#Niles Welch

[visionsofgideontheninth]

this hell is better with you

a heaven and hell playlist inspired by Rina Sawayama and dominated by Florence Welch and Ethel Cain. It begins in heaven and travels towards hell, experiencing the highs and lows of both, in the end accepting the freedom of being cast out. Includes: Just Like Heaven by The Cure / Heaven ft. Tinashe by Shygirl / VBS by Lucy Dacus / Monkey Gone to Heaven by Pixies / MONTERO (Call Me By Your Name) by Lil Nas X / Going Under by Evanescence / Girls Against God by Florence and the Machine / UNFORGIVEN ft. Nile Rodgers by Le Sserafim

[aneptuniana]

FLEMING [spotify] - 2h 0min

"quiet village" - les baxter // "the nile" - sun ra // "old devil moon" - chet baker // "off shore" - martin denny // "i concentrate on you" - fred astaire // "blue lester" - lester young // "stardust" - hoagy carmichael // "nature boy" - robert maxwell // "wondrous place" - billy fury // "diamonds" - the ventures // "action line" - dorothy ashby // "comin' home baby" - mel tormé // "love potion #9" - herb alpert & the tijuana brass // "a taste of honey" - lenny welch // "the look of love" - sergio mendes & brasil '66 // "mojave" - antonio carlos jobim // "my kind of town - frank sinatra // "pink champagne" - georgie fame & the blue flames // "women of the world" - jimmy smith // "harlem shuffle" - bob & earl // "i come from jamaica" - clifford brown // "the russians are coming" - val bennet // "traveling man" (version I) - the techniques // "la madrague" - brigitte bardot // "jet set" - david pike // "saint-tropez blues" - marie laforêt // "summertime" - the zombies // "that's life" - james brown // "i put a spell on you" - alan price // "primitive london 2" - basil kirchin // "graham greene" - john cale // "sukiyaki" - kyu sakamoto // "footprints on the moon" - johnny harris // "time doesn't matter anymore" - margie day // "solaris" - lalo schifrin // "daydream" - wallace collection // "cry baby cry" - ramsey lewis // "time beat" - ray cathode

[gapless playback on - crossfade 12s]

[ragingphantom666]

DC Dimensions project plan: Wild Dog (Vol. 1)

This series is not an assured project. It is a concept that can still be changed or scrapped.

Synopsis

In the city of Veracity, Michigan, a place abandoned by law, crime is rampant and the police are as corrupt as they come. A crime lord referred to a "Shellcase" sends his gang after a journalist writing stories about his crimes. Following her death and the destruction of her home, a vigilante in a hockey mask and Wild Dogs jersey goes to war to exterminate Shellcase's gang.

Characters

Jack Wheeler/Wild Dog - A veteran who became a vigilante to avenge his fiancee. When fighting criminals, he hides his identity with a hockey mask and a Wild Dogs jersey. He goes on a one man war against Shellcase and his gang.

Jean-Paul Valley - A religious man and friend of Jack Wheeler. He runs a shelter for the homeless.

Cpt. Niles Davidson - The one cop on the police force not being paid by Shellcase. He has conflicting thoughts about being an ally of Wild Dog.

Christopher Smith - A retired, government-sponsored superhero formerly known as Peacemaker. He used to be in a team called the Living Assault Weapons (L.A.W.), which operated during the Cold War. He supplies artillery to Wild Dog.

Turner Welch/Shellcase - A former U.S. Army soldier who was sent home after a bomb left burns across his right arm. He took control of the chaos in his hometown of Veracity and set himself up as a crime lord. He has almost all the cops under his thumb.

Silencer - A criminal sniper under Shellcase's payment.

Raze - A criminal with heavy assault weapons under Shellcase's payment.

Smoke - A criminal arsonist under Shellcase's payment.

Detonator - A criminal bomb enthusiast under Shellcase's payment.

Max A. Collins - The mayor of Veracity under Shellcase's payment.

Other Information

Turner Welch is inspired by Calypso from the "Twisted Metal" video game series.

The city of Veracity is inspired by the worst things I've heard about Detroit.

Captain Niles Davidson is named after the father of my coworker/friend.

[tech-radar-247]

Panic Season 2

Amazon's teen drama, Panic, has been a highly anticipated show in the dystopian teen genre. Created by Lauren Oliver, it is based on her 2014 novel, Panic. The first season, released on May 28, 2021, garnered attention with ten episodes. Now, fans eagerly await the return of Panic Season 2.

Setting the Scene: Carp, Texas and the Annual Panic Competition

The story unfolds in Carp, Texas, where 23 graduating students annually compete in the Panic competition for a chance to win $50,000 and escape the town. Changes in the rules this year raise questions about the risks involved. Initially ordered by Amazon in 2018, Panic's fate hinges on whether Prime Video renews the series for a second installment.

The Unfortunate Decision: No Season 2 for Panic

Just three months after the initial release, Amazon chose not to renew Panic for a second season in August. Low viewership, with a rating of 6.6/10 on IMDb and 65% on Rotten Tomatoes, led to this decision. The show couldn't match the success of its counterpart, The Wilds, which secured a renewal. Season 1 exhaustively covered the storyline from Oliver's novel, leaving no foundation for a second season.

Possibility Amidst Unlikelihood: Will Panic Return?

Currently, the chances of Panic Season 2 seem slim. However, Lauren Oliver is actively working on the second part of her novel, creating a potential storyline for a second season. The possibility of continuing Panic as an anthology series offers a glimmer of hope for fans.

Potential Returning Faces: Cast for the Next Season

If Panic is revived for Season 2, Olivia Welch as Heather Nile, Jessica Saula as Natalie Williams, Mike Faist as Dodge Mason, Ray Nicholson as Ray Hall, and Cameron Jones as Bishop Moore could all make a return. Their fate hinges on the adaptation of Oliver's second novel, and if Prime Video confirms the second season.

Closure: The Current Status of Panic Season 2

As of now, Panic Season 2 is not in the cards, given Amazon's cancellation in August. However, the possibility of the story continuing exists if the show is revived by the network or picked up by another. Stay tuned for more updates on Techradar247.

[dhr-ao3]

Between Us Flows the Nile

Between Us Flows the Nile https://ift.tt/8Do0iT2 by yourcoldhands Wir schreiben das Jahr 1931. Die Ägyptomanie hat Großbritannien im Sturm erobert - die Welt der Zauberei bildet hierbei keine Ausnahme. Potter, Weasley, Granger & Partner, ein junges Archeologieunternehmen in der Winkelgasse, akzeptiert den Auftrag, ein Buch antiker Zaubersprüche ausfindig zu machen, welches Gerüchten zufolge irgendwo entlang des Nils versteckt sein soll. Währenddessen beginnt Hermine Granger eifrig ihre eigene geheime Suche nach etwas viel Wichtigerem, aber der Anwesenheit eines Mannes, der seine eigenen verborgenen Ziele in Ägypten verfolgt, kann sie nicht entgehen.   Draco Malfoy. Words: 343, Chapters: 1/32, Language: Deutsch Fandoms: Harry Potter - J. K. Rowling Rating: Explicit Warnings: No Archive Warnings Apply Categories: F/M Characters: Blaise Zabini, Horace Slughorn, Gilderoy Lockhart, Colin Creevey Relationships: Hermione Granger/Draco Malfoy, Harry Potter/Ginny Weasley, Lavender Brown/Ron Weasley, Astoria Greengrass/Draco Malfoy Additional Tags: Explicit Sexual Content, no infidelity, I promise, Minor pairing revealed later, Ron Weasley Redemption, Tasteful Praise Kink, inappropriate use of devil's snare, Weasleys Live Forever, Implied/Referenced Alcohol Abuse/Alcoholism, 1930s, Alternate Universe - 1930s, British Imperialism, Happy Ending, Slow Burn, Eventual Smut, Canon-Typical Violence, Fake Marriage, Minor Character Death, Inspired by Indiana Jones, Inspired By The Mummy (Movies 1999 - 2008), Ancient Egyptian Literature & Mythology, Egyptology, Egypt via AO3 works tagged 'Hermione Granger/Draco Malfoy' https://ift.tt/hv7qQ4k July 24, 2023 at 10:46PM

[purpleplaid17]

Jess Watches // Tues 24 Oct // Day 35 Synopses & Favourite Scenes

Call the Midwife (with mum) 6x03 Episode 3

Sister Ursula continues to make life difficult for the staff of Nonnatus House, while sweeping reforms place the maternity unit under threat.

All the signs were there as to what was going to happen to baby Lin but it was still so emotionally fraught. Ma Chen revealing she had lost a baby daughter in harsh conditions was had both me and my mum teary eyed. Also, loved Harriet Walter. Ursula started as a right meanie, but softened as she opened up more. With a few of the cast leaving I thought she might've stuck around for a bit longer.

Frasier (with mum) 5x10 Where Every Bloke Knows Your Name

Bored with his usual routine, Frasier shuns Niles's company and becomes taken with the "Fox and Whistle," a British pub Daphne frequents.

My gay-tumblr association with Orpheus and Eurydice helping me to understand Niles's love of the opera lol; Daphne deserves a place free from the Crane men. Maybe invite Roz next time instead; Also, I knew I recognized Young Niles! It was Michael Welch, aka Luke from Joan of Arcadia, aka Mike from Twilight.

Business Proposal (with friend) Ep 1

To appease his grandfather's wishes, Kang Tae Moo agrees to a blind date. Jin Young Seo enlists Shin Ha Ri's help to scare away her latest prospect.

Starting this the day after finishing TUC so I don't get Kim Sejeong withdrawals. This was so cheesy and lots of fun with a very beautiful cast. We were having a right good giggle.

The Power 1x02 The World Is on Fu*king Fire

As teen girls grapple with their new abilities, parents and political leaders try to make sense of a sudden rash of fires, power outages, blown electrical grids and mysterious burn marks.

Everyone starting to suspect that teenage girls have a shit ton of power yet are surprised that they could be so full of rage. Also, loved that The Chicks and Yeah Yeah Yeah's were on the soundtrack.

[wahwealth]

The Phantom (1931) Full Movie English | Mystery Horror Thriller | Black and White

The Phantom is a 1931 American pre-Code mystery film directed by Alan James. Plot  A criminal mastermind dubbed "the Phantom" escapes from death row and vows revenge  A reporter goes in search of the deranged masked killer hiding in an insane asylum. Cast Guinn Williams as Dick Mallory • Allene Ray as Ruth Hampton • Niles Welch as Sam Crandal Never Miss An Upload, Join the channel. https://www.youtube.com/@nrpsmovieclassics

[gatutor]

Allene Ray-Niles Welch "The phantom" 1931, de Alan James.

[davidosu87]

Another Featured Review on Journey with a Cinephile: A Horror Movie Podcast. This is an interesting film that I found from Letterboxd. It has an interesting premise that isn't fully realized, probably most to early cinema. Has anyone else heard of this one?

[letterboxd-loggd]

Manhattan Parade (1931) Lloyd Bacon

September 15th 2020

[brian-in-finance]

This memory tale of 9-year-old Buddy (Jude Hill) growing up in Northern Ireland’s turbulent capital city is sculpted from Branagh’s own life as a son of Belfast, where everyone knows his name. Hill, 11, a competitive dancer turned actor, delivers one of the best and most beguiling performances by a child ever captured on film.

Branagh shows how Buddy’s happy childhood, and by extension his, was shattered in 1969 by rioting in streets. The Troubles, a conflict Buddy barely understands between Protestants loyal to the U.K. and Catholics eager to rebel and join Ireland, set neighbor against neighbor.

Buddy’s Protestant parents, played to perfection by Catriona Balfe and Jamie Dornan, wanted to live in peace. But the shocking brutality, vividly filmed by Branagh, forced the family to leave their beloved home for the safety of England. The decision devastated Buddy.

And that interrupted childhood is the core of this gentle giant of a movie. For all the violence, it’s the bond between Buddy and his Ma and Pa, his older brother (Lewis McAskie), and his grandparents, played by Judi Dench and Ciarán Hinds—both sublime— that holds you in thrall.

Reports say Balfe, Dornan, Dench and Hinds—each of Irish descent— will all compete for supporting Oscars. If so, good luck picking a winner. Five-time nominee Dench, who won for “Shakespeare in Love,” is such a witty, wicked wonder as Gran that she’s impossible to resist.

Hinds, a master performer too long underrated, is hilarious and heartbreaking. And Dornan, free of the s&m sex trap of the “50 Shades of Grey” trilogy, builds on his virtuoso turn on “The Fall” to show an actor of ferocity and feeling as he invests Pa, often absent from home for construction work in England, with simmering emotion and quiet strength.

Balfe, the radiant star of “Outlander,” is—in a word—magnificent. She finds revelatory layers in this mother who is held at gunpoint but still holds her family together even as war and trauma pull them apart. If you think Balfe and Dornan, both former models, are incongruously beautiful to play working-class parents, you underestimate how Buddy sees them.

And “Belfast,” shot in black-and-white during lockdown, sees the world through Buddy’s eyes. There’s no way to watch “Belfast” without letting Buddy’s family become your own. Music floods the soundtrack. There are eight classic songs from Belfast firebrand Van Morrison, plus a newbie (“Down to Joy”) and exhilarating scenes of parents and grandparents dancing.

“Belfast” belongs to Branagh, 60, who doesn’t act in the film but whose presence is felt in every frame. Except for a shot of Buddy reading a comic book about Thor— Branagh directed Marvel’s 2011 film version—there is no reference to the A-lister he’d become from 1989’s “Henry V” to his upcoming reprise as Belgian detective Hercule Poirot in “Death On the Nile.”

And yet the influence of the arts is palpable. The screen lights up with color when Buddy’s family sits down to watch the dinosaurs and Raquel Welch in “One Million Years B.C.” and the flying car of “Chitty Chitty Bang Bang” or attend a stage performance of “A Christmas Carol.”

It took half a century for Branagh, who was knighted in 2012, to put his young life on screen. The wait was worth it. If anything, the movie feels too short at 97 minutes, rushing by when we most want it to let the space between words resonate.

Above all, “Belfast” is infused with love for the home Branagh had to leave behind. It’s his best and most bracingly personal film, a transporting, coming-of-age classic that’s relatable to anyone who’s ever had to say goodbye to childhood.

Remember… there’s no way to watch “Belfast” without letting Buddy’s family become your own. — Peter Travers

[fangomusic]

Musicians together (part 3):

P J Harvey & Peaches.

Tyler, The Creator & Pharrell Williams.

James Brown & The Rolling Stones.

Serge Gainsbourg & Ray Charles.

Neneh Cherry & Robyn.

Marina Diamandis, FKA Twigs, Florence Welch & Lana Del Rey.

Lemmy & Ozzy Osbourne.

Patti Smith & Michael Stipe.

Nile Rodgers & Janelle Monáe.

[floatingstage]

realizing that i can’t form romantic attachments to people unless they give me enough fodder to create *my imagination of* their inner sanctum.

in other words, i need a threshold of fantasy to fall in romantic love. and this manifests in lots of ways, some probably unhealthy, but i think one of the more innocent ways is sharing music and movies. it means a lot to me to be given access to these things, not only because i love those art forms but because then i can learn about people through mining lyrics, enveloping myself in the atmosphere of a song or story, imagining them listening to it, watching it…

i remember specific moments of falling love last summer. she would always have a playlist on when i came over and we would sit on the couch together awash in the mood. sometimes she would play the same song three times in a row. sometimes she would fake play the guitar or dance around the room…we would also watch movies together but i would watch her face, observing how intently she paid attention and how sometimes she’d get nervous when it became apparent i wasn’t. all these moments are what keep me in love now in a way…i can’t let go of what i think might still be true, that there’s a person out there who finds so much meaning and value in these things, these songs and movies, who i can imagine sitting at home at night and on weekends, basking in the wonder of these stories that aren’t hers. i saw her at a screening once and she had her head down, scribbling notes about this old animation in a notepad. i’ve embalmed her memory in this persona now, and i can access her by witnessing the same art.

i feel like i’m not explaining clearly. i’m still trying to understand it myself. but in contrast, when someone isn’t able to share or communicate art to me, i feel like their inner world is completely opaque, no matter how much they try to explain it. sometimes descriptions of what they were like as children help, or examining their bedroom. i do find myself feeling in love with people when i’m offered access to their homes or see what they made as kids or am able to peep an old journal or blog…but…it’s not as salient for me as being given access to the art they love and how they engage with it. only then am i able to feel that rare, deep swell in my chest. it’s better than seeing a physical space or past mementos or hearing about thoughts and memories verbatim…because art is liquid. it doesn’t fill up space in the same way, it’s porous, it gives you room to work in your own imagination, your fantasies. there’s a fusing that can happen that words, something more solid…can’t really achieve. an essence can be floated toward you in art sharing, things that are inexpressible even to yourself…

in the spirit of all that, here are songs that mean a whole lot to me because they were shared with me by those i’ve loved

(and i mean loved in the romantic sense because…generally speaking, or weirdly…i don’t think too many people have shared music with me outside of ones i’ve been “into”

and if i wasn’t “into” someone and they shared music with me, the chances are high that i might’ve felt romantic love for them in that moment)

tinseltown in the rain by blue nile

over the hillside by blue nile

not by big thief

lorraine by big thief

two reverse by adrianne lenker

between the bars by elliott smith (very hard for me to listen to, even now. a song i refuse to share with anyone else)

say yes by elliott smith

everything is free by gillian welch (difficult to listen to)

thirstier by torres

gasoline by the weeknd

house of balloons album by the weeknd

neighborhood #3 (power out) by arcade fire

[dclblog]

Death on the Nile (O-Ton)...

...hat im Grunde schon von vorneherein leichtes Spiel bei mir: ich mag Agatha Christies "Obszön reiche Menschen murksen sich gegenseitig ab"-Geschichten, Kenneth Branaghs entspannt-souveräne Art zu inszenieren, sowie Filme, in denen mehr Stars, als auf ein Poster passen, sich versiert die Bälle zuspielen.

Bei so viel Wohlwollen von vorneherein ist es gar nicht so einfach, mich positiv zu überraschen. Aber "Death on the Nile" ist in jeder einzelnen Hinsicht besser als sein "Orient Express"-Vorgänger, angefangen bei der brillanten Schnüffler-Hauptfigur, welche eine Exposition bekommt, die sie sehr Mensch werden lässt und die anders als in schlechteren Werken nicht etwa irgendwann fallengelassen wird, sondern einen versteckten narrativen Bogen über den ganzen Plot spannt, um schließlich in einer Auflösung zu münden, welche mich allein schon mehr anrührte, als alles, was vor ein paar Jahren im Zug geschah. War Poirot zuvor mehr ein gut gespielter Witz, so öffnet er sich emotional hier so aufrichtig, dass er alle seine Gegenüber mit ansteckt, was zur Folge hat, dass mich Figuren bannten, deren Schicksale ich allesamt schon vorher kannte. Ein Krimi, dessen Auflösung seit hundert Jahren zum Allgemeinwissen gehört, bedarf anderer Mittel und Wege, um spannend zu bleiben, und Branaghs Entscheidung, hier sehr persönlich und menschlich zu werden, ist klar die richtige. Genauso wie ich das Gespür des Filmes bewundere, einerseits ganz klar leichte Whodunnit-Kost zu sein und nebenbei trotzdem mal homöopathisch, mal deutlich großzügiger Sozialkritik einzustreuen.

Wer gerne schönen Menschen in opulenten Settings dabei zusieht, wie sie einander ins Verderben stürzen, ist hier sehr gut bedient und bekommt zudem eine unerwartet große Portion Herz mit auf den äußerst kurzweiligen Weg.

D.C.L.

[silent-era-of-cinema]

Richard Semler Barthelmess (May 9, 1895 – August 17, 1963) was an American film actor, principally of the Hollywood silent era. He starred opposite Lillian Gish in D. W. Griffith's Broken Blossoms (1919) and Way Down East (1920) and was among the founders of the Academy of Motion Picture Arts and Sciences in 1927. The following year, he was nominated for the Academy Award for Best Actor for two films: The Patent Leather Kid and The Noose.

Barthelmess was born in New York City, the son of Caroline W. Harris, a stage actress, and Alfred W. Barthelmess. His father died when he was a year old. Through his mother, he grew up in the theatre, doing "walk-ons" from an early age. In contrast to that, he was educated at Hudson River Military Academy at Nyack, New York and Trinity College at Hartford, Connecticut. He did some acting in college and other amateur productions. By 1919 he had five years in stock company experience.

Russian actress Alla Nazimova, a friend of the family, was taught English by Caroline Barthelmess. Nazimova convinced Richard Barthelmess to try acting professionally, and he made his debut screen appearance in 1916 in the serial Gloria's Romance as an uncredited extra. He also appeared as a supporting player in several films starring Marguerite Clark.

His next role, in War Brides opposite Nazimova, attracted the attention of director D.W. Griffith, who offered him several important roles, finally casting him opposite Lillian Gish in Broken Blossoms (1919) and Way Down East (1920). He founded his own production company, Inspiration Film Company, together with Charles Duell and Henry King. One of their films, Tol'able David (1921), in which Barthelmess starred as a teenage mailman who finds courage, was a major success. In 1922, Photoplay described him as the "idol of every girl in America."

Barthelmess had a large female following during the 1920s. An admirer wrote to the editor of Picture-Play Magazine in 1921:

Different fans have different opinions, and although Wallace Reid, Thomas Meighan, and Niles Welch are mighty fine chaps, I think that Richard Barthelmess beats them all. Dick is getting more and more popular every day, and why? Because his wonderful black hair and soulful eyes are enough to make any young girl adore him. The first play I saw Dick in was Boots—Dorothy Gish playing the lead. This play impressed me so that I went to see every play in which he appeared—Three Men and a Girl, Scarlet Days, The Love Flower, and Broken Blossoms, in which I decided that Dick was my favorite. I am looking forward to Way Down East as being a great success, because I know Dick will play a good part.

Barthelmess soon became one of Hollywood's higher paid performers, starring in such classics as The Patent Leather Kid in 1927 and The Noose in 1928; he was nominated for Best Actor at the first Academy Awards for his performance in both films. In addition, he won a special citation for producing The Patent Leather Kid.

With the advent of the sound era, Barthelmess remained a star for a number of years. He played numerous leads in talkie films, most notably Son of the Gods (1930), The Dawn Patrol (1930), The Last Flight (1931), The Cabin in the Cotton (1932) and Heroes for Sale (1933). He was able to choose his own material and often played in controversial or socially conscious films. However, his popularity began to wane in the 1930s as he was getting too old for the boyish leads he usually played, and in his later films between 1939 and his retirement in 1942, he turned towards character roles – most notably in his supporting role as the disgraced pilot and husband of Rita Hayworth's character in Only Angels Have Wings (1939).

Barthelmess failed to maintain the stardom of his silent film days and gradually left entertainment. He enlisted in the United States Navy Reserve during World War II, and served as a lieutenant commander. He never returned to film, preferring instead to live off his real estate investments.

On June 18, 1920, Barthelmess married Mary Hay, a stage and screen star, in New York. They had one daughter, Mary Barthelmess, before divorcing on January 15, 1927.

In August 1927, Barthelmess became engaged to Katherine Young Wilson, a Broadway actress. However, the engagement was called off due to Wilson's stated desire to continue acting, or possibly his affair around this time with the journalist Adela Rogers St. Johns.

Barthelmess died of throat cancer on August 17, 1963, aged 68, in Southampton, New York. He was interred at the Ferncliff Cemetery and Mausoleum in Hartsdale, New York.

On April 21, 1928, Barthelmess married Jessica Stewart Sargent. He later adopted her son, Stewart, from a previous marriage. They remained married until Barthelmess' death in 1963.

Barthelmess was a founder of the Academy of Motion Picture Arts and Sciences.

In 1960, Barthelmess received a motion picture star on the Hollywood Walk of Fame at 6755 Hollywood Boulevard for his contributions to the film industry.

Barthelmess was among the second group of recipients of the George Eastman Award in 1957, given by the George Eastman House for distinguished contribution to the art of film.

Composer Katherine Allan Lively dedicated her piano composition Within the Walls of China: A Chinese Episode to Barthelmess in the sheet music published in 1923 by G. Schirmer, Inc. An article in The Music Trades reported that Mrs. Lively was inspired by a viewing of the film Broken Blossoms, and performed the piece for Barthelmess and his friends in New York in the summer of 1922.

[katrinastratford]

I’m thinking about The Old Guard meeting the artists Tumblr generally considers immortal.

Nile takes one look at Keanu Reeves and says, “I fucking knew it.”

Joe and Nicky haven’t seen Florence Welch since the Renaissance and are delighted to catch up with her. “So you have a group like us too?” Nicky asks her. 

“Oh yes,” she replies. “We sort of drift in and out of different arts over the centuries, but we try to get together every few decades to catch up.”

Andy is squinting suspiciously at Hozier. “Weren’t you a king when I met you?” She says to him.

“Aye, and what did I get for it but a slit throat and thrown in a bog,” he replies. “Itinerant poet seemed like a much safer career choice.”