#artist Peter Richards

[darshanan-blog]

Exploring San Francisco - Off the beaten path

Exploring #SanFrancisco off the beaten path - beyond #Lombard #GoldenGate & #Presidio

I write my blog like my diary and primarily for myself – so one day when I am old and perhaps not able to do much, I can at least see read about the exciting life I lived. Often then I write and forget to post the blog. I have many such blogs that I come across from time to time in my laptop. So this is one such older blog. It seems I forgot to post it and a few things may have changed or some…

[thosedamnedghouls]

and when i tell you all ive unfortunately fallen down the Dick Grayson parents Peter Parker rabbit hole

[sciderman]

day 7-9 of spider-month! family…

[cada4us]

i guess i didn’t post this 😞

[dead-meat]

SPANKOFFSCHITZ AND HEADCANNONS UNDER CUT!! @royall-ass , I'm so late to when this was requested :p BUT YOU THOUGHT OF LITTLE OL ME!? HONORED‼️

"Bro" used romantically

. The way they got together is that Richie used a terrible anime based pick up line and he continues to do them while there together

. Not a Headcannon but just adore how Richie is like always clinging to Pete

. They go on online dates more than in person ones. Like they won't even call because of call anxiety (both of them tbh) and just run around and use in game chat

. When they do in person dates it's always at one of their houses just silently doing things together.

. One time they tried to go out to a restaurant for their anniversary and they both hated it. Completely shut down in two different ways

. The only way Pete will sit on Richie's bed is if he hides those pillows. He loves Richie but thinks they're so odd. Genuinely the most heated argument they had. (At least in high school)

. Heath issue buddies!! Help each other out when they can :3 (disability Headcannons are a wholeee other thing)

. I like to think the way Richie came out to Pete (and Ruth) was that he did the whole literally coming out of a closet thing and then he did a whole slideshow about it that turned into his personal Headcannons for characters. Pete didn't come out till like two years later even though he had known since before Richie even came out to him

. Richie is always taking pictures and videos of Peter for "Film Practice" It's cute until Richie it yelling at him to hold still to focus or redo something

. They both go all out for Halloween!! Though it's always a fight on what the theme for their costumes are and they always end up just going as completely unrelated but Richie insists that in the Subtext it's a couples costume.

. R- "Omg it's so us", P- "I don't see it?"

I could do a lot more, this was lowkey cut down and this is all so excessive but I love and adore them :3

I have a whole playlist for them that I was listening to while doing this, still am >:3

[unhollowkid]

HI HI HI !! <3 <3 I drew the bat kids...again hehe :3 @preciousthingsareprecious

Dick

Jason

Tim

Damian

Steph got a scar from when she was tortured and almost die

Cass

Duke

Thanks for those who comment, like and share!! 🧡❤💛💚💗💖💜💙💕💞💟💝🧡❤💛💚💗💖💜💙💕💞💟💝❤💛💚💗💖💜💙💕💞💟💝🧡❤💛💚💗💖💜💙💕💞💟💝

[thewaltcrew]

Behind-the-scenes footage of the reshoot of the squid sequence in 20,000 Leagues Under the Sea (1954)

A soundstage with a tank was built specifically for the movie. It was used for underwater miniature shots, but most importantly, this was where the famous squid sequence of the movie was filmed. Building the soundstage alone cost $300,000, but costs would continue to climb once the studio realized it would need to shoot the sequence all over again.

The screenwriter Earl Felton originally described the scene as such in his script: "THE NAUTILUS breaks the surface in the red after-glow of sunset, the ugly body of the squid silhouetted against the horizon, its long tentacles writhing."

Peter Ellenshaw, matte artist: I reckoned it would be very dramatic if--and I was doing sketches on the film quite a lot--that if we did a red, deep red sky, and the squid comes out of the water, it would be a wonderful effect. Well they tried it. They put on that kind of wishy washy sky, and it looked ridiculous.

Richard Fleischer, director: [The first squid] had all the tentacles, but the tentacles were held up by very heavy cables, which you couldn't avoid seeing... The cables would break, or great hunks of the material would come apart, come off. And the inside was stuffed with kapok, and it was absorbing the water, so it's getting heavier and heavier and getting less and less mobile, and it was just impossible. So I'm trying to shoot this thing, and I'm sick to my stomach looking at it because I know it's not working.

After seeing the dailies of the squid sequence, Walt talked with director Richard Fleischer, and they both agreed that it looked comical. Thus, Walt halted production while they thought of an alternate solution.

Fleischer: [Walt] said, "Start a dramatic sequence, and leave the squid sequence alone." He said, "I'll get together with my geniuses at Disneyland, and we'll come up with a squid that will do something for you. It'll be much better than this." ...My writer Earl Felton had seen the dailies too. And I said, "You know, Earl, what are we going to do with this thing? It doesn't work, even if we get a good squid." He said, "Well, look: everything's wrong with this sequence. This should be a sequence that takes place at night in a violent storm with lightning and thunder and wind, tremendous wind, waves smashing everything, so that it becomes not just a fight against the squid, but a fight against nature as well. You'll only see the squid really in flashes of lightning, and you won't see any flaws it may have." So I kissed his hand and ran out to find Walt, and I ran right into Walt on the studio street, and I said, "Walt, this is the new concept for the squid fight." And he listened, and he said, "You're absolutely right." He didn't hesitate a minute. "That's the way we'll do it, and you tell Earl to write that sequence."

The new squid was redesigned and remodeled by sculptor Chris Mueller (who sculpted a majority of the animals on Jungle Cruise). In his redesign, he tapered out the ends of the tentacles to allow them to stretch out to twice their length. He added a brow ridge to the squid to give it a more menacing look and rounded out + shortened the head.

The new mechanics were concepted and created by technical effects expert Bob Mattey (who made the animals on Jungle Cruise move and eventually would become well-known for creating the three animatronic sharks in the film Jaws). He created a spring device that made the tentacles light in weight and fluid in movement. It required 28 men to operate the squid, and they would use vacuum hoses to make the tentacles writhe, inflating them to make them curl and deflating them to uncurl them.

With the new stormy setting, it also required the addition of wind machines, dump tanks, wave makers, and reengineering the Nautilus so that it could lean during the storm.

Most of this reshoot was shot by second unit director Jim Havens (pictured in the first and eighth gifs; James Curtis Havens on IMDb), who already had previous experience shooting action sequences, including the underwater scenes in Creature from the Black Lagoon.

Needless to say, the reshoot practically flooded the soundstage. You can see in the last gif that the water spilled outside the soundstage as Walt, with rubber boots on, walks into the building.

The reshoot cost an additional $250,000, but with only half of the principal photography having been shot, the production was in danger of being shut down. The film had to start taking from funds intended for Disneyland.

Fleischer: They had to get in the bankers... They asked them to supply money to finish the picture, and the bankers wanted to see what had been shot up to date. And that was a big day for us. I was working on the set, waiting to hear word whether we're going to come back to work the next day or shut down that night. It was really that close. Word got back to me. They loved it. And they're giving him a million and a half dollars to finish the picture. That's our squid story. It was a real hair-raiser. A movie in itself.

quotes and footage from “The Making of 20,000 Leagues Under the Sea” featurette additional sources [x][x][x]

for anonymous

[wonderfoolart]

I've made quite a few emojis over the last few months so I decided to put them up for sale! They're pay what you want with a minimum of 1 whole buck. It's a steal! [buy here]

[cada4us]

oh i need him badly

Spideytorch worms

[devine-fem]

this ship isnt boring/bad, you guys don't get them like i do, i fear. if peter was a god, then wade would be his greatest disciple. if wade was an artist, then peter would be his muse. / Mario Puzo, The Godfather // it chooses you, miranda july // marcel proust // Terrance Hayes, The Same City // Eliza Crewe, Crushed // judas-redeemed // Mitski, I'm your man // u.k // Mitski, I'm your man // Richard Siken // Charlotte Eriksson Everything Changed When I Forgave Myself // u.k. // Noah Kahan You're Gonna Go Far // marilynne robinson, gilead

[broomsick]

Depictions of norse myth & folklore you may not have seen before

Dagr and Nótt (Day & Night, Peter Nicolai Arbo, 1874)

Thor Drives the Dwarves out of Scandinavia (Richard Doyle, 1878)

Håkon the Good (Peter Nicolai Arbo, 1860)

The Völva's Prophecy (Knud Baade, 1843)

Frigga's temple, flanked by runic stones in the holy grove of Uppsala (Scenery for the Opera Frigga by artist Louis-Jean Desprez, 1787)

Urnes Stave Church in Sogn (Knud Baade, 1843)

[pathetic-gamer]

Pentiment's Complete Bibliography, with links to some hard-to-find items:

I've seen some people post screenshots of the game's bibliography, but I hadn't found a plain text version (which would be much easier to work from), so I put together a complete typed version - citation style irregularities included lol. I checked through the full list and found that only four of the forty sources can't be found easily through a search engine. One has no English translation and I'm not even close to fluent enough in German to be able to actually translate an academic article, so I can't help there. For the other three (a museum exhibit book, a master's thesis, and portions of a primary source that has not been entirely translated into English), I tracked down links to them, which are included with their entries on the list.

If you want to read one of the journal articles but can't access it due to paywalls, try out 12ft.io or the unpaywall browser extension (works on Firefox and most chromium browsers). If there's something you have interest in reading but can't track down, let me know, and I can try to help! I'm pretty good at finding things lmao

Okay, happy reading, love you bye

Beach, Alison I. Women as Scribes: Book Production and Monastic Reform in Twelfth-Century Bavaria. Cambridge Univeristy Press, 2004.

Berger, Jutta Maria. Die Geschichterder Gastfreundschaft im hochmittel alterlichen Monchtum: die Cistercienser. Akademie Verlag GmbH, 1999. [No translation found.]

Blickle, Peter. The Revolution of 1525. Translated by Thomas A. Brady, Jr. and H.C. Erik Midelfort. The Johns Hopkins University Press, 1985.

Brady, Thomas A., Jr. “Imperial Destinies: A New Biography of the Emperor Maximilian I.” The Journal of Modern History, vol 62, no. 2., 1990. pp.298-314.

Brandl, Rainer. “Art or Craft: Art and the Artist in Medieval Nuremberg.” Gothic and Renaissance Art in Nuremberg 1300-1550. The Metropolitan Museum of Art, 1986. [LINK]

Byars, Jana L., “Prostitutes and Prostitution in Late Medieval Bercelona.” Masters Theses. Western Michigan University, 1997. [LINK]

Cashion, Debra Taylor. “The Art of Nikolaus Glockendon: Imitation and Originality in the Art of Renaissance Germany.” Journal of Historians of Netherlandish Art, vol 2, no. 1-2, 2010.

de Hamel, Christopher. A History of Illuminated Manuscripts. Phaidon Press Limited, 1986.

Eco, Umberto. The Name of the Rose. Translated by William Weaver. Mariner Books, 2014.

Eco, Umberto. Baudolino. Translated by William Weaver. Mariner Books, 2003.

Fournier, Jacques. “The Inquisition Records of Jacques Fournier.” Translated by Nancy P. Stork. Jan Jose Univeristy, 2020. [LINK]

Geary, Patrick. “Humiliation of Saints.” In Saints and their cults: studies in religious sociology, folklore, and history. Edited by Stephen Wilson. Cambridge University Press, 1985. pp. 123-140

Harrington, Joel F. The Faithrul Executioner: Life and Death, Honor and Shame in the Turbulent Sixteenth Century. Farrar, Straus and Giroux, 2013.

Hertzka, Gottfired and Wighard Strehlow. Grosse Hildegard-Apotheke. Christiana-Verlag, 2017.

Hildegard von Bingen. Physica. Edited by Reiner Hildebrandt and Thomas Gloning. De Gruyter, 2010.

Julian of Norwich. Revelations of Divine Love. Translated by Barry Windeatt. Oxford Univeristy Press, 2015.

Karras, Ruth Mazo. Sexuality in Medieval Europe: Doing Unto Others. Routledge, 2017.

Kerr, Julie. Monastic Hospitality: The Benedictines in England, c.1070-c.1250. Boudell Press, 2007.

Kieckhefer, Richard. Forbidden rites: a necromancer’s manual of the fifteenth century. Sutton, 1997.

Kuemin, Beat and B. Ann Tlusty, The World of the Tavern: Public Houses in Early Modern Europe. Routledge, 2017.

Ilner, Thomas, et al. The Economy of Duerrnberg-Bei-Hallein: An Iron Age Salt-mining Center in the Austrian Alps. The Antiquaries Journal, vol 83, 2003. pp. 123-194

Lang, Benedek. Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe. The Pennsylvania State University Press, 2008

Lindeman, Mary. Medicine and Society in Early Modern Europe. Cambridge University Press, 2019.

Lowe, Kate. “’Representing’ Africa: Ambassadors and Princes from Christian Africa to Renaissance Italy and Portugal, 1402-1608.” Transactions of the Royal Historical Society Sixth Series, vol 17, 2007. pp. 101-128

Meyers, David. “Ritual, Confession, and Religion in Sixteenth-Century Germany.” Archiv fuer Reformationsgenshichte, vol. 89, 1998. pp. 125-143.

Murat, Zuleika. “Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century).” Archaeological and Anthropological Sciences, vol 23, no. 191. Springer, October 2021. pp. 1-27.

Overty, Joanne Filippone. “The Cost of Doing Scribal Business: Prices of Manuscript Books in England, 1300-1483.” Book History 11, 2008. pp. 1-32.

Page, Sophie. Magic in the Cloister: Pious Motives, Illicit Interests, and Occullt Approaches to the Medieval Universe. The Pennsylvania State University Press, 2013.

Park, Katharine. “The Criminal and the Saintly Body: Autopsy and Dissectionin Renaissance Italy.” Renaissance Quarterly, vol 47, no. 1, Spring 1994. pp. 1-33.

Rebel, Hermann. Peasant Classes: The Bureaucratization of Property and Family Relations under Early Habsburg Absolutism, 1511-1636. Princeton University Press, 1983.

Rublack, Ulinka. “Pregnancy, Childbirth, and the Female Body in Early Modern Germany.” Past & Present,vol. 150, no. 1, February 1996.

Salvador, Matteo. “The Ethiopian Age of Exploration: Prester John’s Discovery of Europe, 1306-1458.” Journal of World History, vol. 21, no. 4, 2011. pp.593-627.

Sangster, Alan. “The Earliest Known Treatise on Double Entry Bookkeeping by Marino de Raphaeli.” The Accounting Historians Journal, vol. 42, no. 2, 2015. pp. 1-33.

Throop, Priscilla. Hildegarde von Bingen’s Physica: The Complete English Translation of Her Classic Work on Health and Healing. Healing Arts Press, 1998.

Usher, Abbott Payson. “The Origins of Banking: The Brimitive Bank of Deposit, 1200-1600.” The Economic History Review, vol. 4, no. 4. 1934. pp.399-428.

Waldman, Louis A. “Commissioning Art in Florence for Matthias Corvinus: The Painter and Agent Alexander Formoser and his Sons, Jacopo and Raffaello del Tedesco.” Italy and Hungary: Humanism and Art in the Early Renaissance. Edited by Peter Farbaky and Louis A. Waldman, Villa I Tatti, 2011. pp.427-501.

Wendt, Ulrich. Kultur and Jagd: ein Birschgang durch die Geschichte. G. Reimer, 1907.

Whelan, Mark. “Taxes, Wagenburgs and a Nightingale: The Imperial Abbey of Ellwangen and the Hussite Wars, 1427-1435.” The Journal of Ecclesiastical History, vol. 72, no. 4, 2021, pp.751-777.

Wiesner-Hanks, Merry E. Women and Gender in Early Modern Europe. Cambridge University Press, 2008.

Yardeni, Ada. The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy & Design. Tyndale House Publishers, 2010.

[stephantom]

I was curious to see the original context of these quotes, so I found “Loitering With Intent: The Apprentice” by Peter O’Toole online, and I was not disappointed. He uses a fun impressionistic style and he does describe this particular encounter in detail.

When Richard Burton strutted his Bastard on to the stage, he fetched with him a virility and poetry which neither before nor since have I seen matched in any playhouse. Power he brought, and insouciance; laughter, energy, danger; a rapidity of action and mental agility which throbbed; a relaxation and stillness which magnetized; an eye and a presence which commanded, and a glorious voice which rang and hushed and boomed and stung into every sounding inch of the auditorium. Much of what the Bastard says is a compound of slang, eloquence and yokel speech. Such was Richard's understanding of the very nature of the Bastard, and the skill he brought to the weight, nuance and balance of each word and phrase, that this mix blended into a singular essence which defined and made whole Shakespeare's reincarnated Lionheart.

[O’Toole goes on at length about the production and muses a lot about the history behind the play, etc. I’m skipping ahead.]

Nina Von [one of Peter’s theater student friends] made it clear that the rest of us could do as we wished but that she was going to the stage door in the hope of having a sumptuous ogle of Richard Burton, whom she considered to be a cute hunk of real man. No demur came from the heap and so round to the stage door we trooped where, pretty prospect, I saw that right next to it stood a welcoming pub.

[Skipping ahead again; they go to the pub.]

Hello. It is less than half an hour since the play ended. […I]nto the pub pushes what appears to be the entire cast of King John. The King of France has bought drinks and is passing them to Cardinal Pandulph, the Dauphin has his head dipped into a foam of Guinness and here comes Burton calling for a pint. They are a cheerful bunch, sparky, voluble, dry as one expected and the ale goes around and down. Here is Constance of Bretagne. Stern yet mischievous, handsome, and giving what appears to be a ribbing to a donnish and perplexed King John.

Burton has lifted his pint with an ease and sure-handedness that tells of diligent practice; parched ancestors from the coal pits of Wales live on in his sturdy body as the glass pint pot is applied to his mouth, and no miner up from the shaft after a double-header at the black coal face could have managed better his deep first sweet suck. Well played, Richard Burton! Laugh your easy laugh, light a fag, swig your ale, lean against the bar and look about you. Here sit six drama students, lately up in the gods, now come down to earth, sitting in a pub and looking at members of the Old Vic Company who this evening have so thoroughly entertained us when performing in a play. What my friends are thinking, I can't know. Me? The sight and sound of the chatter and the laughter made by you and your companions, and the ease with which you are all spreading yourselves about the pub, the warmth and vitality engendered, why, it delights me but though I can see and hear all this, I cannot yet touch it, am excluded, for you are professionals and I am not. Not at all, not even an experienced amateur. Not, in fact, an actor. And yet. Do I sense a tie of kinship? A tie which I have already sensed with my teachers at the RADA, professionals all? Perhaps. We will see. Meanwhile, though I am in a true sense excluded from it, I shall be happy on the fringe of your company.

Hello. Burton, R., is having a deep greeny-blue eyeful of [each of the three women in Peter’s friend group]. Can you blame him? These three bonny babes would fill a gladdened eye on any man […] Now, did you ever meet a young man who with complacency could watch while the women in his company were being given a thorough scrutiny by another young man in a pub? A stranger at that? An actor? A bloody film star? It was while I was adjusting my ears to their pinned-back position and mustering up one of my better grim scowls, that Richard took his gaze away from the women, glanced at Joe, at Bob, and then looked straight at me. A grin as big as it was friendly and as warm as it was wide spread over his face. His eyes sent a merry message which said that, on the whole, I could be in much worse company. He raised his glass to me, to my friends, we raised our glasses to him, and then with the grin still on him he ambled away to sit with Lewis and Philip of France at a table on the other side of the bar.

Six young drama students went happily home that night and Bob [Peter’s school roommate] and I drank bottles of beer and talked until dawn.

[Tune in next time for another early run-in. Here’s a picture of the Royal Academy of Dramatic Art (RADA) era Peter O’Toole.]

That winter of 1953 Richard Burton, back from his first foray in Hollywood, reigned supreme at the Old Vic. Tickets were like gold dust with the twenty-eight-year-old hailed as the new Olivier. A group of RADA students, O'Toole amongst their number, decided to see King John, with Burton playing Philip the Bastard. Taking it in turns to queue for cheap tickets they sat up in the gods, crackling with anticipation.

The curtain that evening fell to applause like thunder and O'Toole stepped outside into a cold, windy Waterloo Road almost traumatized by what he'd seen. “When Richard Burton strutted his Bastard on to the stage, he fetched with him a virility and poetry which neither before nor since have I seen matched in any playhouse.”

Conveniently located nearby was a pub and O'Toole's group made haste inside. He was halfway through his pint when Burton and other cast members bounded in, calling out for refreshment. O'Toole watched the Welsh wizard lift his pint with an ease and sure-handedness that told of diligent practice. It was a strange sensation to sit so close to actors who had entertained him so grandly, there was laughter, good humour, it delighted him, yes, “but though I can see and hear all this, I cannot yet touch it.” They were professionals, O'Toole was still very much the apprentice. At one point O'Toole distinctly recalled Burton catching sight of his own gaze and staring back with a grin, “as big as it was friendly. He raised his glass to me, to my friends, we raised our glasses to him, and then with the grin still on him he ambled away.”

- Peter O’Toole: The Definitive Biography by Roger Sellers [the direct quotes attributed to O’Toole are from O’Toole’s 1997 memoir Loitering With Intent]

^ Richard Burton in The Robe (1953)

[cada4us]

fantastic four and their extended family

[dead-meat]

IM BACK WITH SOME ART‼️‼️

[babygirlismpersonified]

totally forgot to post the art I did of this- face paint and individuals under the cut!!

nerdy prudes must die rocky horror au (or it’s them performing)

Steph and Pete as Janet and Brad. is this anything .

I saw this clip and was transfixed saury https://youtube.com/clip/UgkxPJxdsVuKn-yaOYOD3nfnrjkt5gqcoiZ5?si=A14jk1ijlKqyfItv