#Philip Cox

[charliethomascoxuniverse]

OMGGGGG, LOOK!!!!!!!!! 😲🤯😵💫

IT’S EVERY CHARACTER CHARLIE COX HAS EVER PLAYED!!!!!!! 😍😍😍 (Or pretty close to it.)

THIS IS THE CUTEST F*CKING THING I’VE EVER SEEN!!!!! 😭

.

Art by @quokaqisola on Twitter (X)

[byneddiedingo]

25th Hour (Spike Lee, 2002)

Cast: Edward Norton, Philip Seymour Hoffman, Barry Pepper, Rosario Dawson, Brian Cox, Anna Paquin, Tony Siragusa. Screenplay: David Benioff, based on his novel. Cinematography: Rodrigo Prieto. Production design: James Chinlund. Film editing: Barry Alexander Brown. Music: Terence Blanchard. 

Spike Lee's 25th Hour is a "day in the life" movie, and a very good one. The day is the last one of freedom for Monty Brogan (Edward Norton) before he goes to prison for seven years. He spends it with his girlfriend, Naturelle (Rosario Dawson), his friends Jacob (Philip Seymour Hoffman) and Frank (Barry Pepper), and his father (Brian Cox), and also makes a visit to the Russian mobsters who got him into the business of pushing drugs. It's also one of Lee's best films, less celebrated than Do the Right Thing (1982) or Malcolm X (1992), but worthy of being mentioned in their company. The only reservation I have about the movie is that Lee doesn't let his powerhouse cast bring their solidly written characters to life without indulging in a few distracting cinematic tricks. He and his longtime editor, Barry Alexander Brown, can't seem to resist techniques like freeze frames and moments in which the action is repeated from a different angle. There are showy montages and tour de force episodes, some of which work, like the "fuck you" episode in which the embittered Monty anathematizes almost every racial, social, and economic group in New York City. And the film ends with a beautifully realized sequence in which Monty's father proposes to help him escape and imagines the life he might live. But other episodes don't quite work, like the long take in which Jacob and Frank talk about their friendship with Monty, a scene that must have involved careful preparation on the part of Pepper and Hoffman, But it's staged in front of a window in Frank's apartment, which somewhat improbably overlooks Ground Zero, where crews are clearing away the rubble of the World Trade Center. I couldn't help being distracted by the scene outside the window instead of concentrating on their dialogue. Still, the movie, which was planned before the 9/11 attack and completed and released afterward, beautifully integrates that event into the theme and tone of the film, which deserves to find the audience it never quite did when it was released. 

[tampire]

Downton Abbey S01E01

[andrasta14]

Ugh, I swear every time I see that pic of Thomas it has my Crowbarrow hindbrain pointing and going, “Look, big-ass sideburn buddies!” 🤣

[angevinyaoiz]

I shall have a worthy rival, just like your father

[handeaux]

Overwhelmed By Advertising? The Battle For Cincinnati Consumers Has Raged For More Than A Century

Depending on the source, it is estimated that each American is confronted by 6,000 to 10,000 advertising messages every single day. That immersive media onslaught swelled as we started carrying little video screens around wherever we go, but invasive and obnoxious marketing has bothered Cincinnatians for much more than a century.

For example, on 20 July 1871, a correspondent for the Cincinnati Times related an enjoyable voyage he had undertaken down the Ohio River. After praising the service of his riverboat’s staff, the remarkable scenery along the river, the picturesque little town he floated by, the writer registered one complaint, about a cliff near the town of Hanging Rock:

“High up on the face of this wall of white sandstone, hundreds of feet beyond the reach of a scaling ladder, I noticed a patent medicine advertisement. It was penciled there by a man let down with ropes from above, and the letters are large enough to be read from the deck of a steamer two miles distant. I was sorry to see this defacement. It is bad enough that all the fences throughout the land should be made to lie for patent medicines without debasing the hill-sides with such marking. I suppose that when the ‘chemical affinity necessary to be the motor of some immense flying machine’ shall be discovered, some enterprising patent medicine man will be plastering the face of the moon with some of his ‘wonderful remedies.’”

If only the poor man knew what lay ahead! Even in the 1870s, almost every vertical surface in Cincinnati was slathered with posters, placards and bills advertising shows at the local theaters, patent medicines and political candidates. Cincinnati was the center of the bill-posting world. For one thing, Cincinnati was among the top printing cities of the United States, with the mighty Strobridge Lithographing Company dominating the poster industry.

Also, Billboard magazine was headquartered here in Cincinnati. What we now think of as a music magazine, Billboard was founded in Cincinnati as a trade publication for men who posted “bills” on walls. From its first issue in 1894, Billboard covered the entertainment industry, such as circuses, fairs and burlesque shows, and also created a mail service for travelling entertainers. Initially it covered the advertising and bill-posting trade and was known as Billboard Advertising.

Far from inspiring civic pride, advertising rankled Cincinnati residents as they witnessed visual pollution encrusting the region’s hillsides. Leading the opposition was the Municipal Art Society – a sort of ad-hoc predecessor to today’s Urban Design Review Board. The opening shot was fired 24 August 1896 when the Enquirer reported:

“A matter that will undoubtedly be of interest to the business men is the fact that war has been declared by the Cincinnati Municipal Art Society against advertising signs on fences along the car routes and drives of the city. The art society maintains that these signs mar the beauty of the city, especially in the case of landscape scenes on the hills and in the suburbs, and that they are offensive to the public taste.”

The Society was persistent. It took five years but the Cincinnati Post reported [24 November 1901] that the Baldwin Piano Company had demolished 200 feet of billboards erected on company property along Gilbert Avenue. The Post described this as the “first result” of the Society’s campaign.

The Municipal Art Society was soon joined by some strange bedfellows. The Cincinnati Business Men’s Club, among whose members were certainly a number of advertisers who employed billboards to disseminate their messages, created its own Municipal Art Committee to lobby for restrictions on outdoor advertising. On 1 June 1907, the committee circulated a postcard illustrated with a photo of signage clogging the view from the Grand Central Depot, with the sarcastic caption, “A Nice Welcome To Cincinnati.”

As early as 1895, the city chased the Fountain saloon’s advertising off Fountain Square, but appears not to have drafted a comprehensive law about outdoor advertising until 1909 when, as part of a broader safety ordinance, the city adopted limitations on the size of billboards, their placement near thoroughfares and the materials to be used in their construction.

While the city pondered how to encourage commerce while maintaining attractive views, the entire billboard industry was gaining momentum through a Cincinnati entrepreneur named Philip Morton. Before Morton, “bill boards” were basically fences on which bill posters slapped printed advertisements glued up with a flour-water paste. Morton took outdoor advertising to a new level, according to Jay Gilbert, who has researched his influence on marketing [Cincinnati Magazine September 2016]:

“By 1898 he’d become the Steve Jobs of roadside blight. Doing business as Ph. Morton, Phil was an early pioneer of putting ads into free-standing frames called ‘bill-boards’ and plunking them down everywhere. Eventually every railroad route and motorway in America had its view ruined by a Ph. Morton billboard.”

Even the powerhouse Morton found himself in the city’s crosshairs. Parks Superintendent John W. Rodgers, according to the Enquirer [20 September 1907], exasperated by Morton’s billboards blocking the view of Inwood Park, erupted.

“Park Superintendent Rodgers yesterday tore down over 12,000 feet of big billboards that stretched along for a distance south of Hollister street, facing Vine street, in front of Inwood Park. The billboards were 12 feet high, about 1,000 feet long and contained the advertisements of leading firms of the city, and were illuminated at night with electric lights. They had been at that place for years.”

All of those billboards were leased by Philip Morton who, as coincidence would have it, dropped off a check to pay the lease while workmen were busily engaged demolishing his thousand feet of signage. This was the Boss Cox era in Cincinnati where the right hand was very often ignorant of the left hand’s activity. And so it was, while the Park Superintendent was demolishing billboards on Vine Street, the Board of Public Service pondered a lease for billboards along Gilbert Avenue. That’s right – the same Gilbert Avenue divested of billboards just six years earlier.

A common theme of cartoon artists at that time was the eventual coverage of all available exterior surfaces with advertising signs and slogans. In response, Cincinnati Post cartoonist Elmer Andrews Bushnell sketched City Hall wrapped from sidewalk to parapet in advertising while George Barnsdale Cox and his minion, August “Garry” Herrmann, happily apply more posters and Mayor Julius Fleischmann hides behind a billboard.

The battle raged for decades. Photographs from 1927 show dozens of billboards crowding the hillside over the Brighton overpass to Central Parkway and the Enquirer [24 March 1929] begged for relief because billboards and other unsightly structures had a negative effect on property values:

“What of the gaudy billboard that intrudes itself into a residential district, the sign which girds the tree or telephone pole, the roadside ‘shack’ which is made more ugly with bizarre advertisements? Do they affect values?”

A century later, we hardly notice billboards anymore. We’re too busy texting while we drive.

[papermoonloveslucy]

KIDZ!

The Young People of the Lucyverse ~ Part 3

W.C. Fields famously warned performers never to work with children or animals. Luckily for us, Lucille Ball consistently disregarded his advice. Here’s a look at some of the young performers and characters of the Lucyverse.

“Lucy and the Drive-In Movie” (1969) ~ Jackie Berry is a married friend of Kim’s who has a newborn named Wendy. Her husband is said to be in the service. Jackie Berry uses her married name for the character. She ws the real-life wife of Ken Berry from 1960 to 1972, an actor championed by Lucille Ball. 

“Lucy and Jack Benny’s Biography” (1970) ~ Lucy plays Jack’s mother and  Michael Barbera plays Benny as a boy. Barbera was a child actor who was 12 years old at the time of filming. He accrued 18 screen credits before leaving the industry.

“Lucy Cuts Vincent’s Price” (1970) ~ Lucy says she previously talked on the phone to Mrs. Vincent Price when arranging entertainment for a big party the Price’s threw. In 1970, Vincent Price was married to costume designer Mary Grant (inset photo), although her name is never mentioned here. Making small talk on the telephone, Lucy asks about Little Vicki. This is a reference to the Price’s 8 year-old daughter, Victoria. Although Lucy visits their home, both characters remain off-screen.

“Lucy the Laundress” (1970) ~ Lucy smashes into a laundry truck. In order to pay for the repairs, she has to go to work at the laundry and encounters the owner’s two daughters Sue Chin Wong (left) and Linda Change Wong (right). Linda is played by Rosalind Chao who makes her screen debut with this episode. She created the role of Soon-Ye Klinger on “M*A*S*H” and “After M*A*S*H” but is perhaps best known for playing Keiko O'Brien on “Star Trek: The Next Generation” and “Deep Space Nine.” During that series she also filmed The Joy Luck Club. More recent credits include “Blackish,” “This is Us,” and “The Catch.”  Heather Lee (Sue Chin Wong) makes her screen appearance in this episode. When Lucy meets the sisters, she greets them in an exaggerated and condescending Chinese accent. The girls look horrified and answer back in voices totally devoid of any Asian influence. To further the humor of Lucy’s backward thinking, the girls are eating hamburgers with ketchup, a typical American-style meal.

“Lucy and Ma Parker” (1970) ~ A criminal mastermind (Carole Cook) enlists two little people (Jerry Marin and Billy Curtis) to play her ‘children’. Milton (Marin) is dressed as ‘Little Mildred’ in the style of child star Shirley Temple. Curtis plays Herman Golab, who is dressed as Buster Brown.  

“Lucy and the Italian Bombshell” (1971) ~ Harry’s former flame Donna Colucci (Kaye Ballard) is married and has a large brood of children: Ricardo, Anna Maria, Louisa, Luigi, Vincenzo, Dino, Lucrezia, Alfredo Jr., Margarito, Bruno, Rosa, and Frederico - all of whom appear uncredited.

“Lucy and Donny Osmond” (1972) ~ Lucy takes her pre-teen niece Patricia (Eve Plumb) to see her favorite singer, Donny Osmond. Plumb is probably best known as the middle daughter, Jan, on TV’s “The Brady Bunch” (1969-74). She filmed this episode simultaneously with “The Brady Bunch” which aired Friday nights on ABC. This is her only time acting with Lucille Ball.  Coincidentally, Desi Arnaz Jr. made a guest-appearance on “The Brady Bunch” in 1970 where he was the ‘dream date’ of Jan’s sister Marcia (Maureen McCormick). 

“Lucy and Her Prince Charming” (1972) ~ Harry hastily arranges a home wedding ceremony for Lucy and a Prince (Ricardo Montalban) - including a flower girl and a ring bearer - played by two uncredited young actors. 

Mame (1974) ~ Lucille Ball plays Auntie Mame to orphaned Patrick Dennis, played by Bruce Dern as a child. 

“Life With Lucy” (1986) ~ Lucy Barker and Curtis McGibbon (Gale Gordon) are grandparents to Becky and Kevin McGibbon. Becky is played by Jenny Lewis. Ten year-old Lewis appeared in all 13 episodes, only 8 of which were aired.

“Yes, Lucy was a bit rough around the edges, and yes, she constantly smoked cigarettes on the set. She would pull her face back with tape, sort of like a cheap face-lift.“ ~ JENNY LEWIS

Philip Amelio (Kevin McGibbon) made his screen debut on “Life With Lucy” at the age of 10. He played Stephen Baldwin’s younger self in the film Born on the Fourth of July (1989). He gave up acting by his early teensPhilip died in  2005 at the age of 27 due to a mis-diagnosed bacterial infection. 

Kelli Martin (right) played Becky’s friend Patty in two episodes of the series. Born in 1975, she made her acting debut at age 7 and went on to be seen as an Emmy-nominated regular on “Life Goes On” (1989-93) and “Christy” (1994-95) in which she played the title character. 

BONUS KIDZ! 

“Lucy the Diamond Cutter” (1970) ~ German diamond cutter Gustav (Wally Cox) calls Kim and Craig “the Katzenjammer Kids.” The Katzenjammer Kids was a comic strip created by German immigrant Rudolph Dirks which appeared from 1897 to 2006. The strip featured twins Hans and Fritz, who rebelled against authority. 

“Lucy and the Generation Gap” (1969) ~ In the final sequence of the musical episode set in outer space, the Carters sing “Kids” a song written by Lee Adams and Charles Strouse for the 1960 Broadway musical Bye Bye Birdie. The musical was filmed in 1963. This song is originally about the generation gap, so it requires the least lyrical changes. It was sung on stage and screen by Paul Lynde, playing the father of free-thinking kids obsessed with an Elvis-like rock and roll singer.  

[gameofthunder66]

'Beverly Hills Cop' (1984) film

-rewatched 7/18/2024- 3 [3/4] stars- on Paramount+

Still a good movie but i liked it much better the first time when it first come out, (and I was much younger).

82% Rotten Tomatoes

[whenibecameaparentireadbooks]

Rereading Babies

Ten Little Fingers and Ten Little Toes  Written and illustrated by Mem Fox and Helen Oxenbury  Walker Books, 2008 I once told a friend I reread books. He looked at me like I was mad. He was a football fan and would rewatch goals but rereading books seemed absurd to him. Maybe it was the effort. All that right and left movement of the eye. Maybe he thought second, third or fourth readings were…

[charliethomascoxuniverse]

The Duke of Crowborough + text posts

[feelmyskinonyourskin]

Charlie Cox, Jon Bernthal, and their stunt doubles rehearsing for Daredevil Born Again with stunt coordinator Philip Silvera.

[andrasta14]

*sits here wondering if any Thomas Barrow fans saw Stardust and had an “omg Thomas got f*cked over by Tristan Thorn?????” moment*

Idk why that’s so funny to me because like, LOOK AT HIM:

Could he BE any more babygirl? 😂💗

[milksockets]

philip treacy headpieces in i do: 100 years of wedding fashions - caroline cox (2002)

[dreaminginthedeepsouth]

deAdder

* * * *

LETTERS FROM AN AMERICAN

August 28, 2024

Heather Cox Richardson

Aug 29, 2024

Former president Trump appears to have slid further since last night’s news about a new grand jury’s superseding indictment of him on charges of trying to overthrow the 2020 presidential election. Over the course of about four hours this morning, Trump posted 50 times on his social media platform, mostly reposting material that was associated with QAnon, violent, authoritarian, or conspiratorial. 

He suggested he is “100% INNOCENT,” and that the indictment is a “Witch Hunt.” He called for trials and jail for special counsel Jack Smith, former president Barack Obama, and the members of Congress who investigated the January 6, 2021, attack on the U.S. Capitol. And he reposted a sexual insult about the political careers of both Vice President Kamala Harris and former Secretary of State Hillary Clinton.

Meanwhile, Trump’s campaign has today escalated the fight about Trump’s photo op Monday at Arlington National Cemetery, where campaign staff took photos and videos in Section 60, the burial ground of recent veterans, apparently over the strong objections of cemetery officials. Then the campaign released photos and a video from the visit attacking Harris. 

Arlington National Cemetery was established on the former property of General Robert E. Lee in 1864, after the Lee family did not pay their property taxes. At the time, Lee was leading Confederate forces against the United States government, and those buried in the cemetery in its early years were those killed in the Civil War. The cemetery is one of two in the United States that is under the jurisdiction of the U.S. Army, and it is widely considered hallowed ground.  

A statement from the Arlington National Cemetery reiterated: “Federal law prohibits political campaign or election-related activities within Army National Military Cemeteries, to include photographers, content creators or any other persons attending for purposes, or in direct support of a partisan political candidate's campaign. Arlington National Cemetery reinforced and widely shared this law and its prohibitions with all participants. We can confirm there was an incident, and a report was filed.”

Republican vice presidential candidate Senator J.D. Vance of Ohio first said there was a “little disagreement” at the cemetery, but in Erie, Pennsylvania, today he tried to turn the incident into an attack on Harris. “She wants to yell at Donald Trump because he showed up?” Vance said. “She can go to hell.” Harris has not, in fact, commented on the controversy. 

VoteVets, a progressive organization that works to elect veterans to office, called the Arlington episode “sickening.”

In an interview with television personality Dr. Phil that aired last night, Trump suggested that Democrats in California each got seven ballots and that he would win in the state if Jesus Christ counted the votes. As Philip Bump of the Washington Post pointed out today, Trump has always said he could not lose elections unless there was fraud; last night he suggested repeatedly that God wants him to win the 2024 election.  

When asked his opinion of Vice President Harris, Trump once again called her “a Marxist,” a reference that would normally be used to refer to someone who agrees with the basic principles outlined by nineteenth-century philosopher Karl Marx in his theory of how society works. In Marx’s era, people in the U.S. and Europe were grappling with what industrialization would mean for the relationship between individual workers, employers, resources, and society. Marx believed that there was a growing conflict between workers and capitalists that would eventually lead to a revolution in which workers would take over the means of production—factories, farms, and so on—and end economic inequality.

Harris has shown no signs of embracing this philosophy, and on August 15, when Trump talked at reporters for more than an hour at his Bedminster property in front of a table with coffee and breakfast cereal at what was supposed to be a press conference on the economy, he said of his campaign strategy: “All we have to do is define our opponent as being a communist or a socialist or somebody that’s going to destroy our country.” 

Trump uses “Marxist,” “communist,” and “socialist” interchangeably, and when he and his allies accuse Democrats of being one of those things, they are not talking about an economic system in which the people, represented by the government, take control of the means of production. They are using a peculiarly American adaptation of the term “socialist.”

True socialism has never been popular in America. The best it has ever done in a national election was in 1912, when labor organizer Eugene V. Debs, running for president as a Socialist, won 6% of the vote, coming in behind Woodrow Wilson, Theodore Roosevelt, and William Howard Taft. 

What Republicans mean by "socialism" in America is a product of the years immediately after the Civil War, when African American men first got the right to vote. Eager to join the economic system from which they had previously been excluded, these men voted for leaders who promised to rebuild the South, provide schools and hospitals (as well as prosthetics for veterans, a vital need in the post-war U.S.), and develop the economy with railroads to provide an equal opportunity for all men to rise to prosperity. 

Former Confederates loathed the idea of Black men voting almost as much as they hated the idea of equal rights. They insisted that the public programs poorer voters wanted were simply a redistribution of wealth from prosperous white men to undeserving Black Americans who wanted a handout, although white people would also benefit from such programs. Improvements could be paid for only with tax levies, and white men were the only ones with property in the Reconstruction South. Thus, public investments in roads and schools and hospitals would redistribute wealth from propertied men to poor people, from white men to Black people. It was, opponents said, “socialism.” Poor black voters were instituting, one popular magazine wrote, "Socialism in South Carolina" and should be kept from the polls.

This idea that it was dangerous for working people to participate in government caught on in the North as immigrants moved into growing cities to work in the developing factories. Like their counterparts in the South, they voted for roads and schools, and wealthy men insisted these programs meant a redistribution of wealth through tax dollars. They got more concerned still when a majority of Americans began to call for regulation to keep businessmen from gouging consumers, polluting the environment, and poisoning the food supply (the reason you needed to worry about strangers and candy in that era was that candy was often painted with lead paint).

Any attempt to regulate business would impinge on a man's liberty, wealthy men argued, and it would cost tax dollars to hire inspectors. Thus, they said, it was a redistribution of wealth. Long before the Bolshevik Revolution in Russia brought the fears of a workers' government to life, Americans argued that their economy was under siege by socialists. Their conviction did indeed lead to a redistribution of wealth, but as regular Americans were kept from voting, the wealth went dramatically upward, not down.

The powerful formula linking racism to the idea of an active government and arguing that a government that promotes infrastructure, provides a basic social safety net, and regulates business is socialism has shaped American history since Reconstruction. In the modern era the Brown v. Board of Education Supreme Court decision of 1954 enabled wealthy men to convince voters that their tax dollars were being taken from them to promote the interests of Black Americans. President Ronald Reagan made that formula central to the Republican Party, and it has lived there ever since, as Republicans call any policy designed to help ordinary Americans “socialism.”

Vice President Harris recently said she would continue the work of the Biden administration and crack down on the price-fixing, price gouging, and corporate mergers that drove high grocery prices in the wake of the pandemic. Such plans have been on the table for a while: Senator Bob Casey (D-PA) noted last year that from July 2020 through July 2022, inflation rose by 14% and corporate profits rose by 75%. He backed a measure introduced by Senator Elizabeth Warren (D-MA)—who came up with the idea of the Consumer Financial Protection Bureau—that would set standards to prevent large corporations from price gouging during an “exceptional market shock” like a power grid failure, a public health emergency, a natural disaster, and so on. Harris’s proposal was met with pushback from opponents saying that such a law would do more harm than good and that post-pandemic high inflation was driven by the market.

Yesterday, during testimony for an antitrust case, an email from the senior director for pricing at the grocery giant Kroger, Andy Groff, to other Kroger executives seemed to prove that those calling out price gouging were at least in part right. In it, Groff wrote: “On milk and eggs, retail inflation has been significantly higher than cost inflation.” 

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[visenyaism]

our school always stopped at the end of the civil war and picked up at the compromise of 1877 so we barely learned shit abt reconstruction, any reading recs?

YES you really missed out because everything about American history makes so much more sense once you fully understand Reconstruction. I think the Zinn project and Social Justice Books also have a lot of really good resources if you want to know more.

the most foundational text to the discipline is Black Reconstruction in America by THE Dr. W.E.B. DuBois written in 1935. Then in the 1980s, Reconstruction by Eric Foner reaffirmed DuBois’ work, especially to the broader american public. Both fantastic books that did a lot of the heavy lifting to center the role of African-Americans in the historical narrative. Not a bad idea to start here!

Capitol Men by Philip Dray specifically about Black congressmen was really interesting, LOVED Race and Reunion by David Blight especially as someone interested in historical memory, and I had to read Educational Reconstruction by Hilary Green about the system of Black schools for class but also really loved it.

I also really liked The Death of Reconstruction by Heather Cox Richardson (West from Appomattox from her is also good), and Wilmington’s Lie by David Zucchino. (Also Ben Tillman and the Reconstruction of White Supremacy by Stephen Kantrowitz.) Most of the work I did in college was on the historical memory of the various coups that ended Reconstruction so I was over in that end of the historiography, and those books help me understand it a lot more clearly.

I picked up I Saw Death Coming by Kidada Williams recently and i am SO excited to read it especially because it centers Black resistance and survival during these times of extremely targeted white supremacist terrorism more than a lot of the historiography does.

[dame-de-pique]

Philip Henry Gosse - Sacred streams; the ancient and modern history of the rivers of the Bible. Imprint: London, C. Cox, 1850