#Robert Cooper The Gallery

[robertcooper1127]

The Gallery - Episode 25: "Richard Lovrich"

My latest episode of my youtube series “The Gallery,” is an interview with Mr. Richard Lovrich...

#robert cooper photography

[scotianostra]

On 17th October 1821 Alexander Gardner, renowned photographer of the American Civil War was born in Paisley.

Some of you wmay not know the name but some of his the photographs should be instantly recognisable. As a young man in Glasgow, he had been a jeweller, then he became editor and publisher of a Glasgow newspaper.

Alexander Gardner was a great admirer of Robert Owen, who was largely responsible for the New Lanark Mills. In 1850, inspired by the New Harmony community established by Owen's son, Gardner, his brother and seven others travelled to the United States. They purchased land and established a cooperative community close to Monona, in Clayton County, Iowa. Gardner returned to Scotland to help raise more money and to recruit new members.

In May, 1851, Gardner visited the Great Exhibition in Hyde Park, where he saw the photographs of Matthew Brady, he would be his inspiration.

On returning to the US with his family in 1856 he learned many of his friends in Iowa had died or were seriously ill with tuberculosis, he decided to stay for a time in New York, where he sought out work with Brady, two years later with his mentors eyesight failing he was put in charge of the Washington Gallery.

Through his friendship with fellow Scot with Allan Pinkerton Gardner met Abraham Lincoln, who was then running for President, along with Brady they made 35 portraits of Abraham Lincoln during the 1860 presidential campaign.

On the outbreak of the American Civil War there was a dramatic increase in the demand for work at Brady's studios as soldiers wanted to be photographed in uniform before going to the front-line. Because all the photographs were given the Brady Studio tag it was he who was given the credit for the work, Gardner and around another 20 assistants however took the pictures. Gardner especially went beyond the front line. Now you have to remember that photography was still in it's infancy and subjects had to pose for pics, there was no action pics, with this in mind Gardner took his camera to the ditches and fields where thousands had fought and died, and pictured them as they lay sprawled at the moment of death. In the history of warfare, it had never been done before.

Perhaps it was a byline,commenting on the photographs in The New York Times in 1962 that read "Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it. . . .By the aid of the magnifying glass, the very features of the slain may be distinguished.", that caused Gardner to go his own way in 1862, opening his own studio in Washington.

Gardner was back on the battlefields at Gettysburg portraying grisly results of massed cannon and musketry. He recorded the scenes in an album he named Gardner's Photographic Sketch Book of the Civil War. One particular has become more famous over the past 150 or so years, "Home of a Rebel Sharpshooter." Gardner is said to have moved the body of the soldier for more dramatic effect.

After the war Gardner also took what is considered to be the last photograph of President Abraham Lincoln, just 5 days before his assassination. Gardner would go on to photograph the conspirators who were convicted of killing Lincoln, as well as their execution.

In 1867, Gardner was appointed the official photographer of the Union Pacific Railroad, documenting the building of the railroad in Kansas as well as numerous Native American tribes that he encountered.

Gardner gave up photography to start an insurance company in 1871. He lived in Washington until his death in 1882. Regarding his work he said, “It is designed to speak for itself. As mementos of the fearful struggle through which the country has just passed, it is confidently hoped that it will possess an enduring interest.”

I have deliberately not posted some of pics as even now some are pretty graphic, to photograph the dead and especially an execution leaves a distaste in my mouth, the first pic is Gardner himself, the second Lincoln, the third Lincoln again but fellow Scot Allan Pinkerton to his left, the fourth pic shows the Scaffold for the Lincoln Assassination Conspirators, you can imagine the pics that follow this one

You can google his name you can look through many of the pics if you wish, whereas they might not be as graphic as ones you see online nowadays, they do involve shots of many dead bodies.

Read more about the man here https://www.newworldencyclopedia.org/.../Alexander...

[mariacallous]

Czech Radio (Cesky rozhlas) has suspended its ties with its Slovak counterpart STVR for an indefinite period of time over mounting fears of political meddling and interference in the Slovak public service broadcaster’s operations, the Sme daily reported on Monday.

A Czech Radio spokesman described the “forced demise” earlier this year of predecessor RTVS, and the creation, effective since July, of STVR in its stead as the “first step towards the nationalisation of the [Slovak] public broadcaster”, whose independence and impartiality now hang by a thread, the Slovak daily reported.

In July, Czech Radio head Rene Zavoral said he would have to wait to see “if the new [STVR] organisation will defend the principles of an independent, impartial and objective public service media” before deciding on whether or not to continue his organisation’s cooperation with its Slovak counterpart.

Czech Television (Ceska televize) is also closely monitoring developments in Slovakia’s media sphere, according to the investigative outlet Hlidacipes.org.

According to Sme, the Slovak public broadcaster is already facing increased political pressure and interference, with, among other instances of undue meddling, STVR management blocking a live interview with Matej Drlicka, the former head of the Slovak National Theatre recently dismissed by Culture Minister Martina Simkovicova, and instead airing a recording of it.

The move by Czech Radio will take off the Slovak airwaves its reporters who, until now, had helped cover foreign news in countries where RTVS did not have any or enough correspondents, including in geopolitical hotspots like Ukraine or the Middle East. All exchanges of news content will also end.

“Slovak Radio covers its foreign news from several sources, so it will continue to fully inform about events from the mentioned areas,” STVR responded, claiming the move doesn’t change anything in its long-term cooperation with its Czech counterparts.

The turmoil in Slovakia’s media sector is part of wider assault by the government of Robert Fico on the country’s institutions and judicial system since it won back power in last year’s parliamentary election. The three-party coalition, which includes the extreme-right Slovak Nationalist Party (SNS), appears determined to undermine the rule of law in the country, which is expected to bring it into conflict with the EU, in much the same way as the Hungarian government of Viktor Orban has found itself.

The Slovak government’s Act on Public Broadcasting, a controversial reform passed in June which gave the government greater oversight and control over the public broadcaster’s board, had already sparked large protests by the opposition, civil society and cultural sector. These have stepped up since the new culture minister, a divisive, hard-right, Russia-friendly former presenter put forward by the SNS, began driving the Fico government’s cultural and media power-grab.

Thousands of people protested on Monday in Bratislava against Simkovicova’s decision to fire, on dubious managerial grounds, Alexandra Kusa, the director of the Slovak National Gallery, as well as Drlicka of the Slovak National Theatre – both respected cultural figures in the country and abroad.

Another demonstration is planned on Tuesday evening against what is widely perceived as Fico’s increasingly authoritarian crackdown on free speech and his Orban-style attempts to put cultural institutions and public media organisations under political control.

Prominent Czech artists also penned an open letter criticising the ongoing “purge” in Slovakia’s cultural sector, vowing to come together to create a network offering jobs and positions in the Czech Republic for Slovak colleagues affected by the changes or forced out.

[brokehorrorfan]

Shocker will be released on 4K Ultra HD + Blu-ray on October 29 via Scream Factory. The 1989 supernatural slasher is written and directed by master of horror Wes Craven.

Michael Murphy, Peter Berg, Cami Cooper, and Mitch Pileggi star. The soundtrack features Iggy Pop, Megadeth, Dangerous Toys, and members of Kiss, Motley Crue, Whitesnake, Van Halen, and Alice Cooper.

Special features will be confirmed at a later date, but the extras from the previous Blu-ray edition (listed below) are expected to be carried over.

Special features:

Audio Commentary by writer-director Wes Craven

Audio Commentary by director of photography Jacques Haitkin, co-producer Robert Engelman, and composer William Goldstein

Interview with actor Mitch Pileggi

Interview with actress Cami Cooper

Interview with executive producer Shep Gordo

No More Mr. Nice Guy: The Music of Shocker - Interviews with music supervisor Desmond Child and soundtrack artists Bruce Kulik (Kiss), Jason McMaster (Dangerous Toys), Kane Roberts (Alice Cooper), and Dave Ellefson (Megadeth)

2 vintage making-of featurettes including an interview with Wes Craven

Theatrical trailer

TV spots

Radio spots

Storyboard gallery

Still gallery

About to be electrocuted for a catalog of heinous crimes, the unrepentant Horace Pinker transforms into a terrifying energy source. Only young athlete Jonathan Parker, with an uncanny connection to Pinker through bizarre dreams, can fight the powerful demon. The two dive in and out of television programs, chasing each other from channel to channel through stunning scenes of disaster, game shows, and old reruns.

Pre-order Shocker.

[eternalremorse]

Hogwarts Legacy MC: Oscar Weasley

General

Full Name: Oscar Frederick Weasley Nicknames: Os Date of Birth: 7th December 1872 (Sagittarius) Gender: Male (he/him) Nationality: English Blood Status: Pureblood House: Gryffindor Wand: Notched (warm brown), walnut wood, Phoenix feather core, whippy, twelve inches Patronus: Black Swan Likes: Quidditch, Beasts, Butterbeer, chocolate frogs and lamb shank Dislikes: Divination, Potions (mainly because of Garreth), liver, cabbage and arguments Traits: Confident, chivalrous, charming, active, friendly, outgoing

Appearance

Hair: Ginger Eyes: Light green Height: 5’11’’ Physique: Slim and toned Other features: Freckles all over the face and most of his body

Family

Parents: George Weasley, Marie Weasley Siblings: Nigellus Weasley, Garreth Weasley, Hector Weasley, Millie Weasley

Future

Career: Quidditch (Beater for the Montrose Magpies) Partner/Spouse: Poppy Sweeting Children: George Weasley, Robert Weasley, Alice Weasley

In Depth Details

Oscar is the second-born child of George and Marie Weasley.

From a young age, Oscar has always been the most charming and confident of his siblings, often resulting in many girls to develop a crush on him.

When he started Hogwarts, he immediately took to his flight class and decided that he would train to play for the Gryffindor Quidditch team. After a couple of try-outs, he secured a spot as a Beater. Oscar became one of the best players in the team alongside his housemate and best friend, Isaac Cooper.

Oscar had a reputation of seducing many girls during his time at school, the majority didn’t lead to courtship, but he would bring them to his dorm room or one of the broom cupboards for make-out sessions, and on the odd occasion, something else *wink-wink*.

Oscar’s first relationship happened in his fourth year with a Ravenclaw girl called Francesca. He’d had a crush on her for a few months and she reciprocated his feelings. Unfortunately, Francesca transferred to Ilvermorny later in the year which left Oscar heartbroken!

If Oscar isn’t playing Quidditch or flying around on his broom, he’s usually with his friends in the common room, outside one of the courtyards or at the Three Broomsticks. He’s always down for a pint of Butterbeer! (And the odd cheeky fire whiskey)

He may not be a very studious person, but Oscar does enjoy a good novel every now and then – his favourite genres are adventure and mystery.

Oscar gets on with all his family but spends the most time with Garreth and Millie. He loves to embarrass them!

At his home, he isn’t one for being couped up inside all day, Oscar needs to get outdoors for at least a few hours a day. Whether it be playing ball games with his siblings, meeting his friends, or hiking around the area – even if it’s raining outside!

At family gatherings he is the life of the party! He’s cracking jokes, socialising with everyone there (and I mean everyone) and dancing the night away if music is involved!

Oscar Weasley on Character AI, created by me - [LINK]

Gallery

Gringotts Pensieve

Sorting Ceremony

Common Room Introductions - Part 1

Common Room Introductions - Part 2

First Day & Field Guide - Part 1

First Day & Field Guide - Part 2

Charms Class

Defence Against the Dark Arts Class - Part 1

Defence Against the Dark Arts Class - Part 2

Weasley After Class

Welcome to Hogsmeade - Part 1

Welcome to Hogsmeade - Part 2

Welcome to Hogsmeade - Part 3

Potions Class

Room of Requirement

Beasts Class

The High Keep

Astronomy Class

In the Shadow of the Study

Rookwood Trial & Second Beasts Class

Fire and Vice - Part 1

Fire and Vice - Part 2

It's All Gobbledegook

Poached Egg

The Polyjuice Plot

Surprise Meeting

In the Shadow of the Mountain

The Centaur and the Stone

Lodgok's Loyalty

San Bakar's Trial

In the Shadow of the Relic

Wand Mastery

History of Magic Class

Harlow's Last Stand

A Bird in the Hand

The Final Repository - Part 1

The Final Repository - Part 2

The Final Repository - Part 3

The House Cup

[mybeingthere]

Peter Moore, Performance view of Rauschenberg’s Pelican (1963), at the First New York Theater Rally, 1965 [Barbara Moore/VAGA, New York, NY / Paula Cooper Gallery, New York, NY]. From: Robert Rauschenberg: Among Friends, The Museum of Modern Art, New York, NY, May 21 – September 17, 2017.

[ljblueteak]

From "Memories of Michael" by Terry Southern:

Summer of '66 at the top of Duke Street, in the heart of Old Smoke, I...had my first larger-than-life living-colour confrontation with a certain Michael Cooper, Esquire....I moved on a couple doors along Duke Street to the Robert Fraser Gallery and Grill, as we were later wont to call it. I tried the door and found it locked up tighter than Dick's hat-band.

"Looking for Robert, are you?" asked the young dandy, and when I turned I saw something I was to come to love--his extraordinary smile, piercing; and somehow both shy and knowing, almost conspiratorial....

"Yes," I said. "I'm supposed to meet him here at four." It was almost five now.

Michael laughed. "Oh, I expect he's hopped it," he said, affecting a slightly Cockney accent. "Off to Meerakesh, if my guess is any good. Having a right rave-up with Bill Willis and Chris Gibbs about now, I shouldn't wonder, ho-ho!"

I peered through the gallery window; in the shadows I could see the great B-52 sculpture by Colin Self, which he had said was inspired by Doc Strangelove....

"Hold on," [Michael] said. "Is this a bloody Thursday?" I replied that it was indeed Thursday.

"Then Bob's having tea at his mum's."

"And not the right rave-up you had imagined."

"Yes, he has tea with his mum every Thursday, rain or shine." He considered it. "I should very much like to know what they talk about." He laughed. "Robert's poor taste in choosing his friends, most likely. Although she's a very nice woman. Actually quite charming."

"So he won't be coming back here to the gallery."

"No, we'll have to catch him at Mount Street. Have you been to his flat in Mount Street?"

I said that indeed I had....

Many of my memories of Michael involve Robert Fraser. They were ideally suited for the remarkable friendship they enjoyed. Each regarded the other as a grand eccentric, with Robert playing a sort of older brother of a more conservative stamp.

He had a rather protective attitude towards Michael, although it was Michael who was dominant in terms of influence; it was he who always managed to get copies of the latest Otis Redding or Sam Cooke, or to know about a private screening of a Bruce Connor film; and whenever he made a trip to New York, he would invariably return full of enthusiasm for the work of some new artist he had met through Larry Rivers, Andy Warhol or Den Hopper.

He once persuaded Robert to install a 45rpm record-player under the dashboard of his car--a remarkable Italian device that would absorb the bumps and cobbles of Old Smoke without skipping a note. With Michael as DJ and 'Strawberry Bob' at the wheel, driving like a demon, eye glasses glinting in the changing traffic lights, mouth fixed in a smile of stone manic hilarity, we would tool about the city, blasting with our rock'n'roll. A memorable period.

...I once heard [Michael] defending Keith [Richards] in an amusing exchange with Robert. It was during an evening at Mount Street.

"Well young sir," said Robert, waxing indignant, "buzz along the rialto has it that those two esteemed cronies of yours--Squire Richards and Anita Pallenberg--have shown some rather bad form, rather bad form indeed."

Michael brightened. "Oh? How's that, then?"

Robert took great glee (while feigning high seriousness) in recounting how Keith and Anita had run away together, into the North African night, leaving Brian to his own devices.

"'Spanish Tony' brought the news," he said in solemn conclusion and waited for Michael's response. It appeared, however, that Michael had already heard about it, from Christopher Gibbs, and in more detail.

"They left Brian half of the hash and half of the albums," he said in loyal defence.

Robert seemed to weigh the matter anew for a moment, but he remained sceptical. "Including the Little Richard?" he demanded. "I would wager my life they did not leave the Little Richard!"

From Blinds & Shutters (bold mine)

[illustraction]

KING KONG (R1966-1933) - The BEAUTY OF SWEDISH MOVIE POSTERS (Part 4/10)

There are so many great posters for the original 1933 King Kong movie but the sheer red and orange colors used for the 1966 Swedish rerelease of the horror classic make this poster a must have.

Director: Merian C. Cooper, Ernest B. Schoedsack Actors: Robert Armstrong, Bruce Cabot, Fay Wray

ALL OUR SWEDISH MOVIE POSTERS ARE HERE

If you like this entry, check the other 9 parts of this week’s Blog as well as our Blog Archives

All our NEW POSTERS are here All our ON SALE posters are here

The poster above courtesy of ILLUSTRACTION GALLERY

[ulkaralakbarova]

Loosely based on the Charles Dickens’ classic novel, “Great Expectations” is a sensual tale of a young man’s unforgettable passage into manhood, and the three individuals who will undeniably change his life forever. Through the surprising interactions of these vivid characters, “Great Expectations” takes a unique and contemporary look at life’s great coincidences. Credits: TheMovieDb. Film Cast: Finnegan Bell: Ethan Hawke Estella: Gwyneth Paltrow Walter Plane: Hank Azaria Joe: Chris Cooper Ms. Dinsmoor: Anne Bancroft Prisoner / Lustig: Robert De Niro Jerry Ragno: Josh Mostel Maggie: Kim Dickens Erica Thall: Nell Campbell Owen: Gabriel Mann Finnegan at Age 10: Jeremy James Kissner Estella at Age 10: Raquel Beaudene Carter Macleish: Stephen Spinella Ruth Shepard: Marla Sucharetza Lois Pope: Isabelle Anderson Man on Phone: Peter Jacobson Marcy: Drena De Niro Anton Le Farge: Lance Reddick Mr. Barrow: Craig Braun Mrs. Barrow: Kim Snyder Security Guard: Nicholas Wolfert Ted Rabinowitz: Gerry Bamman Senator Elwood: Dorin Seymour Hitman #1: Clem Caserta Hitman #2: Frank Pietrangolare Hitman #3: Dennis Paladino Hitman #4: Clem Caserta Jr. Cop on Boat: Marc Macaulay Clemma: Ana Susana Gerardino Waiter: Francis Dumaurier Lover: Pedro Barquin 7 Year Old Girl: Kendall Williamson Singing Indian Woman: Shobha Jain Singing Indian Girl: Aditi Jain Anchor Woman: Margo Peace Waitress: Kimmy Suzuki Doorman: John P. Casey Taxi Driver: Adusah Boakye Gallery Waitress: Dyan Kane Gallery Receptionist: Anne Ok Gallery Guest: Alva Chinn Gallery Guest: G.B. Thomas Gallery Guest: Albert Zihenni Gallery Guest: Fritz Michel Gallery Guest: Lisa Herth Gallery Guest: Nino Pepicelli Gallery Guest: Wills Robbins Gallery Guest: Jewel Turner Gallery Guest: Jim Taylor McNickle Gallery Guest: Martin Alvin Gallery Guest: William Rothlein Gallery Guest (uncredited): Maria Capp Gallery Guest (uncredited): Stephen Sherman Cop #2 (uncredited): Paul Neglio DJ (voice) (uncredited): Gary Newton Richard (uncredited): Dale Resteghini Film Crew: Director: Alfonso Cuarón Novel: Charles Dickens Original Music Composer: Patrick Doyle Screenplay: Mitch Glazer Editor: Steven Weisberg Director of Photography: Emmanuel Lubezki Production Design: Tony Burrough Art Direction: John Kasarda Set Decoration: Susan Bode Tyson Costume Design: Judianna Makovsky Sound Designer: Richard Beggs Executive Producer: Deborah Lee Producer: Art Linson Co-Producer: John Linson Casting: Jill Greenberg Sands Makeup Artist: Vivian Baker Key Makeup Artist: Angel De Angelis Makeup & Hair: Ilona Herman Makeup Artist: Manlio Rocchetti Hairstylist: Anthony Veader Key Makeup Artist: Cecilia Verardi Makeup Artist: Linda Kamp Makeup Artist: Sara Seidman Vance Movie Reviews:

[circletemple]

2023 happenings

1. SdNVW (San Diego New Verbal Workshop) experimental choir, inaugural performance at Department, Pauline Oliveros, The Greeting, XVI, Teach yourself to Fly, San Diego 22nd Jan

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2. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Department, Pauline Oliveros, Removing The Demon, San Diego 15th Feb

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3. Dom Cooper for Project Blank, at the Bread & Salt gallery, performing The Forming Cloud, San Diego 11th Mar

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4. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Intervals, Cardew- The Great Learning Paragraph 7, San Diego 29th Apr

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5. With Zane performance at Contact SD, improvised, San Diego 22nd May

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6. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Art Produce, Zane S.B.-Windchime Meditation, San Diego 27th May

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7. United Bible Studies - Procession/Chop Chop From Ballads of Seduction, Fertility and Ritual Slaughter compilation, Vinyl/CD//Download (Was Its Das? WAS58) 24th June

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8. SdNVW (San Diego New Verbal Workshop) open rehearsal at Bread & Salt, Pauline Oliveros-Sonic Meditation One Word, Bob Marsh-Five Movements Five Sounds, Robert Ashley-She Was A Visitor, Nobody Home/Poor Bird trad, Stuart Saunders Smith-Return & Recall, New Verbal Workshop-Ante Axis, Max Oestreicher-Piece for Saxophone & Choir, San Diego 29th June

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9. SdNVW (San Diego New Verbal Workshop) performance at the Lightbox Theater, Max Oestreicher-Piece for Saxophone & Choir, San Diego 30th June

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10. SdNVW (San Diego New Verbal Workshop) open rehearsal at Bread & Salt, San Diego20th July

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11. Unknown Heretic for Stay Strange San Diego Folk Arts Rare Records, - Idumea, Go Dig My Grave, Improv and Depth Charge, San Diego 5th Aug

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12. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Park by Observatory, North Park for Project Blank, Zane S.B.-Windchime Meditation, San Diego 11th Aug

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13. SdNVW (San Diego New Verbal Workshop) open rehearsal at Bread & Salt, San Diego Aug 31st

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14. SdNVW (San Diego New Verbal Workshop) experimental choir performance at City Gallery, City College, Brian Black-Earwigging Chorus, San Diego 2nd Sept

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15. SdNVW (San Diego New Verbal Workshop) performing A Piacere by Sharon Chohi Kim and Elana Mann at How We Gather, Mandeville Art Gallery, UCSD, San Diego Oct 7th

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16. SdNVW (San Diego New Verbal Workshop) performing at Kitschmas, Bread & Salt Gallery, Overlapping medley, Simply having a wonderful Christmas Time, Return & Recall: My Favorite Things, The_Snow_It_MMM+EE+LLL+TTT+SSS, San Diego Dec 1st

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17. SdNVW (San Diego New Verbal Workshop) performing at USD with Ensemble X, John Cage-Imaginary Landscapes, Cornelius Cardew-Great Learning Dec 10th

[robertcooper1127]

The latest episode of my YouTube series “The Gallery,” is about women Hip-Hop photographers....Check it out!!!

The Gallery - Episode 24: "Women Photographers of Hip-Hop"

[formerlibrarian]

Back when I was a Librarian, we lived and breathed by the Publisher's Weekly Bestseller List. It was my responsibility to print or photocopy the list every week and update our bestseller's display. (Also to purchase extra copies of particularly popular bestsellers.)

I haven't looked at the list in YEARS. Some of these surprise me:

A new translation of The Iliad made the list?!

Ken Follett is still alive?? (I looked him up, he's only 74.)

Danielle Steel is still alive?? ( I just looked her up, she's only 76 and has been married five(!) times. To be fair, I also looked up Ken Follett, he's only been married twice.)

I see some Christmas-themed books on the list!

I see a Disney manga! (“The Battle for Pumpkin King”)

PUBLISHER WEEKLY’S BESTSELLERS LIST: October 5, 2023

HARDCOVER FICTION

1. “Fourth Wing” by Rebecca Yarros (Red Tower)

2. “The Running Grave” by Robert Galbraith (Muholland)

3. “The Armor of Light” by Ken Follett (Viking)

4. “Holly” by Stephen King (Scribner)

5. “12 Months to Live” by Patterson/Lupica (Little, Brown)

6. “Tom Lake” by Ann Patchett (Harper)

7. “The Fragile Threads of Power” by V.E. Schwab (Tor)

8. “Bright Lights, Big Christmas” by Mary Kay Andrews (St Martin’s Press)

9. “The Iliad” by Homer/Wilson (Norton)

10. “Demon Copperhead” by Barbara Kingsolver (Harper)

11. “Vince Flynn: Code Red” by Kyle Mills (Atria)

12. “The Covenant of Water” by Abraham Verghese (Grove)

13. “The Last Devil to Die” by Richard Osman (Viking/Dorman)

14. “Tom Clancy: Weapons Grade” by Don Bentley (G.P. Putnam’s Sons)

15. “The Heaven & Earth Grocery Store” by James McBride (Riverhead)

_____

HARDCOVER NON-FICTION

1. “Enough” by Cassidy Hutchinson (Simon &Schuster)

2. “Killing the Witches” by O’Reilly/Dugard (St. Martin’s Press)

3. “The Democrat Party Hates America” by Mark R. Levin (Threshold)

4. “Elon Musk” by Walter Isaacson (Simon & Schuster)

5. “Democracy Awakening” by Heather Cox Richardson (Viking)

6. “Government Gangsters” by Kash Pramod Patel (Post Hill)

7. “Failure Is Not as Option” by Patrick Hinds (BenBella Books)

8. “Thicker Than Water” by Kerry Washington (Little, Brown Spark)

9. “Astor” by Cooper/Howe (Harper)

10. “Build the Life You Want” by Brooks/Winfrey (Portfolio)

11. “Skinnytaste Simple” by Homolka/Jones (Clarkson Potter)

12. “Counting the Cost” by Jill Duggar (Gallery)

13. “The Creative Act” by Rick Rubin (Penguin Press)

14. “Outlive” by Peter Attia (Harmony)

15. “Fast Like a Girl” by Mindy Pelz (Hay House)

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MASS MARKET BESTSELLERS

1. “Undercover Operation” by Maggie K. Black (Love Inspired Suspense)

2. “Bad Luck Vampire” by Lynsay Sands (Avon)

3. “Seeking Justice” by Sharee Stover (Love Inspired Suspense)

4. “The Teacher’s Christmas Secret” by Emma Miller (Love Inspired)

5. “Rescuing the Stolen Child” by Connie Queen (Love Inspired Suspense)

6. “Tracked Through the Woods” by Laura Scott (Love Inspired Suspense)

7. “The Boys from Biloxi” by John Grisham (Vintage)

8. “Christmas Murder Cover-Up” by Shannon Redmon (Love Inspired Suspense)

9. “Pursuit at Panther Point” by Cindi Myers (Harlequin Intrigue)

10. “The Whittiers” by Danielle Steel (Dell)

11. “Trusting Her Amish Rival” by Jackie Stef (Love Inspired)

12. “Texas Scandal” by Barb Han (Harlequin Intrigue)

13. “Marked for Revenge” by Delores Fossen (Harlequin Intrigue)

14. “Hunted at Christmas” by Dana R. Lynn (Love Inspired Suspense)

15. “A Companion for Christmas” by Lee Tobin McClain (Love Inspired)

_____

TRADE PAPERBACK BESTSELLERS

1. “House of Sky and Breath” by Sarah J. Maas (Bloomsbury)

2. “Things We Left Behind” by Lucy Score (Bloom)

3. “The Shadow Work Journal” by Keila Shaheen (Keila Shaheen)

4. “The Battle for Pumpkin King” by Dan Conner et al. (Disney Manga)

5. “Icebreaker” by Hannah Grace (Atria)

6. “Too Late” by Colleen Hoover (Grand Central Publishing)

7. “23 1/2 Lies” by James Patterson (Grand Central Publishing)

8. “It Starts with Us” by Colleen Hoover (Atria)

9. “Mad Honey” by Picoult/Boylan (Ballantine)

10. “Twisted Love” by Ana Huang (Bloom)

11. “Assistant to the Villain” by Hannah Nicole Maehrer (Red Tower)

12. “The Housemaid’s Secret” by Freida McFadden (Mobius)

13. “The Midnight Library” by Matt Haig (Penguin Books)

14. “The Husky and His White Cat Shizun, Vol. 3” by Rou Bao Bu Chi Rou (Seven Seas)

15. “Dreamland” by Nicholas Sparks (Bantam Dell)

[scotianostra]

On 17th October 1821 Alexander Gardner, renowned photographer of the American Civil War was born in Paisley.

Gardner became an apprentice jeweller at the age of 14, lasting seven years. He had a Church of Scotland upbringing and was influenced by the work of Robert Owen, Welsh socialist and father of the cooperative movement. By the time he reached adulthood he and his brother James had the idea to create a cooperative in the United States that would incorporate socialist values, they travelled to Iowa with this in mind in 1850, Alexander returned to Scotland to raise money for the project and purchased the Glasgow Sentinel, quickly turning it into the second largest newspaper in the city.

On his return to the United States in 1851, Gardner paid a visit to the Great Exhibition in Hyde Park, New York, where he saw the photographs of Mathew Brady for the first time. Shortly afterward, Gardner began reviewing exhibitions of photographs in the Glasgow Sentinel, as well as experimenting with photography on his own.

In 1856, Gardner decided to over permanently to America, eventually settling in New York. He soon found employment with Mathew Brady as a photographer. At first, Gardner specialized in making large photographic prints, called Imperial photographs, but as Brady’s eyesight began to fail, Gardner took on more and more responsibilities. In 1858, Brady put him in charge of the entire gallery.

Two years later, Gardner opened a portrait studio for Brady in Washington, D.C. It was so successful that it helped to support Brady’s more extravagant New York studio.

When the American Civil War erupted in 1861, Gardner assisted Brady in his effort to make a complete photographic record of the conflict. Brady, however, refused to give Gardner public credit for his work. Gardner therefore left Brady in 1863, opened a portrait gallery in Washington, and continued to photograph the hostilities on his own. His photographs President Lincoln on the Battlefield of Antietam as seen in the photos and other portraits of Lincoln are among the best-known photographs of the war period.

Gardner’s Photographic Sketch Book of the Civil War, a two-volume collection of 100 original prints, was published in 1866. When Brady petitioned Congress to buy his photographs of the war, Gardner presented a rival petition, claiming that it was he, not Brady, who had originated the idea of providing the nation with a photographic history of the conflict. Congress eventually bought both collections.

In 1867 Gardner became the official photographer for the Union Pacific Railroad. Primarily active in Kansas, he photographed the building of the railroad and the new settlements that grew up near it. He also compiled valuable photographic documentation of the Plains Indians of North America.

Returning to Washington, he gradually lost interest in photography and devoted the rest of his life to philanthropy.

In 1871, Gardner gave up photography entirely to start an insurance company. He lived in Washington until his death in 1882. Regarding his work he said, “It is designed to speak for itself. As mementos of the fearful struggle through which the country has just passed, it is confidently hoped that it will possess an enduring interest.”

The first pic is of Alexander Gardner, next is Ta-Tan-Kah-Sa-Pah (Black Bull) of the Brule-Sioux tribe, North Dakota, President Lincoln on Battle-Field of Antietam and Abraham Lincoln and his son Thomas, then Lewis Payne, one of the men involved in the assassination of Abraham Lincoln and finally the Leavenworth, Lawrence, and Galveston Railroad Bridge across the Kaw River at Lawrence, Kansas, in 1867

[thoughtportal]

WHEN it opened in 1910, the 12-story Alwyn Court, at 58th Street and Seventh Avenue, attracted attention with its fabulously intricate facade.

Now the dark streaks of damaged terra cotta panels spot the landmark building, as the co-op that owns it evaluates repairs.

By 1900 Seventh Avenue around Carnegie Hall had New York's most important collection of apartment houses: the block-long Van Corlear, from 55th to 56th Street: the Rembrandt (New York's first co-op) at 152 West 57th; the massive Osborne at 201 West 57th and the eight-building Navarro Flats, stretching east from Seventh at Central Park South.

The apartment market had been invigorated by the new popularity of the co-op, a concept revived beginning in 1902 in a series of buildings on West 67th Street. Their sponsors were several artists, including Walter Russell. In early 1907 Russell had the architects Harde & Short begin work on the cathedral-front studio building at 44 West 77th Street. That summer Russell, working with the developer Alwyn Ball Jr., bought a Seventh Avenue plot at the southeast corner of 58th Street; in September the Real Estate Record & Guide said Russell would build a ''studio palace'' co-op, designed by the same architects.

For some reason Russell dropped out, and Ball reworked the project into one of the most lavish apartment buildings up to that time. The Alwyn Court had two apartments per floor, each with 14 rooms and 5 baths, renting for up to $10,000 a year; one 32-room duplex was offered at $22,000 per year. Harde & Short created a plan with a square, 12-story central light court and groups of entertaining spaces -- music room, living room, library, dining room, gallery and conservatory, which could be thrown together to create 2,000 square feet. In the typical apartment, the largest room was 18 by 30 feet.

Using the new medium of glazed terra cotta, Harde & Short developed the most intricate apartment facade in New York, executed by the Atlantic Terra Cotta Company. The delicate, Gothic details at the entrance and the expanse of French Renaissance styling, all in light gray, rebuked the Victorian brick and brownstone of Seventh Avenue's earlier buildings.

The magazine Architecture praised the ''consummate skill'' of the terra-cotta work and the ''considerable charm'' of the entrance. But it added that while the design of the facade ''if made by a pastry cook, would be of the highest excellence . . . it can hardly be considered at all in the light of architecture.'' The overall result it said, ''defies description.''

In late 1909, the Alwyn Court opened to tenants. Most of them moved from private houses, like Jacob Wertheim, president of United Cigar Stores, who left a 50-foot-wide house at 5 West 76th Street to occupy the duplex. Another was Frederick Steinway; in 1925, as president of his family's piano company, Steinway moved the firm from East 14th Street to its new headquarters at 119 West 57th Street. In 1910 The New York Times noted that these new apartment houses could be just as palatial as private houses, but needed half as many servants. Repairs by the building staff were quick and it was easy to close up the apartment for travel; many tenants spent only a few months in the city.

Only five apartments had been taken by the night of March 4, 1910, when Patrick Quinn, a doorman, saw the reflection of flames in the windows of the Navarro Flats across 58th. He raced to alert the occupants, and Edward King and Robert Casson ran the elevator through the smoke until the motor shorted out.

No one was seriously hurt, although three housemaids, thinking the entire building was in flames, almost jumped from the roof to Seventh Avenue.

''Great Blaze Lights the City,'' said The New York Tribune on page 1, and 10,000 people watched; The Times described the Alwyn Court as ''a huge torch.'' The fire had started in an unoccupied apartment on the ninth floor, and broken through the windows; tongues of fire leapfrogged the blaze to the top.

Despite its luxury, the Alwyn Court was short on fire protection: with no fire escapes and without fire doors, its single narrow stairway served as a perfect chimney flue. There was no central standpipe so firefighters had to thread hose up floor by floor.

The damage was repaired and census records for the 1910's and 1920's indicate the Alwyn Court was fully occupied. But by the 1930's Seventh Avenue was no longer a desirable address and there were only six residential telephone listings in the building in 1936. By 1937 the building was empty.

The Dry Dock Savings Institution foreclosed and gutted the building in 1938, creating 75 apartments where there had been two dozen. Their architect, Louis S. Weeks, removed the heavy cornice and balustrade, and reworked the apartments to retain most of the large rooms.

The original corner entrance was closed, replaced with the present one on Seventh Avenue, and the new Alwyn Court was soon 100 percent rented, producing a gross income of $137,000 a year.

According to research by the architectural historian Andrew Alpern, one of the last tenants, John MacEnulty, salvaged four decorative stone lions for his house in Sands Point, L.I. The paneling from the Wertheim apartment -- described as taken from a French chateau -- was moved to the Squadron A Armory on 94th and Madison Avenue.

IN 1980, with a co-op conversion underway, the architects Beyer Blinder Belle supervised a $500,000 facade restoration, cleaning the terra cotta and replacing damaged blocks with cast concrete replicas. The artist Richard Haas painted a full-height trompe l'oeil mural in the central courtyard; with a new skylight, it became an atrium. The corner entrance was reopened as an entrance for a commercial tenant.

Now, 17 years later, the facade needs more work. Because large chunks of masonry are missing from the fifth-floor balcony, a sidewalk bridge has been erected on Seventh Avenue to protect pedestrians. Although the flat panels on the facade appear intact, about one-third of the window and balcony soffits are visibly damaged.

Gerard Meehan, the property manager for NRK Management, which oversees the building, says that last year a piece of terra cotta fell to the sidewalk. Now engineers are being interviewed, and any work will flow from a consultant's recommendations. Mr. Meehan says he doesn't think this project will be a major one.

[brokehorrorfan]

Scream Factory has revealed the specs for its Shocker 4K Ultra HD + Blu-ray, which releases on October 29. The 1989 supernatural slasher is written and directed by master of horror Wes Craven.

Michael Murphy, Peter Berg, Cami Cooper, and Mitch Pileggi star. The soundtrack features Iggy Pop, Megadeth, Dangerous Toys, and members of Kiss, Motley Crue, Whitesnake, Van Halen, and Alice Cooper.

Shocker has been newly restored in 4K from the original camera negative with Dolby Vision and Dolby Atmos. Special features are listed below.

Disc 1 - 4K UHD:

Audio Commentary by writer-director Wes Craven

Audio Commentary by director of photography Jacques Haitkin, co-producer Robert Engelman, and composer William Goldstein

Disc 2 - Blu-ray:

Audio Commentary by writer-director Wes Craven

Audio Commentary by director of photography Jacques Haitkin, co-producer Robert Engelman, and composer William Goldstein

Interview with actor Peter Berg (new)

Interview with composer William Goldstein (new)

Interview with production designer Cynthia Charette (new)

Interview with actor Mitch Pileggi

Interview with actress Cami Cooper

Interview with executive producer Shep Gordo

No More Mr. Nice Guy: The Music of Shocker - Interviews with music supervisor Desmond Child and soundtrack artists Bruce Kulik (Kiss), Jason McMaster (Dangerous Toys), Kane Roberts (Alice Cooper), and Dave Ellefson (Megadeth)

2 vintage making-of featurettes including an interview with Wes Craven

Theatrical trailer

TV spots

Radio spots

Storyboard gallery

Still gallery

About to be electrocuted for a catalog of heinous crimes, the unrepentant Horace Pinker transforms into a terrifying energy source. Only young athlete Jonathan Parker, with an uncanny connection to Pinker through bizarre dreams, can fight the powerful demon. The two dive in and out of television programs, chasing each other from channel to channel through stunning scenes of disaster, game shows, and old reruns.

Pre-order Shocker.

[xlntwtch2]

from deboergallery.com ...

"Kirsten Deirup’s portrait paintings have been compared to the work of Giuseppe Arciboldo and ​explore a territory where theater, nature and devastation commingle. She accentuates uneasy relationships that appeal to our subconscious by depicting a reality that is beyond explanation.

Kirsten Deirup (b. 1980), Berkeley, CA) attended The Cooper Union, New York, NY. She has had solo exhibitions at Hesse Flatow, New York, NY; Nichelle Beauchene Gallery, New York, NY; Guild and Greyschul, New York, NY; Rare, New York, NY and de boer, Los Angeles, CA. Group exhibitions include; Morgan Lehman Gallery, New York, NY; Jeff Bailey Gallery, New York, NY; Marc Wolf Contemporary Art, San Fransisco, CA; Geoffrey Young Gallery, Great Barrington, MA; and Roberts and Tilton, Los Angeles, CA."

Kirsten Deirup (American, 1980) - Omen Neutral (2023)