canterbury Tales by Geoffrey Chaucer when i read it: college, but i wanna say i read some of the stories in it for English classes in high school? did i like it? some of the stories i did yeah content warnings: varies from story to story, but i remember unsanitary, drunkenness, and infidelity about: The overarching “plot” as such is that a group of people are making a pilgrimage to Canterbury, and decide that to pass the time they will tell two stories each. Each story is told in-character, and whoever tells the best story has to...buy everybody dinner, or something? I don’t really recall. It’s a comedy, but it’s also unfinished because Chaucer bit off way more than he could chew.

Celes Ludenberg

“The Cask of Amontillado” by Edgar Allan Poe when i read it: 11th grade did i like it? probably, i’m a fan of Poe content warnings: drunkenness, murder about: This one got memetic on tumblr for a while, but essentially this guy decides to get revenge on an old friend of his for some kind of sleight by getting him drunk during Carnival, leading him into the basement, and burying him alive. Poe isn’t one to go soft.

Sakura Oogami

“A Very Old Man With Enormous Wings” by Gabriel Garcia Marquez when i read it: 10th grade did i like it? no content warnings: objectification, something akin to torture about: A family finds an old man with wings lying face-down on the ground and decide to keep him like a pet. People see him and assume he is an animal, and the family decides to start charging admission like their own private sideshow, while onlookers abuse him. One of those extra depressing stories that makes you wonder why the hell you had to read it for class.

Mukuro Ikusaba

The Crucible by Arthur Miller when i read it: the first time, probably in 6th or 7th grade, and then several more times after that for a variety of other classes. it’s a theatre and English class staple. did i like it? when taken in context, yes. but i’m also fucking sick of reading it. content warnings: infidelity, paranoia bait, period-typical racism & sexism (takes place during the Salem Witch Trials) about: The plot is a witch hunt, in which a girl who had an affair with a married man claims to have been taken over by the spirit of the devil and that all her friends and a variety of other townsfolk have too. It follows the trials as they try to determine who is and is not guilty, who will repent for their sins, and thematically is about puritanical hysteria. It’s about the Red Scare of the 50s, surveillance, the Hollywood Blacklist, propaganda, and tyrannical government. Naturally, teachers fail to provide any context for the play that actually makes it relevant or interesting. Compare to modern day callout/cancel culture.

Kyouko Kirigiri

12 Angry Men by Reginald Rose when i read it: 10th grade (although i’d already seen the movie) did i like it? yes content warnings: thematic classism & xenophobia about: The jury of a case in which a teenager is accused of murder convene to determine their verdict. All but one man believe him to be guilty. The rest of the play covers his attempts to sway his other jurors into at least casting aside their prejudices to view the case impartially.

Byakuya Togami

The Federalist Papers when i read it: summer before 12th grade for AP Gov. yikes. did i like it? oh god no. i had to have my lawyer dad explain it to me. content warnings: legalese and it’s boring as fuck about: i mean it’s just a bunch of essays to promote ratifying the the constitution. I don’t even remember if we read all of them. that’s how bad my retention of the subject is.

Toko Fukawa

The Metamorphosis by Franz Kafka when i read it: 10th grade did i like it? kind of? content warnings: bugs, emotional abuse, depression about: A man awakens one day to find he has transformed into a giant cockroach. It’s a metaphor for his depression and what a burden he feels like to his family. If you read anything about Kafka’s life, you’ll understand why he was depressed.

Aoi Asahina

Hamlet by William Shakespeare when i read it: i’ve forgotten when my first time was because i’ve had to read it so constantly. if i had to wager a guess, i’d say middle school, though i’ve read it for fun, for drama class, and for English class. did i like it? yes content warnings: character death, suicidal ideation, incest vibes (depending on your interpretation) about: Hamlet, not over the early death of his father, is enraged that his mother has married his uncle. He’s really bringing everyone else down about it, and then he starts to see his father’s ghost on top of it all. No one’s sure if he’s just mad with grief or if the ghost is for real, but he starts making life for everyone else difficult when he decides to try and expose his uncle as his father’s murderer.

Yasuhiro Hagakure

Death of a Salesman by Arthur Miller when i read it: 10th grade i think? did i like it? if i believed in book-burning, this would’ve been the first turned to ash in my trashcan content warnings: infidelity, mediocre white men with narcissism, suicide, not sure what else about: An aging father who thinks he was robbed of success by circumstances refuses to face facts that he is a loser by projecting his failures onto a son that now hates him and thinking real big of himself for a wash-out.

Junko Enoshima

Othello by William Shakespeare when i read it: college did i like it? it’s my favorite Shakepseare play, actually! content warnings: thematic racism/xenophobia/Islamophobia, domestic abuse, character death about: A tragedy centering around the planned downfall of Othello, Moor of Venice. He’s relatively well-respected for his heroics and generally being a pretty cool guy, but for whatever reason, Iago wants to see him suffer. And when I say “for whatever reason” - it’s because Iago never gives a consistent one, but at the end he admits the entire thing has been his orchestration and he’s had no issue exploiting peoples’ bigotry as a means to an end. One popular and pretty text-evident theory is that Iago is in love with Othello. But - causing a ruckus, bringing society to its knees, and torturing a man just for shits n giggles? Getting it all done by sheer power of charisma? That’s all Junko ever does.

Monokuma

1984 by George Orwell when i read it: 10th grade for fun, 12th grade for class did i like it? yes but i don’t recommend it. i like tedious shit. content warnings: paranoia bait, sexual themes, torture, probably other stuff i’m forgetting about: Classic dystopia lit in which the government controls the flow of information to the degree of creating its own language (”newspeak”) to explain the technology used to survey its citizens and distill history-changing propaganda. Especially relevant in an era of “fake news.” Where Big Brother Is Watching comes from. Extremely difficult to get into.

Hajime Hinata

Of Mice and Men by John Steinbeck when i read it: 10th grade did i like it? yeah content warnings: ableism, implied domestic abuse, character death, animal death, era-typical sexism (1930s) about: Very desolate and depressing novella about the futility of the American Dream to “make something of yourself”. Two farmhands, Lennie and George, arrive at a California farm seeking employment. They just want to earn enough money to open up a farm of their own - a rabbit farm - and things are all downhill from there. Well-written and one of Steinbeck’s shorter works.

Twogami

The Great Gatsby by F. Scott Fitzgerald when i read it: 11th grade did i like it? yes! i loved it. but in the way that you love sleazy tabloid rag stories. content warnings: infidelity, car accidents, character death about: Stupidly rich people in New York in the 1920s being fake as hell. It’s about excess and decadence and the idea of having a rags-to-riches story, and it’s very homoerotic.

Teruteru Hanamura

Brave New World by Aldous Huxley when i read it: 10th grade did i like it? one of my top faves tbh content warnings: alcoholism & drug usage, thematic classism & racism (ie that’s the point), sexual themes, violence, non-graphic suicide (like literally the last sentence), character deaths about: You know how 1984 is a very pessimistic dystopia about government surveillance? Brave New World is like “what if everything was a utopia because of government interference?” It’s easier to get into than 1984. It’s about a man from the upper echelon of society discovering the dirty secret of how society is able to able to function the way it does, an outsider into his world to shake things up.

Mahiru Koizumi

Pride and Prejudice by Jane Austen when i read it: i dunno, summer between 9th and 10th grade maybe? did i like it? yes! i loved it. content warnings: there are a couple of guys who are sort of gross but there’s nothing that bad in it about: An upper-middle class family - more the mother than the father - trying to marry off the eldest of their five daughters. It’s largely character-driven and most of the plot focuses on Jane’s relationship with Bingley, Elizabeth’s relationship with Darcy, and the problems witch judging people based on first impressions.

Peko Pekoyama

Call of the Wild by Jack London when i read it: 9th grade did i like it? fuck no content warnings: graphic animal violence. if there’s other stuff i forgot because i fucking hated this book. about: I think it’s something like a dog getting lost in Alaska and has to learn to be a wolf in order to survive? It’s incredibly brutal and is one of those media where just reading it makes you feel cold.

Hiyoko Saionji

The Glass Menagerie by Tennessee Williams when i read it: 10th grade did i like it? not really content warnings: man i don’t know, but it’s by Tennessee Williams so there’s probably alcoholism, daddy issues, and homophobia about: An overbearing mother embarrasses her son and disabled daughter when an old school friend comes to visit...I’m not sure if there’s more of a plot to it than that. Like most Williams works, it’s largely character-driven.

Ibuki Mioda

If On a Winter’s Night a Traveler by Italo Calvino when i read it: college did i like it? this is one of those rare exceptions in books where i read it, because i remember having a visceral reaction to it, but i can not for the life of me remember a single damn thing about it other than how stupidly difficult it was to read. content warnings: it’s metaficiton. about: You are the protagonist. I genuinely can’t explain anymore than that.

Mikan Tsumiki

A Streetcar Named Desire by Tennessee Williams when i read it: 9th grade did i like it? not really, but i’d be willing to reread it content warnings: domestic abuse, rape about: Unstable Blanche DuBois goes to visit her sister, Stella, and meets her appalling husband Stanley. All Tennessee Williams plays seem to have a theme of family tragedy in them, with this being probably the most bleak example.

Nekomaru Nidai

The Odyssey by Homer when i read it: 9th grade, then again in college for a classics class did i like it? yeah content warnings: your usual classical Greek-variety nonsense, including character death, infidelity, and partying. about: Odysseus attempts to make his way back home after the Trojan War, and has a time of it. Having pissed off Poseidon he’s gotten off-course and gotten lost another ten years, and had a whole slew of other adventures trying to make it back home and save his wife from the harassment she’s been getting since his disappearance.

Gundham Tanaka

The Tempest by William Shakespeare when i read it: 10th grade did i like it? not especially content warnings: thematic colonialism & racism...not sure what else but it’s hard as fuck to read. try reading it out loud & acting along to it. about: I didn’t totally get it but there’s something about a wizard having been banished and now people are coming back to find him for some reason? the people who exiled him & his brother & daughter have crash-landed on his island and now he might get his revenge. Thanks, TVTropes! All I remember is discussing in one class about how The Tempest managed to predict the “finding” of America and how the English would treat the native peoples. It’s a “romance”, which in that day and age meant it was about magic. Influenced some science fiction works like Brave New World (the title of which comes from a line spoken by Miranda). I should probably reread it.

Nagito Komaeda

The Catcher in the Rye by JD Salinger when i read it: 8th grade for fun did i like it? yeah content warnings: implied pedophilia. i’m sure there’s other stuff but i don’t remember it well enough. about: Perennial troublemaker Holden Caulfield is kicked out of boarding school, and takes a hell of a long time getting home from the place as he complains about his declining mental state, hypocrisy, and loss of innocence. It’s one of those books you either really love or really hate, and has been repeatedly challenged because Holden swears too much and might be bisexual.

Chiaki Nanami

Pygmalion by George Bernard Shaw when i read it: 12th grade, i think did i like it? yes content warnings: classism about: A linguistics professor makes a bet with a friend that he can take any lower-class citizen and teach them to speak formal English, well enough to pass them off as aristocracy to other rich people. It’s the plot upon which the musical My Fair Lady is based, although it was intended as a deconstruction of the kind of plot whose trope it now codifies.

Sonia Nevermind

“Lamb to the Slaughter” by Roald Dahl when i read it: 10th grade did i like it? yeah! content warnings: infidelity, character death about: A guy comes home and tells his heavily pregnant wife that he’s been having an affair, and he’s leaving her. She doesn’t take it well. I won’t spoil the rest of it, as it’s a short story, but it’s fun to keep in mind that it’s be the same guy who wrote classics such as Matilda and Charlie and the Chocolate Factory.

Kazuichi Souda

A Midsummer Night’s Dream by William Shakespeare when i read it: 8th grade for a book report and then again in....i don’t know. i’ve had to read it a lot. did i like it? sure, it’s got some pretty great insults content warnings: men being douchebags including stalker-y behavior, and a woman falls in love with a man who has a donkey’s head (it doesn’t last) about: Hermia & Lysander are planning to run away to get married because Hermia’s father doesn’t approve of Lysander, and she’s trying to dodge the affections of Demetrius - the man to whom she has been betrothed, because he’s an ass who, among other things, slept with her friend Helena and then ditched her. Which Helena is still hung up on, even though he’s a gross creep. At the same time, a group of actors are trying to get together a play for an upcoming royal wedding, and the King of the Faeries is trying to win back his wife. This all connects because a faerie decides to fuck around.

Fuyuhiko Kuzuryu

The Chocolate War by Robert Cormier when i read it: college, for an independent study did i like it? yeah content warnings: graphic violence, i think some homophobia? about: Kids and staff at a private school take a candy sale way too damn seriously. There’s basically a mafia at the school and some sort of weird popularity contest and hazing going on.

Akane Owari

“The Most Dangerous Game” by Richard Connell when i read it: 9th grade did i like it? i guess so content warnings: human hunting about: A man finds himself shipwrecked on an island, and is then hunted for sport. No, really.

Monomi

East of Eden by John Steinbeck when i read it: technically i’m in the middle of it right now, but that counts, right? did i like it? so far, i guess i do, but it’s mainly i care character who comes up later. couldn’t give less of a shit about adam trask, full offense content warnings: period-typical sexism & racism (set around the turn of the 20th century and published in 1952), implied pedophilia (that gets incredibly glossed over), ableism about: A combination of heavy-handed religious allegory (Steinbeck really just can’t cool it with the Cain and Abel theme naming) and family tree history. Follows the Trask family through Adam’s childhood, tumultuous relationship with his brother, even worse relationship with his wife, and horrible parenting of his children. The end (which is what the film adaptation covers) is more centered on his son Cal Trask grappling with the idea that he might be evil because of his genetics, or something. I think that’s an argument you could make of Monomi, being related to Monokuma (or at least, how i’m sure she’d feel).

#danganronpa #ok to rb

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college-girl199328 · 2 years ago

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1 woman's story of rape convinced all Weinstein trial jurors

Most of the jurors at Harvey Weinstein's Los Angeles trial were ready to convict him of crimes related to three of the four women he was charged with raping or sexually assaulting. Yet after weeks of deliberation, the eight men and four women voted unanimously to convict him of crimes against only one: a Russian-born model and actor known as Jane Doe 1. She lived in Rome and was visiting California for a film festival at age 34 in 2013 when she said the now-disgraced film mogul appeared uninvited at her Los Angeles hotel room door in the middle of the night.

The jurors were released from service and allowed to talk publicly after more than two months on Tuesday when they could not reach a unanimous decision on two aggravating factors that might have made for a higher sentence. Their deliberations took nine days, spanning more than two weeks, but those who spoke to reporters said the talks were never contentious. Weinstein was found guilty of one count of rape and two counts of sexual assault against Jane Doe 1. He now faces up to 18 years in prison in California to go with a 23-year sentence for a rape and sexual assault conviction in New York.

Jurors said that Jane Doe 1's composure and the fact that she did not contact Weinstein after he raped her allowed the divided group to reach consensus on her accusations. "I thought Jane Doe 1 was very convincing in her story," said one juror, a 62-year-old man who works in banking and only provided his first name, Michael, because he sought to maintain privacy amid the publicity surrounding the case.

The physical and technical evidence surrounding Jane Doe 1 was some of the thinnest at the trial, but jurors were told that under the law if they found an accuser's story credible, that alone could be enough to convict. They acquitted Weinstein on a count of sexual battery against a massage therapist. They were deadlocked, with 10 of the 12 voting for guilt on a count of sexual battery against model Lauren Young and voting 8-4 in favor of conviction on rape and sexual assault counts involving Jennifer Siebel Newsom, a documentary filmmaker, and wife of California Gov. Gavin Newsom.

The Associated Press does not name people who have said they were sexually abused unless they come forward publicly or have given consent through their attorneys, as Young and Siebel Newsom have. Jane Doe 1 was the only one among them who had no further direct dealings with Weinstein or his representatives after the incident. She testified that she barely knew who he was, having been introduced only briefly at the film festival, and wanted nothing from him. Others, including Siebel Newsom, had friendly email exchanges with Weinstein or sought out future meetings after their incidents, a point the defense pounded in their cross-examinations and closing arguments.

That resonated with some jurors. Michael said he voted to convict on the Jane Doe 1 counts but reluctantly voted to acquit on the counts involving Siebel Newsom. The difference, he said, was the woman's "subsequent action."

"In a 2 1/2-year period, she had sent Mr. Weinstein over 35 emails," he said of Siebel Newsom. "She wanted access to Harvey Weinstein." It sounded like she wanted access to a lot of his resources. It raised a reasonable doubt in my mind. Weinstein has repeatedly denied engaging in any non-consensual sex. His lawyers called some of the encounters in the charges consensual and others flat-out fabricated, including the story told by Jane Doe 1. They pointed out that prosecutors had not even produced independent evidence to place Weinstein at her hotel.

"Jane Doe 1 is lying. Period," Weinstein's lawyer Alan Jackson said in his closing argument. One juror suggested that the broad statement was undermined by defense arguments that engaged with the details of Jane Doe 1's account.

"I think Jackson’s last comment, where Harvey just wasn’t there, hurt him," said the juror, Arnold Esqueda, who works as director of security for the Los Angeles Department of Water and Power. "They were defending all these things, and then they just say he’s not there." They should have just said he wasn't there. He said he and other jurors made that point to a "very old school" man on the jury who "decided that he was going to vote guilty on that one." "On the rest, he remained largely innocent."

While tearful at times, Jane Doe 1's testimony was restrained and straightforward in comparison to some that followed. She spoke slowly with a Russian accent and made nearly no use of the translator on hand. Esqueda said the intensely emotional testimony of Siebel Newsom, who was screaming through tears at times during her testimony, might have been too much for some fellow jurors. The panel was divided 6-6 on the counts involving her when he suggested getting a read-back of her testimony from the court reporter.

"She had a little drama," Esqueda said. "So I suggested let’s re-read it, and I think after we read it, it switched a couple of people in her favor, without the drama." Changes over time in the massage therapist's story helped lead jurors to acquit on that count, Michael said.

Judge Lisa Lench tentatively scheduled Weinstein's sentencing for Jan. 9 after his attorneys asked that it be done promptly. But Lench said it might not happen so quickly given the issues surrounding the case, including the prosecutors' pending decision on whether or not to retry the deadlocked counts.

"We'll need to consult the victims first and foremost," Deputy District Attorney Paul Thompson said. He asked the judge if other Weinstein accusers, including some who testified against him at trial but were not part of the charges and the women whose counts were deadlocked, might give victim impact statements at the sentencing.

Lench promptly rejected the idea. "I’m not going to make this an open forum on all of the allegations that were presented in this trial," she said.

“So it'll just be Jane Doe 1, then," Thompson replied.

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capstagewolves · 6 years ago

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Script Glossary

PAGE 11 (for more about the Khmer Rouge, Pol Pot, and Nuon Chea’s trial, check out Daniel’s research)

Phnom Penh

Capital of Cambodia

PAGE 15

Khmer Rouge

Followers of the Communist Regime in Cambodia, responsible for killing up to 3 million Cambodians (about 1/3 of the total population of the country)

PAGE 26

Striker

Fast and agile players largely in charge of scoring goals

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Nuon Chea

Second-in-command of the Khmer Rouge, arrested in 2007

College showcase tournament

Tournament games that are coordinated with college team coaches to watch prospective college student players for recruiting

PAGE 28

Amnesty International

Non-profit whose mission is to preserve human rights globally

PAGE 34

ESL

English as second language

PAGE 35

Pro bono

Professional work undertaken for a significantly lower price or free

PAGE 45

Yurt

A round, semi-permanent tent. They have become modernized in recent year.

PAGE 47

Tufted titmouse

PAGE 53

ACL (Anterior Cruciate Ligament)

A ligament in the knee, frequently injured in sports and almost always requiring surgery when it's torn

Bushtit

PAGE 65

mark your man

Soccer strategy in which players are assigned opposing players to shadow for the duration of the game

PAGE 68

U17

Youth soccer divisions are arranged by age group, with the division number being the second of the two ages in the group (U17 = Ages 16-17, U16 = Ages 15-16, etc.)

PAGE 70

Abu Ghraib

Refers to Abu Ghraib prison, an Iraqi prison that from 2003-2006 was used by US-led coalitions as a detention center and torture site

PAGE 78

Midfielder

Players who occupy the middle of the field, in charge of either defending or scoring

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breakaways

When a player approaches the goal undefended; 1 on 1 between them and the goalie

2-2-1

youtube

PAGE 83

Bicycle kick

When a player kicks a ball that is in midair backwards. The player is completely off the ground when it happens.

youtube

PAGE 86

ID camp

Training camps that give players the chance to train with college coaches, and colleges a chance to evaluate players for recruiting

PAGE 87

Side tackle

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PAGE 88

ECNL (Elite Club National League)

A national competitive soccer league for women’s soccer

PAGE 91

Bucknell University

A private liberal arts college in Pennsylvania with about 3,600 students

PAGE 93

ODP (Olympic Development Program)

A soccer program used to identify players of high skill at multiple age levels in the hopes of having large well of talent for the national team

PAGE 97 (for a more in-depth look at the places #46 has lived, check out #46′s travelogue)

Jakarta

The capital and largest city of Indonesia

Krakow

Second largest and one of the oldest cities in Poland

La Paz

City in Bolivia (South America)

Kampala

Capital of Uganda

PAGE 112

“Don't you have the guts to do what you think is right?”

A line from 12 Angry Men, the 11th Juror (fun Easter egg: Another play in which characters are referred to by number...)

#soccer #glossary

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wikitopx · 5 years ago

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Gender: Masculine

Usage: English

Pronounced: HEHN-ree

[toc]

1. Meaning of the name "Henry"

The German name Heimirich means "ruler of the house", which includes the elements "heim" home "and the ric" ruler ". It was later spelled Heinrich, with the spelling changed due to the influence of other German names like Haganrich, in which the first element was the "besiege" of Hagan.

Heinrich is famous in the continental royal family, the name of the seven German kings, starting with the 10th century Henry I the Fowler, and the four French kings. In France, it is usually taken from Henri from Latin.

The Normans introduced the French form to England and it was later used by eight kings, ending with the infamous Henry VIII in the 16th century. In the later Middle Ages, it was quite common and often represented is either Harry or Herry in the English pronunciation.

2. Variation of the name "Henry"

Hal:

Gender: Male

Origin: English

Meaning: Army Ruler

Hal is a name that's been used by parents who are considering baby names for boys. Diminutive form of Harold.

Hank:

Gender: Male

Origin: American

Meaning: Ruler Of The Home

The name Hank means Ruler Of The Home and is originally from America. Hank is a name that's been used by parents who are considering baby names for boys. Diminutive form of Henry. Hank Aaron, baseball player. Hank Williams, Jr., singer/songwriter.

Harry:

They would rather focus on big, important issues and delegate details. People with this name are great at analyzing, understanding and learning. Because they live a lot in the mind, they tend to be quiet and introverted and often introverts.

When presented with issues, they will see the bigger picture. Their thoughtfulness and alone analysis of people and world events can make them seem aloof, and sometimes melancholy.

3. Top 3 Famous Person Named Henry

Henry Cavill:

Henry William Dalgliesh Cavill (/ kævəl /; born May 5, 1983) is an English actor. He began his career with roles in adaptations from The Count of Monte Cristo (2002) and I Capture the Castle (2003).

Later, he appeared as a supporting role in many dramas, including the BBC's The Inspector Lynley Mysteries, the ITV Mediator Killer, and The Showtime Tudors. He has appeared in many major Hollywood movies, such as Tristan & Isolde (2006), Stardust (2007), Blood Creek (2009), and Immortals (2011).

He continued to participate in the action spy film The Man from U.N.C.L.E. (2015) and Mission: Impossible - Fallout (2018). In 2019, he started starring Glem of Rivia in the Netflix fantasy television series The Witcher.

Henry Fonda:

Henry Jaynes Fonda (May 16, 1905 - August 12, 1982) was an American film and theater actor with a career spanning five decades in Hollywood. Fonda has fostered a strong, captivating screen image in a number of films now considered classics, winning an Oscar for Best Actor on two nominations.

Fonda soon made his mark as an actor on Broadway and launched his Hollywood movie in 1935. His film career began to take on roles like Bette Davis's fiancee in the award-winning role.

Her Oscar in Jezebel (1938), Frank's brother in Jesse James (1939), and Future President in Young Lincoln (1939), directed by John Ford. His early career culminated with an Oscar-nominated performance as Tom Joad in The G Nho of Wrath, about a family in Oklahoma who moved to California in Dust Dust 1930s.

This film is considered to be one of the greatest American films.

In 1941, he starred with Barbara Stanwyck in the classic baseball comedy The Lady Eve. The book that ended his service during World War II was his critically acclaimed lead role in two westerns: Ox-Bow Events (1943) and My Darling Clementine (1946), later played by John. Ford directed, and he also starred in Ford's western Fort Fort (1948).

After seven years of filmmaking, while Fonda focused on stage production, he returned to the WWII war convoy Mister Roberts (1955). In 1957, he starred as Juror No. 8, the jury, in 12 Angry Men, an important success and is now considered a semi-final film.

Fonda, who is also a co-producer, won the BAFTA Award for Best Foreign Actor.

Henry Kissinger:

Because of the ceasefire negotiations in Vietnam, Kissinger received the Nobel Peace Prize in 1973 in controversial circumstances, with two of the committee members resigning to protest. Kissinger then sought, unsuccessfully, to return the prize after the ceasefire failed.

A Realpolitik practitioner, Kissinger, played a prominent role in US foreign policy from 1969 to 1977.

During this period, he pioneered Détente's policy with the Soviet Union, which arranged opening relations with the People's Republic of China, engaging in what is known as a shuttle diplomat in the Middle East to end the Yom Kippur War and negotiate the Paris Peace Accords, ending American involvement in the Vietnam War.

After leaving the government, he formed Kissinger Associates, an international geopolitical consulting firm. Kissinger has written over a dozen books on the history of diplomacy and international relations.

Kissinger remains a controversial and polar figure in American politics, both being journalist, political activist and human rights lawyer, as well as some of China's famous international relations scholars. States condemned. Along with George Shultz, he is one of the two surviving members of Nixon's Cabinet.

More ideals for you: Top 500 Indian Names

From : https://wikitopx.com/name-meanings/henry-name-meaning-712051.html

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parvinasseaynk72insurance-blog · 5 years ago

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Lexus IS Cheap Insurance

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evanthom-blog1 · 6 years ago

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Murder! Rhetorically Speaking

Detective Report

I was called to the scene around 10:45 PM on June 6, 2010. Apparently, the body had been discovered a few minutes earlier, at 10:37 PM. It took me a few minutes to arrive at the scene, which was a parking garage. There was a large amount of blood. The victim, Mark Smith, was identified by his wallet, still in his pocket at the time of his death. It seemed as if nothing had been stolen from him, judging by the fact that he still had his Rolex watch on his wrist and the amount of cash in his wallet. The victim had over $500 in cash. He had endured at least 6 stab wounds to the chest, but the more striking aspect of the scene was the fact that the victim was missing both middle fingers. Motive still unknown.

1. I began with stating the facts given to me in the reading and ended with the motive still being unknown.

2. I added the details that he still had all his cash and belongings. I also added the fact that he was missing both middle fingers. I did this, so the reader knows it wasn’t a robbery, and so they are forced to think why the suspect would cut off the fingers. I omitted no details.

3. I used words that I thought were professional and a little dry.

4. I used a direct/straightforward tone.

5. I ordered the information in a way I thought made sense and flowed well.

6. I based my writing off what I’ve seen in TV shows and movies.

Coroner Report

I received the body of 40-year-old Mark Smith at approximately 11:15 PM on June 6th, 2010. Based off the level of oxygen in the victim’s blood, I’d have to guess he was murdered between 9 PM and 9:30 PM. He endured 6 stab wounds to the chest. He most likely died after the 2nd stab wound. The victim arrived at the coroner’s office missing both middle fingers, and they were not found at or around the scene. Perhaps they were taken by the killer as a souvenir.

Eulogy

Mark James Smith was a loving friend, father, and co-worker. Those who knew Mark can agree that his absolute favorite thing to talk about was his incredible son, James. Mark was truly a kind soul. Unfortunately, someone decided that this man should not live any further. In a truly cold-hearted and brutal act, Mark’s life was cut far too short at the age of 40. As per Mark’s wishes, his working organs will be harvested and put to use by another human. His ashes will also be spread on the property he learned to love the outdoors, his Grandparent’s old house. Mark’s legacy will be carried on by his son, James.

Closing Argument

Ladies and Gentlemen of the jury, we are gathered here today to hopefully put the defendant, Maria Smith, behind bars. Ex-wife of the victim Mark Smith, Maria decided to enact the ultimate form of revenge on Mark for obtaining full custody of their child, James. Somehow in Maria’s sick and twisted mind, the only way for her to become a mother again was to kill the father. Maria showed abusive properties to both her son and ex-husband. It is truly sickening that this child’s life is now completely turned upside-down due to a selfish and disgusting act by her “loving” mother. Maria claims she did this act for her son, even though her son claimed repeatedly that he wanted her to be in no part of his life. Please, jurors, let’s put this woman where she deserves to be: Prison.\

Discussion

1. I found the detective report easiest to write because I just had to write about the facts I was given.

2. I found the closing argument hardest to write because I had to come up with my own ending to the story.

3. Being able to understand the rhetorical situation for a text is extremely important. The audience is whoever you believe is most likely to read the text, and you must base your writing accordingly.

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loycereiber · 7 years ago

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Child Sexual Abuse Investigation

In rape and sexual abuse of child investigations, the detective will usually call the suspect to get her “side of the story.” After charges are filed, a defendant calls to ask me if the interview can be thrown out because the officer did not read her Miranda warnings. This is important for you to think about because as a child sexual abuse defense lawyer, you want to do everything you can to protect yourself before, during, and after the investigation phase.

Most people, because of crime shows, are very familiar with the Miranda warnings. But most do not realize that an officer does not have to read a suspect her Miranda warnings unless she is in custody. So, if the officer is questioning the suspect at her home, it is not likely that the officer needs to give any Miranda warnings.

If you are being questioned and are unsure if you are in custody or not, ask the officer if you are “free to leave.” If you are questioned without being Mirandized, but you were not in police custody, your interview is still admissible at trial.

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If a suspect is in the back of a police car or at the police station, she is in custody fo purposes of Miranda and the warnings must be given before an interrogation begins. If the officer fails to issue Miranda warnings, the interview will likely be tossed at a motion to suppress hearing, meaning the prosecutor cannot use the interview at trial.

If, however, the defendant testifies at her trial and she says something different than she said in the police interview, the prosecutor will be allowed to use the interview to impeach her. By talking to police, a suspect is potentially compromising her case. Don’t talk to the police. The police are not your friend, even if they are acting like they are. The prosecutor won’t deal with your case more leniently if you talk, even though the police will tell you this. You can always talk later –with the assistance of an attorney– if there is something you’d like the prosecutor to know.

If you are ever contacted by a detective for an interview, ask for a lawyer. The police have to stop questioning you until a lawyer is provided to you. Don’t compromise your rape or sexual abuse of a child case because of something you say.

Rape And Child Sex Cases At The Investigation Phase In Utah

Being investigated for rape or sexual abuse of a child? Too many make the mistake of waiting to hiring a lawyer. This is the most critical portion of the case sometimes. Police officers often tell suspects they don’t need a lawyer and that telling their side of the story will curry favor with the prosecutor.

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Nothing could be further from the truth. Giving a statement to the police locks you into a specific defense if they case goes to trial. You provide the prosecutor ammunition on cross-examination if you have spoken before. If your testimony varies at all from your interview with the police, the prosecutor will impeach you with the prior interview and tell the jurors that you are lying. And, the inconsistencies don’t have to be on major points. Something that you may think is insignificant may become significant at trial. Make sure that you ask for an attorney before giving an interview. You have a right to remain silent and the prosecutor cannot use that silence against you, such as “John Doe must be guilty because he refused to tell us his side of the story.” That is improper.

Once a rape or child investigation is completed, a warrant will go out and you could be picked up. A rape or sexual abuse of a child case is a high priority case for law enforcement and officers are going to focus on picking up these individuals once charges are filed.

If you have an attorney, most times the detective will work with your attorney to do a surrender. Before going into court, the “wheels are greased” and a release or bail reduction is already worked out. Remember, it’s easier to stay out of jail than to get out of jail.

Don’t make the mistake of waiting to call an attorney after the prosecutor decides to file charges. Hire a competent lawyer to help you through the process.

Free Consultation with Child Sexual Abuse Defense Lawyer

When the police are coming after you for child sexual abuse or rape crimes, call us for your free consultation (801) 676-5506. We want to help you.

Ascent Law LLC8833 S. Redwood Road, Suite CWest Jordan, Utah 84088 United StatesTelephone: (801) 676-5506

Ascent Law LLC

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Source: http://www.ascentlawfirm.com/child-sexual-abuse-investigation/

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sherristockman · 7 years ago

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Mental Turmoil: Depression Treatment Drives Users to Murder, Suicide Dr. Mercola By Dr. Mercola After taking GlaxoSmithKline’s Paxil for just two days, retired oilman Don Schell brutally murdered his wife, daughter and 10-month-old granddaughter in the middle of the night before turning the gun on himself. The murders, which took place in 1998 in Gillette, Wyoming, shocked neighbors who couldn’t understand why Schell, who had no history of violence, appeared to have spontaneously killed the people in his life he loved the most.1 The bodies were discovered the following afternoon by Tim Tobin, the husband of Schell’s daughter Deb. After overcoming the shock of discovering such a gruesome scene, Tobin and other family members started to piece together what may have happened. The only thing that stood out was that Schell, who was a doting grandfather, had started taking Paxil just two days before the killings. At the time of the killing, he had taken just two tablets. Could Paxil have been responsible for driving Schell to murder his family? The featured film, “The Secrets of Seroxat,” explores the dark and tormenting side-effects of Paxil (known as Seroxat in the U.K.) and GSK’s attempt to conceal the drug’s negative effects. Paxil, the second most prescribed antidepressant next to Prozac, belongs to a class of drugs known as selective serotonin reuptake inhibitors (SSRIs).2 SSRIs, mind-altering drugs designed to enhance serotonin levels in the brain, are prescribed for depression and a number of other conditions including anxiety, worry, irritability, muscle tension and fatigue. A Craving for Antidepressants Some say antidepressants have helped them live normal lives. Others say the drugs are nothing short of a terrible nightmare. The featured film dives into the details of Paxil, interviewing users who report horrible side effects including self-harm and unbearable withdrawal symptoms. The film also follows the landmark court case that found GSK and its antidepressant Paxil responsible for causing Schell to murder his family. The first story is of 22-year-old Helen Kelsall, who was prescribed Paxil for panic attacks. After being on the drug for more than four years, Kelsall decided she wanted to come off it. But when she tried, she suffered intense symptoms of withdrawal including headaches, muscle cramps, nausea, sweating, trembling and feelings of electric shock in her head. The drug’s maker, GSK, insists that withdrawal symptoms subside and that addiction to Paxil is an impossibility. In fact, that’s one of the drug’s strongest selling points. But many Paxil users, including Kelsall, disagree. In 2001, GSK was hit with a major lawsuit by plaintiffs who claimed they became chronically addicted to Paxil after being prescribed the drug for mild depression or anxiety. The dozens of plaintiffs, among which included a website designer, bank fraud investigator and senior air force officer, say that upon trying to quit Paxil they “suffered violent and disturbing symptoms, including jolting pains in the head, vertigo, loss of coordination, abdominal discomfort, flu symptoms, agitation and confusion,” according to The Guardian.3 Like Kelsall, the plaintiffs allege they were never informed about the possibility of becoming addicted to Paxil. The Nightmare You Cannot Wake Up From Kelsall’s Paxil story is captured on video as the young woman documents her journey to quit the drug, videotaping her most unbearable symptoms of withdrawal. Kelsall, who during the film is in the third year of her master’s degree, says the higher education she’s worked so hard for is at risk of being ripped away due to her addiction to Paxil. “As I take each step, there’s a shock in my head that’s completely throwing me off balance,” says Kelsall. Her withdrawal symptoms are so severe she’s forced to taper off the drug slowly rather than stop it completely. “Quitting makes me incredibly sick,” says Kelsall, who is shown cutting the potent drug in half in an effort to gradually decrease her intake. “If I knew this drug was addictive or was capable of causing the horrible side effects I now endure, I never would have taken it,” she says. As awful as the withdrawal symptoms are, other symptoms are even more concerning, including the ones Schell is believed to have suffered before hurting his beloved family. Paxil, like other SSRIs, is also linked to self-harm and suicidal and homicidal behavior. Ed Casey was in a band and recording singles when he started taking Paxil. Life was mostly good, except that, at times, Casey suffered from low self-esteem and bouts of depression. His doctors prescribed him Paxil, after which he began to change, becoming more introverted and moody. After just two weeks on the drug, Casey started showing signs of self-harm. He began to mutilate himself, burning cigarettes into his arms and slicing his flesh with razor blades. The behavior was new. Casey had never hurt himself before or had thoughts of hurting himself — that is until he started taking Paxil. When the Cure Is Worse Than the Original Complaint Other Paxil users, including healthy people with no history of depression, have experienced similar feelings of mental turmoil — a worrisome symptom GSK not only knew about, but declined to reveal. After the death of his wife and child, Tobin sued GSK, alleging that Paxil led Schell to kill his family. The drug company placed blame on Schell’s depression, denying any link between Paxil, aggressive behavior and homicidal tendencies. The lawsuit brought documents to light that GSK had kept secret for 15 years. A trove of archived files of clinical trial results was hidden away in Essex, a county east of England. The files detailed clinical trial results of Paxil on healthy people, in other words, individuals with no history of anxiety or depression. Dr. David Healy, an expert on SSRIs and director at North Wales Department of Psychological Medicine, was called in to review the files. Healy had been involved in another study looking at adverse effects of an SSRI similar to Paxil on healthy people. The study was conducted on healthy volunteers, which included general practitioners, senior nurses and consultant psychiatrists working in the North Wales Department of Psychological Medicine. What he observed is that when people were given the wrong drug, they went through a state of mental turmoil, ultimately becoming suicidal. Healy wondered if Paxil could have similar effects. Guilty of Murder The warehouse of archived files — some of which were missing — contained more than 250,000 sheets of paper. The task of learning what was in those files proved overwhelming. Still, in just two days, Healy read all of the documents outlining the effects of Paxil on healthy people. Some who went on the drug had no problems while others ended up in a state of mental turmoil; 1 in 4 suffered these side effects, even on normal doses and when taken for only a few days. Healy learned healthy people also suffered withdrawal symptoms when quitting Paxil — and GSK was well aware of it. Up to 85 percent of volunteers taking the drug for a matter of weeks suffered withdrawal, the documents showed. Healy’s conclusion? It wasn’t depression that made Schell murder his family. It was Paxil. The jurors agreed. To his surprise, Tobin won his lawsuit against GSK and was awarded $6.4 million in damages. It wasn’t the money Tobin was after, but rather the clearing of his step-father’s name, and hope that the verdict would protect others from falling victim to the same fate of his family. Tobin said: “I really just did want to win, to say, OK, the drugs did do it — what's everyone going to do now? And of course, there's been nothing. I honestly believe until it's somebody of importance it will be very difficult to get any changes. Here I am, a simple man from Montana. I'm not exceptionally rich or famous or anything. Who's going to listen to me?” Despite Guilty Verdict, It’s Business as Usual Despite losing the case, GSK maintains that there’s no evidence Paxil causes violence, aggression or homicide. Representatives for GSK are more concerned about the company than the welfare of people going on their drug, says the film’s narrator. After the verdict, GSK added a warning to the patient leaflets in Britain. However, the label avoided any mention of the link between Paxil and suicidal thoughts. Instead it read: “Occasionally, the symptoms of depression may include thoughts of harming yourself or committing suicide. Until the full antidepressant effect of your medicine becomes apparent, these symptoms may increase in the first few weeks of treatment.” Today, it’s business as usual for GSK, which filled some 15 million prescriptions for Paxil and paroxetine (a generic version of the drug) in the U.S. last year. One in 10 adolescents and adults aged 12 and over has filled a prescription for an antidepressant, and 1 in 7 adults over the age of 40 has done the same.4 GSK has paid out more than $1 billion to settle more than 800 different lawsuits related to Paxil, in addition to a $3 billion settlement with the U.S. Department of Justice for the illegal marketing of Paxil and other drugs. Yet Paxil has remained a “staple” in the psychiatrist’s arsenal. Offering Kids Candy to Take Antidepressants? Rather than address the issues associated with Paxil, GSK is looking to expand its prescription base, eying children as its newest customer. Children are being recruited right here in the U.S. to serve as test subjects for dangerous antidepressants and SSRI medications. The film features a private clinic in Texas called Bayou City Research, which conducts pharmaceutical research and trials on children and adolescents. Bayou City Research advertises for children through ads in the local newspaper, offering free cookies, travel reimbursements and, of course, free psychotropic drugs. In 2001, American child psychiatrist, Dr. Neal D. Ryan completed a GSK-funded study known as “Study 329,” on kids using Paxil.5 The good news, he said, is that depressed children did better on Paxil than an older drug and those who took sugar pills. The bad news? Ten out of the 93 children studied suffered serious psychiatric problems within weeks of going on the drug — and most of them had to be hospitalized. Five of the 93 children had suicidal thoughts and gestures, while another five had serious psychiatric side effects. Despite such findings, rather than warn doctors about side effects such as suicide, GSK has encouraged them to prescribed Paxil to teens and children, citing their own research showing the drug is safe and effective for teens. Industry Research Refuted by New Study Reanalysis of the original data in Study 329 found that Paxil was neither safe nor effective for teens. In fact, its effectiveness, both clinically and statistically, was right on par with placebo. It also found that serious side effects such as suicidal tendencies were mislabeled and misrepresented. As it turns out, the elevated risk for suicidal ideation was only gleaned by digging into the actual patient files, where the exact nature of the behavior was recorded. In terms of harms, the difference between Paxil and placebo was “striking,” according to the researchers. Severe adverse events were 260 percent more frequent on Paxil compared to placebo, psychiatric adverse events were 400 percent more frequent, and suicide was 10,300 percent more frequent. During the eight-week-long study, 11 individuals in the Paxil group engaged in suicidal behavior, compared to just one in the placebo group. Despite evidence of harm in children and adolescents, preschoolers and children 18 and younger are the fastest growing group on antidepressants.6 As for adults, 1 in 6 Americans is prescribed some type of psychiatric drug; the majority of which are on the drugs for the long term.7 Natural Options for Treating Depression Fortunately, there are many other ways to deal with anxiety and depression that do not involve unsafe drugs. There's a growing acceptance that the mind-body connection is very real, and that maintaining good physical health can significantly lower your risk of developing depression in the first place. Here are several strategies that have been shown to be helpful: Dramatically decrease your consumption of sugar (particularly fructose), grains and processed foods. (In addition to being high in sugar and grains, processed foods also contain a variety of additives that can affect your brain function and mental state, especially MSG and artificial sweeteners such as aspartame.) There's a great book on this subject, “Sugar Blues,” written by American writer and news desk assistant editor William Dufty more than 30 years ago, that delves into the topic of sugar and mental health in great detail. Increase consumption of probiotic foods such as fermented vegetables and kefir made from raw, grass fed milk, to promote healthy gut flora. Mounting evidence tells us that having a healthy gut is profoundly important for both physical and mental health, and the latter can be severely impacted by an imbalance of intestinal bacteria. Avoiding sugar will also help toward this end. This is especially important during pregnancy, because if mother's flora is abnormal, her baby's flora will also be abnormal. Get adequate vitamin B12. Vitamin B12 deficiency can contribute to depression and affects 1 in 4 people. Optimize your vitamin D level, ideally through regular sun exposure. Vitamin D is very important for your mood. In one study, people with the lowest levels of vitamin D were found to be 11 times more prone to depression than those who had normal levels. Get plenty of animal-based omega-3 fats. DHA and EPA are crucial for good brain function and mental health. Unfortunately, most people don't get enough from diet alone. If you do not regularly eat wild-caught salmon, sardines or anchovies, consider taking a high-quality animal-based omega-3 fat such as krill oil. Dr. Andrew L. Stoll, a Harvard psychiatrist, was one of the early leaders in compiling the evidence supporting the use of animal based omega-3 fats for the treatment of depression. He wrote an excellent book that details his experience in this area called "The Omega-3 Connection: The Groundbreaking Antidepression Diet and Brain Program." Evaluate your salt intake. Sodium deficiency actually creates symptoms that are very much like those of depression. Make sure you do not use processed salt (regular table salt), however. You'll want to use an all-natural, unprocessed salt like Himalayan salt, which contains more than 80 different micronutrients. Get adequate daily exercise, including high-intensity exercise, which is one of the most effective strategies for preventing and overcoming depression. Studies on exercise as a treatment for depression have shown there is a strong correlation between improved mood and aerobic capacity. Get adequate amounts of sleep. You can have the best diet and exercise program possible, but if you aren't sleeping well you can easily become depressed. Sleep and depression are so intimately linked that a sleep disorder is actually part of the definition of the symptom complex that gives the label depression.

#VitalityPath

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krakowergroup · 7 years ago

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PR: The Foreigner

SONY MUSIC RELEASES The Original Motion Picture Soundtrack of THE FOREIGNER

Music by Grammy® Nominated Composer Cliff Martinez Available Digitally and on CD October 13

Sony Music proudly announces the release of THE FOREIGNER (Original Motion Picture Soundtrack) with the music by Grammy® nominated composer Cliff Martinez (Drive, TV’s The Knick). The soundtrack will be released digitally and on CD on October 13th, 2017. THE FOREIGNER from STXfilms opens in U.S. theaters the same day.

“This is a unique score for me - my first time doing a score for a nonstop action film,” said Martinez. “Director Martin Campbell trusted me and left me alone to do what I do best. The music is all electronics with a couple of hardware synthesizers - it’s really dark and tense.”

THE FOREIGNER, starring Jackie Chan and Pierce Brosnan, is a timely action thriller from director Martin Campbell, about a humble London businessman Quan (Jackie Chan), whose long-buried past erupts in a revenge-fueled vendetta when the only person left for him to love - his teenage daughter - is taken from him in a senseless act of politically-motivated terrorism. In his relentless search for the identity of the terrorists, Quan is forced into a cat-and-mouse conflict with a British government official (Pierce Brosnan), whose own past may hold clues to the identities of the elusive killers.

Martinez added, “There’s a recurring theme in the film where Jackie [Chan] keeps wiping the floor with these young bodyguards and keeps saying, in essence, ‘I can’t believe you guys can’t handle an old man’. I found out that Jackie and I are only a few months apart in age. I hope you young guys can handle us old men!”

ABOUT THE COMPOSER: Cliff Martinez, who was born in the Bronx but raised in Ohio, moved to California in 1976 landing in the middle of the punk movement. After stints as the drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, and the final incarnation of Captain Beefheart and the Magic Band, Martinez joined the Red Hot Chili Peppers (playing on the band’s first two albums) and later the Dickies. It was during his tenure with the Chili Peppers that Cliff began exploring the new technologies of that era, which would eventually guide him towards the film music world.

A tape Martinez had put together using these new technologies made its rounds, leading him to score an episode of Pee-Wee’s Playhouse. The same recording also ended up in Steven Soderbergh’s hands and Martinez was hired to score the famed director’s first theatrical release 1989’s sex, lies, and videotape. Martinez’s longstanding relationship with Soderbergh has continued through the years and they have worked together on ten theatrical releases including Kafka, The Limey, Traffic, Solaris, Contagion and the critically acclaimed TV series The Knick.

Perhaps it is because of his time in the punk scene that Martinez’s approach to scoring is nontraditional. His scores tend towards being stark and sparse, utilizing a modern tonal palette to paint the backdrop for films that are often dark, psychological stories like Pump Up the Volume (1990), The Limey (2009) Wonderland (2003), Wicker Park (2004), and Drive (2011). Martinez has been nominated for a Grammy Award (Steven Soderbergh’s Traffic), a Cesar Award (Xavier Giannoli’s A L’origine), and a Broadcast Film Critics Award (Drive). His score for The Neon Demon was awarded Best Soundtrack at the 2016 Cannes International Film Festival.

Still the drummer at heart, Martinez’s use of audio manipulations, particularly for percussive sounds, has been evolving through the years and is evident by the hammered dulcimer of Kafka (1991), the gray-areas between sound design and score for Traffic (2000), the steel drums and textures of Solaris (2002), what Martinez called ‘rhythmi-tizing pitched, ambient textures�� of Narc (2002), and ‘using percussion performances to trigger and shape the rhythmic and tonal characteristics of those ambient textures,’ as he described his score for 2011’s The Lincoln Lawyer.

Cliff Martinez was inducted into the Rock and Roll Hall of Fame in April 2012 with the Red Hot Chili Peppers. He earned the prestigious Richard Kirk Lifetime Achievement award from BMI in 2013. Martinez served as a juror for the 2012 Sundance Film Festival and served on the International Feature nominating committee for 2011 Film Independent Spirit Awards. Martinez’s recent films include Nicolas Winding Refn’s The Neon Demon, Robert Redford’s The Company You Keep, Nicholas Jarecki’s Arbitrage, and Harmony Korine’s Spring Breakers (co-composed with Skrillex). His second film with Drive director Nicolas Winding Refn, Only God Forgives, earned Martinez a 2014 Robert Award (Danish Academy Award). His upcoming projects include Game Night (directed by John Francis Daley and Jonathan Goldstein).

THE FOREIGNER (Original Motion Picture Soundtrack) Tracklist: 1. Landscape Gardener 2. Spit It Out 3. Wired to Blow 4. He Jumped Off the Roof 5. I Wouldn't Count on It 6. Daughters Room 7. Another Bombing 8. That's Where I'd Be 9. Your Mole is Hugh McGraw 10. Three Second Wonder 11. Put Your Bag on the Table 12. She Used You 13. X-Rays Down 14. Clean Up Your Mess 15. Observe and Report

For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter

#soundtrack cliffmartinez

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vileart · 8 years ago

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Enterprise Dramaturgy: Brian Parks @ Edfringe 2017

Americana Absurdum Productions Proudly Presents

Enterprise

VENUE: Studio Two - Assembly George Square Studios, George Square, EH8 9LH

TIME: 1:35pm

DATES: 3rd -28th August (not 14th or 22nd)

PRICES: Weekend £11-£10. Weekday £10-£9. Previews @ £8

TICKETS: 0131 623 3030 / http://ift.tt/M4NaXC

AGE RESTRICTION: 14+

Originality and ‘Enterprise’ abound this August as the Fringe sets itself for the UK premiere of Fringe First winner and internationally acclaimed playwright Brian Parks’ brand-new, fast-paced and surreal comedy.

With their corporation on the brink of collapse, four panicking businessmen have one desperate night to save their futures. Emergency proposals, email hacking, animal sacrifice – will any of it work?

Landry, Owens, Sanders, and Weaver arrive at their office on what seems to be an ordinary day in their corporate skyscraper. But their morning takes a dramatic turn when Owens starts to smell—literally smell—the collapse of the company’s stock price. Soon the Board of Directors is in meltdown, and the four middle-managers band together with twenty-four hours to rescue the company, and themselves. It’s a project that takes them deep into a bizarre night that involves espionage, hypnotism, and, perhaps, an imp. But what will all their fates be the next morning?

The hour-long play is told in forty-five quick-moving scenes and takes the office comedy in a wonderfully odd new direction. Enterprise is a play in the spirit of Parks’ comedies Goner and Americana Absurdum, the latter of which helped launch the New York International Fringe Festival in 1997, where it also won the Best Writing Award. It went on to win a Fringe First award at the Edinburgh Festival Fringe, and became the first play produced by London’s Menier Chocolate Factory theatre.

What was the inspiration for this performance?

I’ve always loved the way people in business suits look onstage – there’s something very clean and sculptural about it. So I decided a while back that I wanted write a play where all the characters are wearing business suits. That general original impulse eventually became “Enterprise,” a semi-absurd comedy about four business people trying desperately to save their collapsing company overnight. We’re performing it at Assembly George Square Studio 2. It’s the fifth project I’ve had at Assembly, and I’m eager to be back.

Is performance still a good space for the public discussion of ideas?

Of course. Though I’m not sure “Enterprise” is exactly burdened with ideas!

How did you become interested in making performance?

At some point I discovered that I had a certain facility with dialogue, plus theater allowed for a kind of strangeness that I like. I also really enjoy the energy that a good play can create in a room. That’s something I’m always after both as a writer and as an audience member. The first play I ever really liked was also an inspiration: a production of “Rosencrantz and Guildenstern Are Dead” at Wayne State University in Detroit. Many years later I learned that the play was first staged at the Edinburgh Festival Fringe, so there’s a nice connection there.

Is there any particular approach to the making of the show?

My intention was to have the production by very simple physically, and then let the great comic actors have fun with it. This one is told in many brisk scenes.

Does the show fit with your usual productions?

It fits in with one wing of the plays I write: fast-paced, surreal/absurd comedy. “Enterprise” is a bit similar in style to my plays “Americana Absurdum” and “Goner,” both of which we did in Edinburgh at Assembly. Both were well-received – “Americana Absurdum” won a Fringe First. Hopefully folks will like this one too. If not, well, it’s short.

What do you hope that the audience will experience?

That they’ll come away changed people. No – scratch that. That’s creepy. Could get sued by their families if that happened.

What strategies did you consider towards shaping this audience experience?

The theater’s shape is rectangular. The audience will have a good, rectangular experience.

BRIAN PARKS (playwright) is an American playwright whose work has been produced in New York City as well as several cities across the U.S. The plays have also been produced worldwide from London to Berlin to Adelaide and beyond. His other plays include American Absurdum, Goner, American Poodle (Splayfoot) and Imperial Fizz, all of which have garnered top critical acclaim at the Edinburgh Festival.

In New York City, he has worked with various theatre companies, including the Present Company and Clancy Productions and has had his plays published; Imperial Fizz by Josef Weinberger, Ltd., London, and The Invitation in the collection Plays and Playwrights 2010 by the New York Theater Experience, Inc. He has also served as the theatre editor of The Village Voice in New York City, and as Chairman of the Obie Awards. He holds an M.F.A. in Playwriting from Brooklyn College and has been a playwright in residence in his own residences.

DAVID CALVITTO (director). 2017 marks David’s 14th Edinburgh Fringe since 2000, acting in 19 different plays and directing twice, including seven Fringe First winning-shows at the festival; Americana Absurdum (2000), Horse Country (2002), Fatboy (2004), Screwmachine/eyecandy (2005), The Exonerated (2005), The Event (2009-producer) and The Christians (2015).

Besides his on-stage work, David has directed in the US, the UK and in Australia, including two site specific immersive theatre productions: The Hunchback of Notre Damn at 900 year-old Selby Abbey in Yorkshire, and Macbeth in London at the Clerkenwell House of Detention, which is haunted and where he recorded a ghost on film. Other directing credits include The Half by Richard Dormer, Brian Parks’ American Poodle - Splayfoot, Specter, The Conversation, A Streetcar Named Desire, True West and American Buffalo.

As an actor at the Edinburgh Fringe, David has been nominated three times for The Stage Best Actor award and once for Best Solo Performer, winning best actor for his role in Horse Country in 2002. In 2011, he was named the Best Theatre Performer of the Adelaide Fringe Festival for his performance in The Event by John Clancy and was given a statue and an envelope stuffed with $500 in cash and felt like the bride at a Mafia wedding. In 2004, he starred in Guy Masterson’s production of 12 Angry Men, laughing a lot and in a bit in awe of Bill Bailey, Stephen Frost, Andy Smart, Steve Furst, Ian Coppinger, Jeff Green, Owen O’Neill, and comedian turned movie star, Dave Johns.

In 2013, David starred as Juror 2 in a completely different production of 12 Angry Men, this one in London’s West End at the Garrick Theatre with Martin Shaw, Tom Conti and the late great Robert Vaughn.

CAST

BRIAN DYKSTRA (Landry) is an actor, playwright, and HBO Def Poet. He is the only person (other than Mos Def) to appear on HBO Def Poetry and Chappelle’s Show in the same season, appearing in the premiere episode as Dave Chappelle's “White Hand Man” in the infamous “Blind Hatred” sketch. Season one is still the biggest selling DVD in history.

Acting credits include Americana Absurdum by Brian Parks, Johnny “Rooster” Byron in the first (and so far only) professional regional theatre production of Jerusalem in the U.S., Mark Rothko in Red, LBJ in All The Way, Eddie Carbone in A View From The Bridge, and Shakespeare’s Sir Toby Belch, MacDuff, Claudius, Capulet, and Benedick. He appeared on Broadway with Tom Hanks in Lucky Guy written by Nora Ephron and directed by George C. Wolfe.

As playwright, he wrote and starred in his play Clean Alternatives in four productions including the Edinburgh Fringe 2006 where the play was awarded a Fringe First Award. Other plays of his include Hiding Behind Comets, The Two of You, Strangerhorse, Forsaking All Others, A Play On Words and Silence! His latest play, Education is slated to open in NYC in March of 2018 at 59E59. He is a Lark Play Development Center Core Artist and awards include a National Theatre Conference Stavis Award, a Lester Bangs First Person Journalism Award, an End of the World As We Know It award for poetry, and was named a Distinguished Alumnus from California State University.

His political stand-up / solo-shows, Cornered and Alone, The Jesus Factor and Selling Out have been sold-out hits in NYC and LA.

http://ift.tt/2s0WieR

JONATHAN FISHMAN (Owens) has performed in and directed numerous plays over his theatrical career across the US and internationally. This production of Enterprise reunites him with Brian Parks, having appeared in the premiere production of Brian’s Vomit & Roses at NADA in New York City, and then multiple roles in Parks’ Wolverine Dream, the two one-acts that make up Americana Absurdum. Born in England but raised in the US, Jonathan spent five years as ensemble member of the Present Co., a Manhattan based theatre collective started by multiple-fringe first winners Obie Winnerand John Clancy, along with his wife Nancy Walsh, where he starred in John Clancy’s The Paper Man and Don Nigro’s evening of one-acts Nigromantia, both directed by Mr. Clancy. He is a founding member of the New York International Fringe Festival which recently celebrated 20 years as New York’s premier fringe festival. He recently appeared as Jerry in the razor-sharp black political comedy Spin by Robert William Sherwood (Women’s Theater Company, Parsippany Playhouse), Mickey in David Rabe’s Hurlyburly (UC Performing Arts Center), Charlie Fox in David Mamet’s Speed-The-Plow (Cranford Theatre) and George Hay in Moon Over Buffalo , for which he was nominated for the NJACT Perry Award Outstanding Lead Actor in a Play.

http://ift.tt/2rvDFMv

CHRISTOPHER CARLY (Sanders) starred as ‘Father Janovich’ in the feature film Gran Torino opposite Clint Eastwood and appeared in 2/3’s of Martin McDonagh’s Leenane Trilogy; first in the 1998 Broadway production of The Beauty Queen of Leenane in the role of Ray, and then off-Broadway in A Skull in Connemara in 2001. He has appeared on American television in The Crazy Ones (CBS), CSI: NY, House M.D (Fox), Law & Order: Special Victims Unit, The Sopranos (HBO), Veronica Mars and the recurring role of Jeff in the Aaron Sorkin NBC series Studio 60.

Christopher also performs stand-up comedy and will be appearing at different venues throughout the 2017 Edinburgh Festival.

Stand up: http://ift.tt/2s0GuIV (password: carley)

MATT BOSTON (Weaver)

This production marks Matt’s third collaboration with Brian Parks, having performed in the world premiere of his play, The House, and the ten-year New York Fringe Festival Anniversary production of his Americana Absurdum. He’s been seen in leading roles in most of the U.S’s top regional theatres, including the American premiere of Tom Stoppard’s The Invention of Love at A.C.T in San Francisco, the inaugural production of the Pulitzer Prize-winning play, Water By the Spoonful, by Quiara Alegria Hudes at Hartford Stage, and the premiere of Donald Margulies’ adaptation of God of Vengeance at ACT in Seattle. Most recently he originated the role of Shylock in District Merchants, a new adaptation of The Merchant of Venice by Aaron Posner at Folger Shakespeare Theatre. He was also kinda known as a child star, having appeared in over 70 episodes of the family classic Camp Wilderness on the ABC network in the 70’s. Since then he’s been clawing his way back into fame with roles on television in The Blacklist, Blue Bloods, Mysteries of Laura, Law and Order, One Life to Live and All My Children.

from the vileblog http://ift.tt/2rvOspX

#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

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