#female photographers in detroit

[robingamblephotography]

Wedding Photographer in West Bloomfield

For exceptional wedding photography in West Bloomfield, Michigan, consider working with Robin Gamble Photography. Specializing in capturing the timeless moments and emotions of weddings, Robin Gamble Photography offers a personalized and professional approach to documenting your special day. Robin Gamble's artistic vision, attention to detail, and commitment to excellence ensure that every aspect of your wedding is beautifully captured. Visit her website to view her portfolio and inquire about her wedding photography services in West Bloomfield. https://www.robingamblephotography.com/gallery-1

[anarchist-wonderland]

Only the paintings ever saw our love

[detroitlib]

Packard Co. file photograph of a 1942 Packard nine-tenths left side view in an automobile showroom, female passenger in rear, man standing at passenger door. Inscribed on photo back: "Packard 160, super eight, nineteenth series, model 1908, 8-cylinder, 165-horsepower, 148-inch wheelbase, 5-person touring sedan (body type #1521), by LeBaron, 20th series catalogue rendering."

Packard Collection

National Automotive History Collection, Detroit Public Library

[the4sylum]

The Story Section of her old website:

"Combine the violin mastery of Nigel Kennedy, the voice of an alien Siouxsie/Bowie hybrid, and the looks of a post-apocalyptic Marie Antoinette, and what do you get? Emilie Autumn. The pink-haired princess of "victoriandustrial" has already morphed her way from classically trained violin prodigy to extreme rock performer with the ability to shred on a fiddle à la Yngwie, and with a cult following to match.

After spending a summer in France recording with Courtney Love at Ms. Love's express command, Emilie was invited to join Love's touring band,"The Chelsea," and was appropriately dubbed the "anarchy violinist" by Love. Next thing you knew, she was performing live on The Late Show with David Letterman, The Tonight Show with Jay Leno, and on national television with Billy Corgan of Smashing Pumpkins fame, while appearing on the solo debut albums of both Corgan and Love. Emilie quickly gained attention as a solo performer in her own right, and was chosen as one of Interview Magazine's "14 To Be," a pictorial featuring 14 up-and-coming young female stars. Shot by famed fashion photographer Kelly Klein, and wearing a Helmut Lang gown while sprawled on a large wooden tea crate, Emilie was chosen as the magazine's centerfold posing with her signature electric violin. Now, EA is setting her sights on the rest of the world with the release of her new album, "Opheliac" on the Trisol Music Group label, released in Europe on the 1st of September 2006, and worldwide on the 22nd.

BACKGROUND:

Brought up as a concert violinist since age four, and trained in conservatoires around the world as a performer, composer, conductor, and music historian, EA's bizarre background is the element that makes her music so exceptional. The blending of authentic baroque strings, harpsichord, and factory-derived industrial beats with vocal techniques from soul-searing belts to snarling screams creates an positively dangerous feel, only compounded by EA's dark and uber-literate lyrics.

After walking away from her first major label contract at age 17, EA returned to her classical roots and released her solo violin debut album, "On a Day...," with the label she created and still controls, the aptly titled Traitor Records. Since the creation of her own production company, EA has branched out to create a number of side projects (The Jane Brooks Project, Ravensong, Convent), and is delighted to be collaborating with other artists including Detroit techno legend DJT1000, UK industrial giant, Attrition, fellow Chicagoans, Die Warzau, and many more creative entities ranging from industrial legends to television shows (EA frequently contributes her violin playing to the hit American TV series "Metalocalypse," a cartoon about a ficitional metal band airing weekly on Adult Swim).

With Enchant a proven success in the indie world, Emilie returned from two years of touring and recording with Love to begin production on her second full-length non-classical offering entitled, "Opheliac." Written in the style EA calls "victoriandustrial," her new heavily industrial sound takes "gothic" to a whole new level - sinister, witty, and combining her trademark violin pyrotechnics with growling vocals, virtuosic harpsichord, and electro-industrial beats. A concept album about "women, water, and madness," song titles include, "Gothic Lolita," "Dead Is The New Alive," "The Art Of Suicide," "I Want My Innocence Back", and "Misery Loves Company."

EA's previous releases include the solo violin debut album, "On a Day...," recorded at age 17 and showcasing her mastery of the baroque violin, "By The Sword," her charity single in response to the 9/11 attacks, "Chambermaid," her first goth-rock EP, and of course, "Enchant." Emilie also appears on Courtney Love's 2004 release, "America's Sweetheart" on Virgin Records, and is a featured guest on Billy Corgan's 2005 solo release, "The Future Embrace" on Warner Records.

OTHER ACTIVITIES:

When EA is not recording or touring, she designs for "Mistress," her own fashion and fragrance line for her own indie-couture company, WillowTech House. Notorious for her own visionary "punktorian" stage costumes, EA's design skills were put to use when she was asked to design and create all of the costumes for the music video for "Walking Shade," Corgan's first single off his 2005 album, directed by P.R. Brown.

EA is also a prolific writer and illustator, releasing and quickly selling out of her first volume of poetry in 2001. 2005 saw the release of her second poetry edition complete with audio version entitled, "Your Sugar Sits Untouched," offered by WillowTech House Publishing. EA is currently putting the finishing touches on the illustrations for her gothic children's book for adults only, "The Alphabet Book of X-Boyfriends."

Originally from Malibu, California, EA is now a proud Chicagoan, and can most often be found at nightspots such as the Metro, Neo, and DoubleDoor as well as cavorting around the city's downtown in her Victorian bustle skirt, corset, and combat boots, attracting a ridiculous amount of attention.

The End.

For now..."

♥ Archived from Emilie Autumn's Website (via the wayback machine) ♥

[emekaigwe]

Landmark ACLU Civil Rights Case on Facial Recognition Technology

Civil rights cases safeguard the basic rights of American citizens, regardless of their background, creed, or color. A prominent civil rights-related case represented by the American Civil Liberties Union (ACLU) settled in June 2024. The case focused on Robert Williams, wrongfully arrested in January 2020 outside his home, with his family and neighbors watching due to flawed facial recognition technology.

A shoplifter had stolen several high-end watches from a Detroit Shinola retail store. The Detroit Police Department took a low-quality, blurry still image from surveillance video and gave it to the Michigan State Police to run through a face recognition program. The results indicated a possible match with Mr. Williams’ expired driver’s license photograph. However, he was nowhere near the scene.

The police used his photo in a lineup and showed it to a Shinola loss-prevention contractor not present at the scene. The contractor’s sole knowledge of the incident came from reviewing the same blurry surveillance footage.

Despite the unreliability of the evidence, the Detroit Police Department received an arrest warrant for Mr. Williams, arrested him, and detained him for 30 hours in a crowded cell. In early 2021, the Civil Rights Litigation Initiative at the University of Michigan Law School teamed up with the ACLU of Michigan to file suit for Mr. Williams. They held that the facial recognition technology did not function correctly and had a racial bias.

Mr. Williams' team also pointed to several recent false arrests due to facial recognition technology. They held that Detroit had no policy for face recognition technology or application by law enforcement. Further, the city had not trained officers to use such technology in investigations.

The case concluded with a precedent-setting settlement agreement establishing the most substantial policies on police department use of facial recognition technology nationwide. Moving forward, reliable, independent evidence connecting a suspect to criminal activity must back all results provided by the technology. The city will also audit similar cases dating back to 2017. In addition, the police cannot make arrests using photo lineups created with facial recognition technology.

Mr. Williams received a settlement of $300,000. He described feeling relieved that an implementation of safeguards would occur to prevent misuse of facial recognition technology. In addition, he told reporters: “Our hope [is to] live in a better world” due to the decision. He further clarified, “What we would like for them to do is not use [such technology] at all.” The ACLU notes that this case is significant for people of color, who have become subject to substantially higher misidentification rates by this technology.

In August 2023, the case had a pending status. Detroit police chief James White announced a set of new policies regarding facial recognition technology. These policies stemmed from a case involving a female suspect, eight months pregnant, who filed a wrongful carjacking charge claim. As White described it, law enforcement must provide other evidence beyond the use of technology that causes police to determine that a suspect possesses “means, ability, and opportunity to commit the crime.”

[ulkaralakbarova]

A trio of female soul singers cross over to the pop charts in the early 1960s, facing their own personal struggles along the way. Credits: TheMovieDb. Film Cast: Curtis Taylor Jr.: Jamie Foxx Deena Jones: Beyoncé James “Thunder” Early: Eddie Murphy Marty Madison: Danny Glover Effie White: Jennifer Hudson Lorrell Robinson: Anika Noni Rose C.C. White: Keith D. Robinson Michelle Morris: Sharon Leal Wayne: Hinton Battle Magic: Mariah Iman Wilson May: Yvette Cason Max Washington: Ken Page M.C.: Ralph Louis Harris Tiny Joe Dixon: Michael-Leon Wooley Jazz Singer: Loretta Devine Jerry Harris: John Lithgow Sam Walsh: John Krasinski Ronald White: Alexander Folk Aunt Ethel: Esther Scott Miami Comic: Bobby Slayton Teddy Campbell: Jordan Wright Melba Early: Dawnn Lewis Talent Booker: Jaleel White Joann: JoNell Kennedy Charlene: Sybyl Walker Stepp Sister: Lesley Nicole Lewis Stepp Sister: Eboni Nichols Stepp Sister: Arike Rice Stepp Sister: Fatima Robinson Little Albert: Aakomon Jones Tru-Tone: Bernard Fowler Tru-Tone: Anwar Burton Tru-Tone: Tyrell Washington Dave: Rory O’Malley Sweetheart: Laura Bell Bundy Sweetheart: Anne Elizabeth Warren David Bennett: Ivar Brogger Jimmy’s Piano Player: Daren A. Herbert Elvis Kelly: Jocko Sims Rhonda: Pam Trotter Janice: Cleo King Club Manager: Eddie Mekka Case Worker: Alejandro Furth TV Reporter: Dilva Henry American Bandstand Producer: Vince Grant Nicky Cassaro: Robert Cicchini TV Director: Thomas Crawford Carl: Charles Jones Technical Director: Robert Curtis Brown Tania Williams: Stephanie Owens Man with Gun: Gilbert Glenn Brown Stagehand: Marty Ryan Detroit Reporter: Michael Villani Chicago Deejay: Gregg Berger L.A. Deejay: Daniel Riordan Photographer: David James Promo Film Narrator (voice): Paul Kirby Security Guard: Derick Alexander Curtis’ Secretary: Yvette Nicole Brown Go-Go Dancer: Nancy Anderson Go-Go Dancer: Joelle Cosentino Go-Go Dancer: Lisa Eaton Go-Go Dancer: Clare Kutsko Go-Go Dancer: Tracy Phillips Go-Go Dancer: Kelleia Sheerin Campbell Connection Dancer: Mykel Brooks Campbell Connection Dancer: Johnny Erasme Campbell Connection Dancer: Cory Graves Campbell Connection Dancer: J.R. Taylor Bad Side Dancer: Corinthea Henderson Bad Side Dancer: Craig Hollamon Bad Side Dancer: Reginald Jackson Bad Side Dancer: Chuck Maldonado Bad Side Dancer: Anthony Rue II Bad Side Dancer: John Silver Bad Side Dancer: Larry Sims Bad Side Dancer: Black Thomas Bad Side Dancer: Kevin Wilson Bad Side Dancer: Adrian Wiltshire Bad Side Dancer: Earl Wright Bad Side Dancer: Russell “Goofy” Wright Disco Dancer: Dominic Chaiduang Disco Dancer: Jose Cueva Disco Dancer: Omhmar Griffin Disco Dancer: Sky Hoffmann Disco Dancer: Trevor Lopez-Daggett Disco Dancer: Leo Moctezuma Disco Dancer: Gabriel Paige Disco Dancer: Terrance Spencer Disco Dancer: Tony Testa Disco Dancer: Quinton Weathers Disco Dancer: Jull Weber Disco Dancer: Marcel Wilson Jimmy’s Band: Stevie Ray Anthony Jimmy’s Band: Matthew Dickens Jimmy’s Band: Jerohn Garnett Jimmy’s Band: Mario Mosley Jimmy’s Band: Jimmy R.O. Smith Film Crew: Casting: Debra Zane Set Decoration: Nancy Haigh Executive Producer: Patricia Whitcher Producer: David Geffen Foley Artist: Catherine Harper Foley Artist: Christopher Moriana Producer: Laurence Mark Director: Bill Condon Musical: Tom Eyen Director of Photography: Tobias A. Schliessler Editor: Virginia Katz Original Music Composer: Henry Krieger Production Design: John Myhre Costume Design: Sharen Davis Digital Intermediate: Stefan Sonnenfeld Dialogue Editor: Kimberly Lowe Voigt Sound Effects Editor: George Simpson Stunts: Dick Ziker Makeup Artist: Judy Murdock Stunts: John Cenatiempo Second Unit Director of Photography: Dino Parks Assistant Costume Designer: Lizz Wolf First Assistant Editor: Ian Slater Casting Associate: Jeremy Rich Casting Associate: Tannis Vallely Music Arranger: Harvey Mason Gaffer: Newton TerMeer Assistant Art Director: Jann K. Engel Costume Supervisor: Elaine Ramires Sound Effects Editor: Donald Flick Script Supervisor: Carolyn Tolley Choreographer: Aakomon Jones Camer...

[clarklovescarole]

March 1937: Clarcarole

March 1, 1937 – Harrisburg Telegraph

Fred Perry and Ellsworth Vines have the spotlight on them and don’t have it all at the same time. That’s not a tough one to figure out. Here’s the answer – Clark Gable and Carole Lombard catch the spectators’ eyes while they watch the two tennis stars dash in a dither around the court.

March 5, 1937 – Harrisburg Telegraph

The other evening at the tennis matches Carole Lombard sallied in with Clark Gable while everyone blinked and looked again at the cartwheel proportions of the brim on Carole’s shining brown straw hat. It dipped just a bit in front, but was unadorned except for a band since it topped off a tailored spectator’s costume. Her suit of brown wool was made with a semi-fitted three-quarters length coat and her slim skirt must have been close to fourteen inches from the floor.

March 2-9, 1937: Clark’s cougar

March 5, 1937: Dayton Daily News

Clark Gable brings back cougar kitten 

Clark “Bring ‘Em Back Alive” Gable, film star, brought this snarling cougar kitten back from a 10-day hunting trip in Kaibab forest in northern Arizona. He said his chief ideas was to get photographs and not to kill, and that the kitten was captured after films were made of its mother. The animal is now a member of the studio zoo.

March 2, 1937 – The Courier

That 3-month-old cougar Clark Gable brought back from Arizona is so mean he even snapped at Carole Lombard.

March 4, 1937 – Des Moines Tribune

Clark Gable, leading a 60-pound cougar cub around the film lot on a leash Thursday, offered a strip of movie film and the testimony of eye-witness Dr. Franklyn Thorpe, Mary Astor’s former husband, to support “bring ’em back alive” story of the the wild Kaibab forest in Arizona.

The screen star, ardent huntsman, related: “We found a huge female cat with two kittens on Saddle mountain. I got within 15 feet of her and filmed some swell shots. We tried to rope her but she picked up one kitten and ran. Our dogs treed the other cub and roped it. “Our cub broke its chain that night and got loose. Next day we followed the mother’s tracks and lassoed the other kitten – and here it is.” 

Offered the cub as a house cat, Carole Lombard refused with thanks. 

March 9, 1937 – Salt Lake Telegram

Clark Gable’s career as a “bring ’em back alive” hunter suffered a rude setback today. Finding out that the baby mountain lion captured by the star wields a wicked claw and is a lot tougher than was at first supposed, the MGM studio has given Gable 10 days to get rid of it. Pending a permanent disposal, they have impounded the animal in a cage on the lot. 

What alarmed movie executives most was the news that Gable had brought the lion back to Hollywood in the rumble seat of his car and that he carried it to Carole Lombard’s house and to other places in the same manner. Now they have instructed him not to even go near it. So if anyone wants a baby mountain lion that was captured by Clark Gable, just apply to the MGM studio.

March 14, 1937 – Detroit Free Press

Carole Lombard either will have to be amused by somebody else or amuse herself while Clark Gable goes off on a hunting trip. Perhaps she can take an extra vocal lesson a day. She is astonishing everybody by singing gloriously in “Swing High, Swing Low,” her latest picture.

March 19, 1937 – Pittsburgh Sun Telegraph

Carole Lombard now has a fan letter she prizes highly, since it came from Addis Ababa, from the Count Eduardo Bassi Di Allanno, a lieutenant in the One Hundred and Tenth Regiment of the Imperial Guard there. I believe it is a proposal, since he doesn’t seem to have heard that Mr. Gable is head man in those quarters.

March 19, 1937 – Dayton Daily News

Sweetie-Trading Latest of the Hollywood Fads 

If psychologists ever decided to select a Utopian center for the well-balanced mind, Hollywood would never be seriously considered in the voting. To all appearances Hollywood is crazy, as most of the world will agree, but a thorough look behind the cogs of it, its gigantic exploitation machine might disclose that it is only crazy like the fox. 

Almost every move Hollywood makes is carefully planned in advance.  Occasionally someone will go out on a shooting tangent, others will forget starving relatives and still others will keep diaries, but those remote occurrences are never countenanced by the publicity machine. This machine attempts to censor as it operates, but it thrives on eccentricities. … 

But the latest bit of idiosyncrasy to be fed into the machine is more difficult than most to fit into classification. It concerns the growing tendency on the part of name players, particularly the feminine stars, to lend their boy friends to rivals. … 

Only recently Barbara Stanwyck, whose romance with Robert Taylor has been aired in the public prints for more than a year, consented to Bob’s accompanying Jean Harlow to the President’s Ball at Washington. Of course, that was a studio order for a publicity coup, and Barbara got Bob back…. 

About the only going-together stars in Hollywood who haven’t consented to one of these temporary trading propositions are Clark Gable and Carole Lombard. In the first place, both are important enough to draw plenty of publicity without resorting to that sort of thing; secondly, they seem too fond of each other’s company to chance even a brief change of companionship. 

March 20, 1937 – Salt Lake Telegram

Romantic couples in real life are being given their chances as companions in reel life, a survey shows. It has been discovered, film producers say, that motion picture audiences are anxious to watch screen performances of a couple who are known to be in love off the screen as well as on. 

Clark Gable and Carole Lombard, whose romance in real life is at present a favorite subject among film fans, are to be brought together in a film soon, if plans materialize. 

March 21, 1937 – Harrisburg Sunday Courier

Clark Gable will not only star in “Saratoga” but be property man as well. First, he loaded his race horse, Beverly Hills, for the picture. Then the horse trailer Carole Lombard gave him for a birthday present. For good measure, Clark added several horse blankets two saddles, a bridle and other racing equipment. 

“It’s a pleasure, Clark grinned. “At last Beverly Hills is going to win a race. Says so right in the script.” 

March 21, 1937 – Hartford Courant

If Clark Gable and Carole Lombard were at the race track the other day, they doubtless bet on Clarcarole, named after them… 

March 21, 1937: Victoria Advocate

Carole Lombard’s intimates don’t know whether to credit Clark Gable, her boy friend, or Mitchell Leisen, her director, but they all agree that Carole has shown more development as an actress in the last year than any other star in Hollywood. 

March 22, 1937 – The Atlanta Constitution

Clark Gable has been spending his free evenings at the Garden of Allah hotel. There’s a certain lady living there of whom he is quite fond. And her name is not Carole Lombard… 

March 30, 1937 – Pittsburgh Sun Telegraph

Life is just about complete for Carole Lombard… She now has a three-picture-a-year contract and Clark Gable. 

March 31, 1937 – The Sacramento Bee

It is a shame to spoil Clark Gable’s fun, but Carole Lombard is a friend of mine too and I think she should be warned that Clark has just purchased that two-wheeled carriage they used in Parnell. Whenever Gable purchases one of the gags for his personal use it usually turns up in Carole’s swanky front yard with a goat tied to it or something. In fact, I hear Clark is dickering for an old thin nanny right now. 

March 31, 1937 – The St. Louis Star and Times

The Brown Derby was packed. … Clark Gable was whispering in one of Carole Lombard’s pretty ears.

[wandering-ghost-with-a-camera]

Detroit // Instagram // Website

[courtneyshoots]

Shot some portraits of my homey @jassieuobehindthelens.

[ocean-couture]

Valentines Day in Detroit (pt. 1)

Models:

https://instagram.com/ribkarma?igshid=1avhvp6012b3w

https://instagram.com/cigarettesandhunny?igshid=v7pwl3imladv

Photographer: https://instagram.com/klocko_?igshid=8y159sjo4o81

[robingamblephotography]

Branding Video Photographer in Gross Pointe

Robin Gamble Photography specializes in branding video photography in Grosse Pointe, offering professional and creative services that help elevate your brand’s visual identity. With a focus on capturing authentic moments, Robin ensures that your business stands out with high-quality, personalized content that resonates with your audience. Visit to explore more about their work and services. https://www.robingamblephotography.com/gallery-1

[stoneyocean]

Here’s a song for you… I'ma Ball (Bonus Track) by Stoney Ocean

[pastperfect-online]

October 31, 1950 - Earl Lloyd becomes first Black player in the NBA

"On October 31, 1950, 21-year-old Earl Lloyd becomes the first African American to play in an NBA game when he takes the court in the season opener for the Washington Capitols.

Lloyd grew up in Jim Crow Virginia and went to West Virginia State, where he was the star of the school’s championship basketball team. He didn’t know he’d been drafted by the NBA until he ran into a friend on campus who told him she’d heard a rumor that he’d be moving to Washington. It turned out that the Capitols had picked him in the ninth round of the draft. Two other Black players joined the NBA that season—the Celtics drafted Chuck Cooper in the second round and the New York Knicks got Nat “Sweetwater” Clifton from the Harlem Globetrotters—but the Knicks and the Celts didn’t start their seasons until November. As a result, Lloyd became a coincidental pioneer: the first Black player to make his debut in the NBA.

Joining an all-white team was intimidating, Lloyd remembered, but his teammates—most of whom had played on integrated college teams—were immediately welcoming. Some fans, however, were less kind. As the announcer read the Capitols’ lineup on that first night of the season, a white man in the front row used a racial slur.

After seven games with the Capitols, Lloyd was drafted into the military and sent to Korea for two years. When he returned to the United States, the Capitols had gone out of business, and so he went to play for the Syracuse Nationals (who later became the Philadelphia 76ers). He wrapped up his nine-season career in Detroit. After he retired from playing, he stayed in the Motor City, serving as a scout and then as an assistant coach for the Pistons. In 1970, he became the first full-time black head coach in the league. He coached the Detroit team for a year, and then went on to work for the city, in the police department and as a school administrator. He was inducted into the Basketball Hall of Fame in 2003. He died in 2015."

- History.com

This Month in History:

October 1, 1890 - Yosemite National Park established October 7, 1985 - Lynette Woodard becomes first female Harlem Globetrotter October 24, 1901 - First barrel ride down Niagara Falls October 28, 1904 - New York City subway opens

This biography of Earl Lloyd and other photographs can be found in the online collection of Historic Alexandria.

[joshjacksons]

Joshua Jackson interview with "Mr Porter" (2021)

Minutes before Mr Joshua Jackson joins me in a booth for a Friday afternoon drink at a vibey hotel bar in Santa Monica, he’s confronted by his past. Or rather, a woman in her early twenties who is binge-watching Dawson’s Creek, the teen show about a close-knit group of high-school friends coming of age in a sleepy American town, which made Jackson incredibly famous between 1998 and 2003. The series, which also made household names of Ms Michelle Williams and Ms Katie Holmes, went off air 18 years ago, but is now streaming on Netflix, to the bemusement of Jackson, who played lovable rogue Pacey Witter. “This girl was like, ‘Are you...?’ And I’m like, ‘Yes, I am. He got old. I’m sorry to break it to you,’” he says, before ordering an iced tea and a charcuterie board to tide him over until dinner time. “It always surprises me when young people say they’ve just got into Dawson’s Creek. I’m like, ‘Is it a costume drama to you? Do you feel like you’re watching a historical documentary?’”

The idea of a Friends-style reunion episode or a Sex And The City revival feels equally far-fetched to Canadian-born Jackson, now 43 and wearing it well in a pale green linen shirt and tailored linen trousers by Oliver Spencer that complement his fading brown hair and Cali-tanned skin.

“I don’t know why you’d want to [bring it back],” he says. “Nobody needs to know what those characters are doing in middle age. We left them in a nice place. Nobody needs to see that Pacey’s back hurts. I don’t think we need that update.”

And Jackson doesn’t need Dawson’s Creek. From Mr JJ Abrams’ sci-fi series Fringe (2008-2013) to the Golden Globe award-winning The Affair (2014-2019), from Ms Ava DuVernay’s ground-breaking true-crime drama When They See Us (2019) to the recent Ms Reese Witherspoon and Ms Kerry Washington-produced Little Fires Everywhere (2020), he has commanded the small screen – with a collection of dynamic and diverse work – ever since.

His latest role as Mr Christopher Duntsch, the Texas surgeon convicted of gross malpractice when 33 of his patients were left seriously injured after he operated on them and two of them died, in chilling Peacock crime drama Dr Death, is only stepping his career up another gear.

“I’ve never played anyone irredeemable before,” says Jackson, who is joined in the eight-part series (based on the 2018 Wondery podcast of the same name) by Messrs Christian Slater and Alec Baldwin. “He is charming, gregarious and has a high-level intellect, but he’s also a misogynist, probably a sociopath, certainly a narcissist and a complete incompetent who is incapable of seeing himself.”

If Duntsch is terrifying, then Jackson’s portrayal is even more so. The artist formerly known as Pacey is virtually unrecognisable (thanks to prosthetics) in the opening scene, but the real challenge for Jackson was allowing himself to view someone who is so “spectacularly evil” as a human being in order to walk in his shoes. “It’s a more damning portrayal of the man to make him into a human being, rather than just make him the bad guy,” he says. “He really believes he’s the hero, he’s the genius and that he’s the victim, so once I got past my own judgment, all the other things fell into place.”

Jackson might have his pick of stellar roles – and challenges – now, but it has not happened by accident. Take it from someone who has been in the business since landing his first job aged 14 in Disney’s live-action movie series The Mighty Ducks, opposite Brat Pack alumnus Mr Emilio Estevez.

“You try to make it look like it happens accidentally,” he says, “but there is no way to do this and not be ambitious. I’d say I’m extremely ambitious because I’ve been doing this cutthroat job for nearly 30 years. I’m in the pay-off phase of my career now. One of the benefits of surviving for as long as I have is you get to learn from your own mistakes.”

Such as? “I wouldn’t say, ‘I wish I hadn’t done that,’ because it all becomes bricks in a path, but [after Dawson’s Creek] I was not choosy enough about the things I was doing. You get stuck. You start trying to perform the performance you think people are hoping to see you do. I was so used to working all the time that I just worked all the time. There was definitely a conscious moment in my mid-twenties when I realised I wasn’t really enjoying the work that I was doing. My manager at the time just said, ‘Take a breath. You’re burnt out.’”

The turning point came in 2005, when Jackson was offered a role in the two-hander Mr David Mamet play A Life In The Theatre, opposite Sir Patrick Stewart. “God bless him, Patrick could have made my life miserable because I had no idea what I was doing, ” he says. “I hadn’t been on stage since I was a kid and now I was in the West End in over my head. But it reminded me that I actually enjoyed being an actor, that it’s not about the red carpet or travelling around the world. What I really enjoy is working on good material with good people.”

It’s no surprise Jackson’s time on Dawson’s Creek led to a career crisis. From the ages of 19 to 24, he lived with his fellow cast mates in Wilmington, North Carolina, filming day in, day out, in an arrangement he likens to college. “You get to the end and they’re like, ‘Here’s your degree. Go live now. You’re an adult. Go out into the world,’” he says.

But most graduates don’t have to deal with global fame. “It’s transitory. You’re only ever cool for a moment and then you become much less cool. I was always pretty dubious about flatterers,” he says, recalling a time he was stung in London in the mid-2000s. “I went on a date in Hyde Park with a woman whose name I will not use – she was socialite-famous – and she was acting completely bizarre, looking over her shoulder the whole time. I came to find out that she had hired a photographer to follow us through the park and gave a whole story to the tabloids about how I was going to meet her family.”

It was his growing fortune, rather than fame, that caused Jackson the most anxiety. “Suddenly, at 19 years old, I was making more in a week than most of my friends’ parents would make in a year,” he says. “It was lovely to have the money, but it was that feeling of nobody is worth that kind of money. You feel like a fraud and it took me a long time to forgive myself for not being the thing that I was perceived as.”

Born in Vancouver, but raised in Topanga, California, until he was eight (before moving back to Vancouver following his parents’ divorce), Jackson bought his childhood home in 2001 and lives in it today with his wife, British Queen & Slim actor Ms Jodie Turner-Smith, and their 15-month-old daughter.

“My father unfortunately was not a good father or a husband and exited the scene, but that house in Topanga was where everything felt simple, so it was a very healing thing for me to do,” he says. Fast-forward to 2021 and his baby daughter now sleeps in her father’s childhood bedroom. “There was a mural of a dragon on the wall in that room that I couldn’t believe was still there, years later. The owner [who sold him the house] said, ‘I knew it meant a lot to somebody and that they were going to come back for it some day.’”

Becoming a first-time parent during a pandemic sounds stressful, but it afforded Jackson months at home with his wife and child that his normal work schedule wouldn’t have allowed.

“I now recognise how perverse the way that we have set up our society is,” he says. “There is not a father I know who works a regular job who didn’t go back to the office a week later. It’s robbing that man of the opportunity to bond with his child and spend time with his partner.”

Despite his obvious career ambitions, fatherhood has changed Jackson’s priorities in “every possible way”, he says. “It’s 100 per cent changed how I approach my work and my life. That has been made so clear to me in this past year. For me to feel good about what I’m doing day to day, my family has to be the central focus.

“There are plenty of things left for me to do, but now the thing that gets me excited is experiencing the world through my daughter’s eyes. I can’t wait to take her scuba diving. I can’t wait to take her skiing. I can’t wait to read a great book with her. I’m not worried at all she’ll be a wallflower. She’s been a character from the word go.”

Jackson met Turner-Smith, 34, two days after his 40th birthday. He had been single since his 10-year relationship with German actress Ms Diane Kruger ended in 2016. “I was not looking to fall in love again or meet the mother of my child, but life has other plans for you,” he says.

The couple met at a party. Turner-Smith was wearing the same The Future Is Female Ejaculation T-shirt Ms Tessa Thompson’s character, Detroit, wears in the 2018 film Sorry To Bother You. “That’s what I used to break the ice. I shouted, ‘Detroit!’ across the room. Not the smoothest thing I’ve ever done, but it worked. We were pretty much inseparable from the word go. It was a whirlwind romance and I can tell my daughter I literally saw her mother across a room and thought, ‘I have to be next to this woman.’”

A self-confessed “useless” shopper, Jackson gives his wife full credit for his current wardrobe. He is jewellery-free, apart from a wedding band and a gold signet “JJ” ring on his little finger (a present from his wife), and discovered tailored sweatsuits (by Stampd and Reigning Champ) in the pandemic.

“Jodie has influence in the way that a wonderful wife encourages you, through love, to dress well. She was like, ‘We’re going to throw away all the sweatpants from your past and I’m going to get you some that actually make you look like an adult male and you will still feel comfortable around the house,’ and I’m like, ‘What an amazing idea!’ Who knew you could get sweatsuits that actually look good on your body?”

Jackson’s style has evolved, he says, “from slovenly teen to it’s-nice-when-your-clothes-actually-fit-you”. The penny dropped after he auditioned for his former co-star Estevez, who was directing the 2006 Mr Robert Kennedy biopic Bobby. He said to me, ‘You only got this job because I know you. You came in here to play a very well-put together 1960s political operative and you’re wearing jeans and a hoodie.’

“I had to grow up a little bit. We are very much raised in Canada to never, ever show off, so it took me a while to recognise it’s OK to look good when you go out.”

Still, when you’ve grown up in front of the camera, “every pimple literally documented”, and lived (very successfully) to tell the tale, you can probably be forgiven for the odd fashion faux pas.

“I wore a silk Ascot to an event once in Paris and I still have nightmares about it,” he says. “I looked like Fred from Scooby Doo, but you live and learn.”

[blkwander]

Image of model Cody-Brianna

[hagleyvault]

The National Society of Professional Engineers has been sponsoring Engineers Week every February since 1951 as a means of calling attention to engineers’ contributions to society and advocating for the importance of education in math, science, and technical skills.

Today’s Engineers Week theme is Introduce a Girl to Engineering Day, so we’re sharing this December 1949 photograph of Florence Naum (1922-2006) testing a generator regular quality control machine at the Ford Motor Company’s plant in Ypsilanti, Michigan. The device tested regulators for 1950 Fords under simulated road conditions.

Naum was a resident of Farmington, Michigan. She began her career at Ford as a stock handler in 1939 after graduating high school and, by 1949, was the only woman electrical technician at the company and one of only two women enrolled at the University of Detroit in pursuit of an engineering degree. She eventually earned an electrical engineering degree from the University of Michigan and later became the first female electrical engineer employed at the company.

This photograph is part of Hagley Library’s collection of Chamber of Commerce of the United States photographs and audiovisual materials, Series II. Nation’s Business photographs (Accession 1993.230.II). To view more items from this collection online, visit its page in our Digital Archive by clicking here.