#Louis Kimball

[7pleiades7]

The Anger of Achilles (1819) by Jacques-Louis David (French, 1748–1825), oil on canvas, 10.53 × 14.5 cm, The Kimbell Art Museum, Fort Worth

[savage-kult-of-gorthaur]

THE AMERICAN HAMBURGER AS POP ART ICONOGRAPHY IN THE MID '60s.

PIC(S) INFO: Spotlight on a piece titled "Madame Hamelin" (2x) -- Altered painting by American animator/illustrator Ward Kimball (1914-2002), based on an oil painting by Jacques Louis David (French, 1748-1825). David painted his canvas between the years 1802-1810.

Sources: https://art-for-a-change.com/blog/2013/07/ward-kimball-art-afterpieces.html & Daily Art Magazine.

[svalleynow]

Former Marion County Warrior Signs with the NFL's New York Giants

Former Marion County Warrior Jacob Saylors is headed back to the NFL as he has signed with the New York Giants. The 23 year-old Saylors just finished playing for the St. Louis Battlehawks where he was the second leading rusher in the league with 461 yards on 94 carries. He scored 8 touchdowns, 5 on the ground and 3 receiving. Saylors had 23 receptions for 152 yards. Saylors was a three-sport…

[perfettamentechic]

15 ottobre … ricordiamo …

15 ottobre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Vaishali Takkar, attrice indiana. Debuttò nella serie televisiva Rishta Kya Kehlata Hai trasmessa dal 2015. Era fidanzata col dottore keniota Abhinandan Singh. Il loro matrimonio era previsto per giugno 2021, ma hanno annullato un mese dopo il loro fidanzamento. Si è suicidata, impiccandosi nella sua casa. Il suo corpo è stato ritrovato dal padre il giorno seguente. Un biglietto d’addio è…

[archinform]

Graceland Cemetery images

Photos by Roger Jones 2024

Dexter Graves tomb, "Eternal Silence" by Lorado Taft

Martin Ryerson tomb, Louis Sullivan, architect

William Kimball tomb

Goodman tomb, Howard van Doren Shaw, architect

Palmer tomb, McKim, Mead & White, architects

John Wellborn Root monument, DH Burnham and Co., architects

Samuel Klump Martin tomb

Lucius Fisher columbarium, sculpture by Richard Bock

John Spry Holmes tomb

Louis Henri Sullivan monument

Schoenhofen tomb

Hoyt tomb

Mausoleum

[kwebtv]

From the Golden Age of Television

Series Premiere

The Range Rider - Six Gun Party - Syndicated - April 5, 1951

Western

Running Time: 30 minutes

Writen by Samuel Newman

Produced by Louis Gray

Directed by George Archainbaud

Stars:

Jock Mahoney as The Range Rider

Dick Jones as Dick West

Elaine Riley as Sharon Miller

Earle Hodgins as John "Whiskers" Miller

Denver Pyle as Barney Kimball

Dick Curtis as Henchman Max

Wes Hudman as Henchman Pete

Al Wyatt as Sheriff

[filmfanaticfables1990]

Jacob’s Ladder (1990): A Descent Into Psychological Horror And Existential Mystery

Adrian Lyne’s Jacob’s Ladder is not just a film—it’s an experience. It grabs you by the psyche and drags you through a fragmented, nightmarish landscape, forcing you to question what’s real, what’s imagined, and what it means to be alive. For anyone who loves psychological horror with a dash of surrealism, this cult classic is a must-watch.

The story follows Jacob Singer, played with remarkable vulnerability by Tim Robbins, a Vietnam War veteran struggling with the aftermath of his experiences. Jacob’s life is fractured—he's caught between haunting flashbacks of the war, eerie visions in his present-day New York City life, and a growing paranoia that something is terribly wrong. The film unfolds like a jigsaw puzzle where the pieces seem to fit, only for the picture to change entirely with every new revelation.

What sets Jacob’s Ladder apart is its relentless atmosphere. Lyne’s direction creates an oppressive tension that permeates every scene. The film’s depiction of Jacob’s reality feels off-kilter, with nightmarish imagery that’s as subtle as it is disturbing. The infamous shaking heads, the shadowy figures lurking in the background, and the sense of being watched are all classic horror tropes, yet they feel fresh here because of how deeply they’re tied to Jacob’s mental state.

Thematically, the film explores the fragility of reality, grief, trauma, and the nature of death. It delves into the spiritual realm, drawing on concepts like the Tibetan Book of the Dead to frame Jacob’s journey. Is he navigating purgatory? Is this all a hallucination caused by PTSD or experimental drugs? Or is something more sinister at play? The film doesn’t spoon-feed you answers, which is part of its brilliance—it respects the audience’s intelligence and invites endless interpretations.

Visually, the movie is stunning in its grimness. The cinematography by Jeffrey L. Kimball captures both the mundane and the horrifying with equal weight. The gritty, rain-soaked streets of New York feel just as unnerving as the war-torn jungles of Vietnam. Coupled with Maurice Jarre’s haunting score, the film creates a sensory experience that lingers long after the credits roll.

Tim Robbins delivers one of his career-defining performances, making Jacob both relatable and tragic. You feel his confusion, his pain, and his desperation to find answers. The supporting cast, including Elizabeth Peña as Jacob’s girlfriend Jezzie, and Danny Aiello as his angelic chiropractor Louis, add depth and nuance to the narrative.

Jacob’s Ladder isn’t an easy watch. It’s emotionally heavy, visually unsettling, and refuses to give you a clean resolution. But that’s precisely why it’s so impactful. It’s the kind of movie that seeps into your subconscious, making you ponder its layers and implications long after you’ve turned off the screen.

If you’re in the mood for a film that challenges your perceptions, tugs at your heart, and leaves you questioning the nature of existence, Jacob’s Ladder is waiting for you. Just be prepared—once you step into Jacob’s world, it’s hard to come back unchanged.

[elsoldesantiago]

Anuncian programa piloto para usar combustibles diésel renovable en Ferry NYC

Por Ramón Mercedes NUEVA YORK.- Los comisionados en esta ciudad de los Departamentos de Transporte (DOT), Ydanis Rodríguez; de Servicios Administrativos (DCAS), Louis A. Molina, y el presidente y director ejecutivo de la Corporación de Desarrollo Económico (NYCEDC), Andrew Kimball, anunciaron que Staten Island Ferry y NYC Ferry comenzarán a probar el uso de combustible diésel renovable, una…

[lboogie1906]

Dora Jones, born Theodora Lawrence Jones (c. 1890 - March 1, 1972) in Athens, Alabama, was the daughter of former enslaved Plato Jones, a shoemaker and brickmaker, and Lazzie Garrett Jones. As a young girl attending a church-supported missionary school in Athens, she was a favorite of teacher Elizabeth Kimball. She was persuaded to follow Kimball to DC as her maid when she married Walter P. Harman. Harman soon took advantage of her and impregnated her. This was the beginning of decades of verbal and physical abuse and labor without compensation that lasted nearly forty years.

Elizabeth remarried Alfred Wesley Ingalls. They abused her including pushing, kicking, slapping, scratching, pounding with fists, and innumerable humiliations.

In October 1946, they drove across the country and stopped in Berkeley at the home of their married daughter. Helen discovered her squeezed in with the luggage in their car. She contacted the police who hauled her parents in for questioning, frightened and timid she failed to accuse them of any wrongdoing the couple was released. Thanks to an anonymous tip to the FBI, they arrested and charged with the crime of involuntary servitude.

Witnesses were brought in to testify from across the county in a trial that started on June 24, 1947, in the District Court in San Diego. Both daughters were witnesses for the prosecution. During the 16-day trial, she recounted that she had been forced to have an abortion, not allowed to see a movie in twenty years or to attend church, never given a day off from work, never permitted to eat or sit in the presence of them, and never saw any money they allegedly paid her.

This attracted the attention of the New York Times, Washington Post, Time Magazine, Sydney Morning Herald, and countless other news outlets. Her testimony helped to convict them who were incarcerated for just ten days, received a 3-year suspended jail sentence, a $2,500 fine, and made to pay Jones $6,000 in “lost wages.” She left the national limelight to live with relatives in St. Louis until her death. #africanhistory365 #africanexcellence

[astillasdetinta]

No estoy diciendo que se puta sea la mejor manera de vivir, pero es mejor que volverse ciega en una fábrica donde te explotan o trabajar veinte horas como esclave en una cocina o como criada.

Nell Kimball

[e-dress]

Check out this listing I just added to my Poshmark closet: Billie and De De and Their Preservation Hall Jazz Band Vinyl.

[royatlyfree1923]

FOR VALUE RECEIVED

May 7, 1923

For Value Received was a four act melodrama by Ethel Clifton, directed by Augustin Duncan (who also acted in it) that opened at the Longacre Theatre and ran for 48 performances.  

SYNOPSIS

AUTHOR / STAR

Augustin Duncan 1873-1954 (Director & Almeric Thomson) was the brother of famed dancer Isadora Duncan. From 1900 to 1946 he did more then 40 plays on Broadway. 

CRITIQUE

~ Dorothy Parker

VENUE

The Longacre Theatre (220 West 48th Street; 1,091 seats) was presumably named for Longacre Square, the former name of Times Square, by manager-promoter Harry Frazee (who also owned the Boston Red Sox. It opened in 1913. The Shuberts bought it in 1919. In the 1930s, the Group Theatre produced several Clifford Odets plays there. From 1943 to 1953, it was leased as a radio and television playhouse and inally returned to legit use in 1954. It is still in operation today under its original name. 

Also Opening on May 7, 1923....

The Mountebank by W.J. Locke at The Lyceum Theatre (32 performances)

Salome by Oscar Wilde at The Frazee Theatre (8 performances)

The Apache by Will H. Gregory at The Punch & Judy Theatre (16 performances)

The Drama League’s Little Theatre Tournament at The Nora Bayes Theatre (20 plays over 5 days)

[tculvahouse]

Facts

The architectural historian-theorist Colin Rowe liked to brandish this quotation: “Facts,” he would say, “are like sacks:  they don’t stand up unless you put something in them.”

The remark, from the playwright Luigi Pirandello, refers not to paper grocery bags, which can stand up without anything in them, but to cloth sacks, the kind you can get 25 pounds of rice in at little shops in Chinatown.

Rowe offered the observation as a critique of functionalism. His point was that the bare facts of a functional program—how many square feet you need for the auditorium, that sort of thing—are empty without the cultural knowledge that tells us why those facts matter. We are, after all, not mechanical beings but cultural beings, who deal not in square footages but in pride & suspicion & humor & jealousy & memory & love.

It is a wise observation, and it has been echoed across the intellectual terrain by cultural critics, philosophers, anthropologists, literary theorists, even architects, who have emphasized the cultural situation (some would say construction) of even the most solid-seeming facts.

But we might think a little more about those sacks. Empty, they’re nothing but a vague swirl on the floor. Full, they assume a very particular shape, not as rigid as a rock, but certain enough that, if I asked a bunch of people to draw a cloth sack full of rice, their drawings would look more or less alike. The same holds for facts: the fuller the cultural knowledge informing them, the firmer they become.

I'm afraid, though, that we prefer our facts half full, partly because it doesn’t take as much work or as much time to fill them, partly because a full fact, like a full sack, can be a lot to carry. And we prefer them half full because, in that state, we can make them assume pretty much any shape we want. Poke it this way, pull it that way—whatever.

Not so with full sacks, or full facts, which become ever more closely determined the fuller they get. And many of us are afraid of that, afraid to discover what shape the fully informed fact will take. Architects may be particularly wary, concerned that the facts will overwhelm the imagination—which is where pride & suspicion & humor & jealousy & memory & love play out.

We needn’t be. Louis Kahn said of the Kimbell Art Museum, after its completion, that it felt as if another hand had done it, and that this feeling was a good feeling. The inevitability of the fully informed fact—which is what a good building is, or a good idea in any realm—is not in conflict with the exercise of the imagination. Imagination and the fact, fully formed, converge.

Exterior photo from the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division, interior photo by Andreas Praefcke; both have been released into the public domain.

[moviesandmania]

HUNTER X (2022) Preview of vigilante thriller

HUNTER X (2022) Preview of vigilante thriller

‘He removes the scum so you don’t have to’ Hunter X is a 2022 American action film in which a masked vigilante must fight for his life against other killers when a mysterious cult discovers his true identity and wants to bring him into their ranks. Written and directed by Jared Brock. Produced by Matt Gonzalez and Steven Tea. The JAB Haus production stars Dan Kimball Jr, Marja Marie Murawski,…

[perfettamentechic]

15 ottobre … ricordiamo …

15 ottobre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic #felicementechic #lynda

2014: Marie Dubois, pseudonimo di Claudine Lucie Pauline Huzé, attrice francese. (n. 1937) 2010: Johnny Sheffield, attore statunitense. Figlio dell’attore Reginald Sheffield, è principalmente noto come attore bambino per aver interpretato il personaggio di “Piccolo” (“Boy”), figlio adottivo di Tarzan, in otto pellicole tra il 1939 e il 1947 (quindi dagli otto ai sedici anni di età), nella serie…

[counterintuitivecomics]

UNCOMICS are here!

The international comics art magazine C’est Bon Anthology’s latest issue is out, and it’s a gorgeous collection of abstract comics, featuring yours truly! are they art? are they comics?  YES!

It's been exhilarating seeing how all the other contributors uniquely interpret the title concept of un/comics, breaking down the "sequence" of "sequential art" into abstract, poetic forms. For own my piece “Pull Quote”, I traced layered magazine spreads with colored pencil and blurry alcohol-based markers, twisting and pulling the design “architecture” into taffy, and I had a blast.

CBA 56/57 from @cbkcomix​ is edited by Allan Haverholm with cover by Jeremy P. Bushnell, and comics by Tym Godek @mostlybanal, my partner Kimball Anderson @earnestattempts​, Warren Craghead III @craghead​, @simonfarussell-blog​, Anastasia Hiorns @anastasia4444 , Gareth A Hopkins @grthink​, @tanaoshima​, Rosaire Appel, allison anne, William Lillstjärna, Louis Deux, Mark Badger, Miika Nyyssönen, Shaun Gardiner, Churchdoor Lounger, and Mattias Elftorp @elftorp​.

🔳 ORDER HERE 🔳 SEE MORE UNCOMICS HERE 🔳