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byneddiedingo · 2 years ago

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Ida Lupino and Humphrey Bogart in High Sierra (Raoul Walsh, 1941)

Cast: Humphrey Bogart, Ida Lupino, Arthur Kennedy, Alan Curtis, Joan Leslie, Henry Travers, Cornel Wilde, Donald MacBride, Henry Hull, Willie Best, Barton MacLane, Jerome Cowan. Screenplay: John Huston, W.R. Burnett, based on a novel by Burnett. Cinematography: Tony Gaudio. Film editing: Jack Killifer. Music: Adolph Deutsch.

Ida Lupino gets first billing in High Sierra, an indication of where Humphrey Bogart's career stood at the time. He had labored for Warner Bros. for more than a decade as a supporting actor, usually in gangster films and occasionally miscast in roles like the Irish stablemaster in Dark Victory (Edmund Goulding, 1939). High Sierra would be a breakthrough into leading man roles, establishing his persona as a tough guy with a soft heart, as in films like Casablanca (Michael Curtiz, 1942) and To Have and Have Not (Howard Hawks, 1944). He owes his role in High Sierra in large part to its screenwriter, John Huston, who as a director would emphasize the tough Bogart over the softie: the brutal Sam Spade in The Maltese Falcon (1941) and the vicious Fred C. Dobbs in The Treasure of the Sierra Madre (1948). In High Sierra, however, although Roy Earle has just been released from prison and is off to pull another caper, he's full of nostalgia for his childhood as a farmboy and along the road adopts a family heading west, where Pa (Henry Travers) hopes to get a job and help his granddaughter, Velma (Joan Leslie), get surgery for her clubfoot. Roy gets soft on Velma and pays for the operation, but his marriage proposal is turned down. Just as Roy has a soft side, Velma is at heart a party girl and wants to go back east and hook up with her ne'er-do-well boyfriend. High Sierra is full of reversals like that. Lupino, for example, plays a party girl who goes soft on Roy and turns into a stand-by-your-man accomplice. And there's even a cute little dog who turns out to be a jinx and rats on Roy at a crucial moment. There's a good deal of silliness in the plotting of High Sierra, as well as some lamentable racist shtick forced on the fine comic actor Willie Best, who is usually caught napping and awakens with his eyes crossed. But at its best, especially in the climactic chase scene along winding dirt roads in the Sierra, the film is a good vehicle for Bogart's leap into superstardom.

#High Sierra #Raoul Walsh #Ida Lupino #Humphrey Bogart

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brightening-glance · 5 years ago

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So I was inspired by @kiragecko to create a floor plan of Wayne Manor. I started out trying to be accurate to the comics, but eventually gave up because it changed so many times that was impossible. This is more like the manor shown in recent comics, specifically from when Dick and Damian were Batman and Robin, but I also pulled references from a bunch of different comics and from different timelines and the Gotham tv show. At this point this is the floor plan for the mashed up canon that exists in my head. Aside from @kiragecko’s own floor plan, other references included Biltmore, Filoli, Casa Loma, The Breakers, Rosecliff, Marble House, and Darlington/Crocker Mansion. I tried to make it mostly to scale, although I hand drew this and then cleaned it up digitally, so it’s probably a little off in some places. Blue text is what the current Wayne/Batfamily use the rooms for, green is what the historical use was, and black is what they’d likely be listed as on a real estate listing. Green doors are hidden or jib doors, basically doors that aren’t obvious but don’t require a pass code to get through or lead to the Batcave. Purple “doors” are the secret passages like the one hidden behind the grandfather clock that even an observant bystander shouldn’t be able to find and involve much more security. More explanations under the cut.

So the comics are unclear on how the Waynes got Wayne Manor. They say that Nathan van Derm designed it for Darius Wayne, but then also that Darius’s grandsons, Solomon and Joshua, purchased it after Jerome van Derm died. At some point after Joshua died (in 1860), the manor was abandoned and Solomon’s son Alan (Bruce’s great-great-grandfather) rebuilt it.

In my head, the east and west wings of the W would have been later editions. The first version of the manor, up to at least when Alan Wayne rebuilt it, would have probably just been the central portion, out to the 2 towers. Original kitchen would have been in the basement, as well as additional servants quarters. It’s not shown on the plans, but in this version the basement has been renovated to include a gym, movie room, and game area (leaving aside the much cooler basement underneath.) Also not pictured is the third floor/attic, which includes servants quarters and a third floor sitting room above Thomas Wayne’s den that looks out over the front lawn.

With the east and west wings, you can see the very clear divisions in purpose. The west wing was a guest wing, probably added when serious entertaining became a thing, with a dedicated ballroom and guest bedrooms. The east wing downstairs was the servants’ wing - kitchen, staff dining room, butler’s pantry, bedrooms for upper household staff. East wing upstairs was the children’s/nursery wing.

In the center of the house you can see a male/female divide that went with the historical idea of some rooms (billiard room/smoking room/study/library) being “men’s spaces” and some (drawing room/morning room) being “women’s spaces. The bedrooms for the permanent residents of the manor in the 1860s (Solomon and his wife, Joshua, Celestine) follow this divide as well, though unlike other “great houses” Wayne manor didn’t go so far as to have a separate bachelor’s wing.

Regarding the jib doors vs secret passageways - secret passageways are basically entrances to the batcave, although they would’ve also been used by Solomon and Joshua as part of the underground railroad. Off the servery you can see the entrance to the wine cellar where Joshua’s body was eventually found. The jib doors (in green) would have been used by servants or family members to pass between rooms without going into the main hallways. Great for sneaking up on people!

Ok, going into some more specifics - headcanon time! Basically everything beyond this is just in my head, and the Batfam stuff is set at some point in the future. (It’s a really shame they stopped writing Batman Comics right after Bruce came back from they dead. Ric? Ric who? don’t know what you’re talking about).

First, Celestine Wayne. Celestine Wayne is not a comic character. She was loosely inspired by the history of the Waynes from Gotham the tv show, and by loosely I mean her name and the fact that she lived during the Civil War era. There is a C.L. Wayne from that time period who founded the Gotham Botanical Garden in the comics, and in my head they are definitely the same person. In the Wayne family tree in my head her father was Caleb Wayne, and she was Solomon and Joshua’s cousin who became their ward for.......reasons undecided yet. Her father was leading wagon trains and so never home. Something else happened. You pick! She never married (imagine whatever reason you want here, I tend to stay away from the tv show explanation and go with she just wasn’t interested, but any reason works) and so when she became an adult and was still living at the manor but not the “lady of the house” the floor plan was slightly modified to give her her own suite of rooms. Joshua Wayne has something similar in the sense of having his own private study next to his room, although his were only connected by secret passage. Sometime between Dick moving out and Tim moving in permanently, Dick moved from his childhood room into these rooms (leaving Tim free to move into his old bedroom, a thing that actually happened in the comics). Maybe this happened when he was adopted? Maybe when he and Bruce kinda reconciled after Bruce got his back broken? Who knows! There was definitely a period where to Dick the Manor was Not His Home Anymore, and so in his mind he probably didn’t have a permanent room there (and tried to avoid staying there). Think of the moving to the “grown up full suite” as a really old fashioned way of Bruce or Alfred or both saying “I recognize you’re an adult with your own life and autonomy and I cannot treat you like a child, but also this is your home and you will always have a permanent place here.”

Other rooms of note - most mansions I referenced did not have a dedicated armoury, but it’s Batman! Of course there’s an armoury. For historical artifacts, a lot of these weapons sure seem functional......

The tea room was not originally a tea room but somewhere along the way at least one of the Wayne matriarchs was very fond of afternoon tea. With Alfred in the manor it is definitely a Space for Afternoon Tea, although it also gets used for other meals occasionally and Alfred will do a lot of his meal planning/any other paperwork there, even though he technically has an office.

When Thomas and Martha were alive, there were actually full time staff living at the manor beyond Alfred and the staff quarters got used, and the “servant’s hall” actually got used as a staff dining room, but now this is where the family members tend to gather if there’s too many of them to just eat in the kitchen. (In my head, Wayne Manor during Thomas and Martha’s life is basically the Wayne Manor described by @unpretty who has written some of my favorite Batman fics ever.)

When Bruce was growing up, Thomas Wayne’s den was the “casual family living room” that every other sitting room in the manor was not, and after he died Bruce couldn’t bear to touch anything in it and avoided it unless he was doing some hardcore brooding. When he moved back/took in Dick, he converted one of the bedrooms to a tv room because he wanted a space that was casual and none of the other spaces felt like a tv belonged in them, but he still couldn’t go in his father’s den. As things have gotten better, and also as Tim and Damian’s relationship improved and Tim started coming around more, Bruce was finally ready to let this go and this became basically Tim’s workspace for whenever he’s at the manor. Bruce will work on stuff in there if Tim is in there, but he still doesn’t spend a lot of time in there on his own. (Ok, this was a little bit inspired by a Rebirth comic, don’t know which one, not gonna find it, I’m sure the rest of it was silly). Bruce tends to use the study downstairs if he’s working on W.E. work or other stuff like that. Jason and Dick’s go to places for any type of homework (when they were living at the manor) or any other work they might have to sit down and do are one of the libraries or wherever Bruce or Alfred are, depending on their mood and what they’re working on, and how long they’ve been living at the manor.

I’m pretty sure Martha Wayne painting/drawing is canon, but I don’t remember the comic it was referenced in. Anyway, she turned what was being used as a sunroom into her art studio because it had the best light. With Damian in the manor it’s slowly being reclaimed by art supplies.

There are definitely rolling mirrors and freestanding barres in the ballroom that Cass uses for dance practice.

Not pictured: the massive garage, stables, tennis courts, basketball courts, gardens, pond, and basically everything on the grounds.

If anyone is curious about what comic panels I referenced (or ignored), or what real world rooms/houses inspired specific parts, shoot me a message! Also, feel free to use this in art/fics/whatever if you want a reference!

#wayne manor #floor plan #dc #batfam #mine #long post #wayne family #i did not intend for this to be this long but then i started writing and this happened #this might change in the future but this is how i picture it in my head now

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sweetsmellosuccess · 4 years ago

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TIFF 2020: Days 5 & 6

Films: 5

Best Film of the Day(s): New Order

Good Joe Bell: Or, The Education of a Straight White Father. What Reinaldo Marcus Green’s film lacks in depth, it tries hard to make up for with earnestness. Mark Wahlberg plays the real-life father, who was in the process of walking across America in honor of his gay son, who committed suicide after being badly bullied in his smalltown Oregon high school, before he was accidentally hit on the road and killed in Colorado, six months into his planned two-year sojourn. The story is cut up between the present, with Joe on the road, doing terse speaking engagements (as Wahlberg plays him, the taciturn Bell isn’t much for public speaking), at local high schools and churches, and flashbacks to the past, as his son, Jadin (Reid Miller), attempts to get through his high school experience while being the subject of bullying, both in-person and via the Internet, until he reaches his breaking point. The message is certainly resonant, and Miller plays Jadin with the right amount of heartbreaking pathos, but Green’s film feels unnecessarily mechanized in order to put Joe front and center of the story (using a hallucination of Jadin at the beginning, which allows Joe to interact with him feels more than a little manipulative). Bell, with his quick temper, and impatience for anything that’s not directly to do with him, is a reasonable stand-in for exactly the type of straight white male who should be watching the film (but more than likely won’t). Wahlberg is gifted at playing this sort of character, who wants to have the full attention of everyone any point in time he chooses (“Did you hear what I said?” he asks incredulously after making an announcement and not receiving the proper praise for it). He’s a complicated dude, which the film alludes to without entirely capturing: He’s ready to fight at a moment’s notice, but shies away from directly confronting any of Jadin’s tormentors; has the good intention to take action to draw attention to the problem, but doesn't seem the least bit prepared to give a speech that really makes an impact (one detail the film does make work: His manner of saying “I love you” to his wife or sons, but only as a way of getting them to say it back to him). Connie Britton plays Lola, Jadin’s mother, a largely thankless role as the nurturer of the family, loving both her sons (Jadin’s brother Joseph is played by Maxwell Jenkins), and staying supportive no matter their father’s attitude. Near the end of his journey, as Joe begins to see the true folly of his ways, he meets a Sheriff (Gary Sinise), whose oldest son is also gay, which allows the two men to sit on the front porch of the sheriff’s house and contemplate the ways in which their lives didn’t go as expected. It’s clearly meant for the kick-ass Wahlberg audience (as Jadin says earlier in the film, they’re the actual problem), but I very much doubt they will be heading in droves to see it.

New Order: Meet the new boss, only in Michel Franco’s damning portrait of a society locked forever in cycles of oppression, revolution, and new oppression, it makes no difference who you are, what your belief system is, or whether or not you subscribe to a moral set of ethics. After an ominous opening montage of imagery largely taken from the film to come, we shortly begin at a resplendent wedding held at the city manse of a wealthy businessman for his daughter, Marianne (Naian Gonzalez Norvind), and her betrothed, Alan (Dario Yazbek Bernal). As Marianne’s mother, Pilar (Patricia Bernal) happily secrets away the envelopes carrying the new couples’ gift money in her safe, and rich and powerful families co-mingle, the distant danger of a furious revolution, lead by violent rioters raising up against the economic disparities of the city, seems at first to be light-years away. Until it isn’t. As rioters infiltrate the house, with the help of an insider, chaos reigns and bullets fly. The next morning, many people have been shot, the house has been utterly pillaged, and Marianne has been taken hostage by a rogue group of military, who snatch up wealthy-seeming refugees and hold them for ransom at an undisclosed outpost. By film’s end, Franco, working from his own screenplay, leaves no man, woman, or child unmarked. The wealthy are callous and vain, the rioters bloodthirsty and cruel, the hostage takers unbelievably greedy and horrible, and the righteous vanquished by further corruption at even higher levels of power. It’s a bit like the ending of a Coen brothers picture (Burn After Reading comes to mind), in which all loose ends are closed, and few, if any, people are any the wiser for it; only, there’s nothing the least bit arch in Franco’s thrown gauntlet: We aren’t spared the worst of it by indelible Coens’ proxies. We are all to blame, it would seem, and it has nothing to do with original sin: Our conniving, violent nature will undo any and all attempts to curb it. Insatiable avarice is our continual undoing, washing over us like the green paint the rioters hurl at passing cars and pedestrians, marking them as the enemy. In Franco’s thunderous film, nobody emerges unscathed; we’re all set on fire.

Wildfire: It’s a hoary Hollywood staple to substitute individuals as emotional stand-ins to capture the direness of historic catastrophic events, scaling everything down so we care more about the couple in star-crossed love than the war going on all around them. In Cathy Brady’s Irish drama, however, a pair of sisters are reunited after a year’s absence in the North Ireland bordertown in which they grew up, products of the uneasy peace, post-Troubles, in which everyone is meant to get along as one country, though hard feelings still abound. Kelly (Nika McGuigan) returns to the staid home of her sister, Lauren (Nora-Jane Noone), after taking off on her own the year before, and, by all appearances, living as a vagabond. Initially thrilled to have her sister back, Lauren is also still angry with her for taking off suddenly and not making any contact since. When the girls were little, their father was killed in a political bombing, and their mother might have committed suicide as a result (the car accident that killed her was, apparently, suspicious). Left to their own devices, then, they developed a fierce protective shell against any outsiders, including, it turns out Lauren’s increasingly concerned husband (Martin McCann), and longtime family friend Veronica (Joanne Crawford). The film changes gears when Lauren finally accepts Kelly again, and the two reform their partnership as intense as it was before. As the film points out, in a real sense, they are all each other truly have in the aftermath of their tragic childhood. The film clicks better into focus as well in its final act, when the sisters are reunited against all comers, and the world around them is better revealed for what it is: They represent the schism still very much a part of their community that no one else wants to see. Instead, people hang about in bars, or at work, nursing the bitternesses and hurts of the Troubles in private, and putting their public energy to getting along. Kelly, with her wildnesses and significant impulse control issues (trying to teach a young boy how to hold his breath underwater is, perhaps, not best accomplished by holding him down until he begins to panic), is at least honest with her feelings, open to her various wounds, and refusing to put the past behind them. Their mother gets referred to as “crazy” in the town’s estimation, but it’s more likely she, like her two daughters, represents the clear-eyed view of someone who refuses to live in denial.

Concrete Cowboy: Philadelphia as an open prairie has a nice vibe, and Ricky Staub’s film about a troubled teen who mother takes him from Detroit to where his father, an urban cowboy, lives in North Philly in hopes to setting the kid straight, is made with genuine care and gets solid performances from its mixture of professional and amateur actors. If this sounds like faintly damning praise, it’s only because despite its strengths, it still feels like a great set-up in search of a suitable story. Based on the real-life Fletcher Street stables (and the novel from Greg Neri), in which locals on the rough streets of the city shelter and take care of a group of horses for the sheer love of riding, the story follows the difficult maturation of Cole (Caleb McLaughlin), a decent enough kid, but searching for his place in the world, and the tough-love tactics of his dad, Harp (Idris Elba), a longtime cowboy, who hasn’t been in his son’s life in more than a decade. Cole starts out hating everything about his new situation, from Harp’s barebones lifestyle (not only are the cupboards empty, and the fridge filled with nothing but Coke and Bud Light, Harp keeps one of his horses in the living room, sharing it with his son), to being forced to muck the stalls out at the stables to earn his chance to ride, takes up with an old friend, Smush (Jharrel Jerome), a charismatic kid caught up in the drug life. Naturally, Cole’s choice comes down to which sort of life he wants to have, his father’s hardscrabble but honest approach (made more attractive when Cole develops a bond with his own horse, Boo), or Smush’s push for increased market share and more money to buy his own piece of land out West. Shot on location in North Philly, and around the city — one shot, in which Cole sits astride boo in full silhouette against a mottled purple sky, the lampposts standing in for saguaros, hits just the right note -- Staub’s film has a properly gritty texture, and the use of some of the real Fletcher cowboys adds further verisimilitude, but the story moves predictably enough, beat-by-beat, that it doesn’t hit with the potency it might have been capable of with a less predictable narrative arc.

In a year of bizarre happenings, and altered realities, TIFF has shifted its gears to a significantly paired down virtual festival. Thus, U.S. film critics are regulated to watching the international offerings from our own living room couches.

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01sentencereviews · 5 years ago

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“new-to-me” - apr 2020

massage the history (2009, cameron jamie)

west side story (1961, robert wise + jerome robbins)

polyester (1981, john waters)

empathy (2016, jessie jeffrey dunn rovinelli)

tsuburo (2004, masafumi yamada)

foxy brown (1974, jack hill)

working girls (1986, lizzie borden)

special effects (1984, larry cohen)

tromeo & juliet (1996, lloyd kaufman)

stop! (1970, bill gunn)

+++

amateur (1994, hal hartley)

at the suicide of the last jew in the world in the last cinema in the world (2007, david cronenberg)

braguino (2017, clément cogitore)

the east (2013, zal batmanglij)

enlightened, complete series (creators: mike white + laura dern)

funny lady (1975, herbert ross)

klute (1971, alan j. pakula)

the little story of gwen from french brittany (2008, agnès varda)

the mask of zorro (1998 Directed by Martin Campbell

men seeking women (2007, penny lane)

om (1986, john smith)

rabid (1977, david cronenberg)

the stendhal syndrome (1996, dario argento)

this is my kingdom (2010, carlos reygadas)

variety (1983, bette gordon)

windows (1975, peter greenaway)

new releases:

"charli xcx - claws (official audio)"

crip camp: a disability revolution (nicole newnham + james lebrecht)

circus of books (2019, rachel mason)

devs (2020, alex garland)

fetch the bolt cutters, full album (fiona apple)*

i signed the petition (mahdi fleifel)

never rarely sometimes always (eliza hittman)*

wendy (benh zeitlin)

#new to me #personal #best of 2020 #masage the history #west side story #polyester #empathy #tsuboro #foxy brown #working girls #special effects #tromeo & juliet #stop!#lists

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gothamdetected-a · 5 years ago

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an idiot’s guide to the wayne family.

now complete with new diagrams! i wish i wash kidding, ive really made a diagram to help illustrate this.

[ follow the link here for actual visible quality. thanks tumblr.]

some points to make quickly -

• this is not complete. there were probably more siblings and wives and children, but i just focused on the main lineage i could piece together from DC knowledge

• apologies for the lack of knowledge on the women in the family past the last century. this is unfortunately common in real life too, as women were not landowners etc, and without a marriage certificate they basically don’t show up on records. dc happily talk about the male line but not about the wives and daughters so :/

• the dates are fairly made up, and especially at the bottom are just me twisting things to fit my own personal canon

• and finally, i just wanted to say that while this is pieced together from what DC have told us, there are a lot of holes that i have filled with headcanons. not all of this is canon. sometimes i just want to give a person a cool life that dc are too cowardly to do.

so, although this varies by “earth”, i have tried to combine the various histories given for pre- and post-52 waynes into a full comprehensible timeline. i’ve probably failed, but this is what i’m sticking with.

to start with we’re supposed to believe that there was a norse guy calling himself the Bat-Man, running around in the 10th century killing frost giants. is it plausible? yes. is it exaggerated? most definitely. am i wiping it from existence because it was one issue in a faintly terrible run that has technically been retconned anyway? absolutely. ignoring that makes the earliest recorded ancestor of the wayne family a man called gawayne de weyne, a french crusader in the 14th century. on some earths he’s called lancelot wayne (too on the nose) or harold wayne (thanks i hate it), so im personally going to retcon that and just say gawayne is it. also because i love the etymological aspect of the name beginning as de weyne in old high french and it slowly changing through out the centuries. gawayne, also sometimes written as gevain, was one of the knights sent to retrieve the holy grail, but, as knights tended to do, he died. sorry gawayne. the weirdest part about all of this is that he asked for his heart to be embalmed, and there’s a plot line revolving around this (batman: scottish connection). now i’m not saying that madness runs in the family, but the waynes absolutely do not get a good head start in history.

gawayne must have had at least one surviving heir who goes on to have babies etc etc, and eventually we get to the 16th century, and the next instance of the waynes. specifically, contarf wayne. which, i have to say, super dumb name. if i ever have a kid, im calling it contarf. so it’s now the 1500s and the waynes have somehow become scottish, probably from getting given land after crusading and that. apparently gawayne was aknight of the scottish court, despite being french, which actually happened a lot back then. literally the only notable thing contarf does with his life is build castle wayne, and i swear these people are all born with both madness and a flair for the dramatic. yes at some point bruce does go to this gloomy scottish castle where it’s always rainy and stormy and fits right on in, so that’s terrifying.

around a hundred years later nathaniel wayne tries to emigrate across to the “new world”. nathaniel likes witchhunting, and has come over to what will one day be the US following a witch fleeing from england - annie. annie who he may have dated. annie who may be pregnant with his child. good on you nathaniel, that’s a healthy relationship you’ve got right there. after the baby is delivered, he finds her and. you know, people were not kind of witches back then, so she dies. and with her dying breath, curses nathaniel and all his descendants. which includes her OWN BABY (super punk move), and one day bruce wayne. this curse manifests in very few of the extant waynes surviving beyond 40, often going mad, and absolutely tuning on each other. nathaniel’s particular grisly end comes when his is the fateful colony that ends up in what-will-one-day-be-gotham (see my idiots guide to gotham for more juicy details), releasing the deacon blackfire from his little cave and ending up missing, presumed dead. (definitely dead). this is the start of the “waynes probably should avoid gotham” saga. spoiler alert - they don’t.

somewhere in the interluding 100 years, a branch of the waynes do actually successfully make it over into the americas. 2 brothers, caleb and thomas simon wayne, reach the east coast from britain, and go their separate ways. caleb joins a convoy heading out west, leading a wagon train, and, as so many pioneers do, he also dies, while trying to make this trip. but caleb really isnt the interesting brother here (sorry man), because what thomas gets up to is far more exciting. he settles in, lo and behold, the newly formed town of gotham, and for some strange reason (probably because all the waynes are fairly nuts, as we’ve established at this point) decides to give devil-worshipping a go. maybe its fucking curse. maybe its something in the water. maybe its maybelline. but whatever it is, thomas wayne tries to summon and ensnare the demon barbatos by killing some innocents, in a wild, but understandable, attempt to gain immortality. he doesn’t succeed. or does he. it half works - instead of summoning the bat-demon (yes the same bat-demon that the founding fathers later summon and also trap beneath gotham) he gets one of darkseid’s hyper-dimensional bounty hunters, and some how, through some space age magic, the energy of this event corrupts him into agelessness/slowed ageing, we’re not totally sure. later dear old tom pops back up as the villainous dr simon hurt, and literally fights his own descendant. DC give no fucks.

after the whole corrupting not-magic thing, but before he disappears, thomas/simon impregnates one of his cult’s disciples. a lot. (is this why the waynes can look 30 at 50? more on this at 10) and between 1747 and 1771 (because immortal people also have immortal sperm apparently), she bears him 3 sons. probably some daughters too but again, who cares about that. not DC, that’s for damn sure. these sons are all absolutely fucking insane, just like daddy dearest. the eldest, who is LITERALLY known as “mad” anthony wayne, is said to be the spitting image of bruce, which is confirmed through some time travelling bs that we’re not going to think about. anthony and horatio wayne, the middle brother, both sign up to fight in the revolutionary war. unfortunately THE CURSE STRIKES AGAIN and horatio perishes while burning british ships. anthony goes on to becomes a brigadier general, serving directly under george washington and pulls some crazy good strategies that help to kick the british out of new jersey, earning his nickname of “mad” anthony, because only someone fucking nuts could come up with these plans, and pull them off. the youngest brother darius wayne is only 4 when the war breaks out, and is therefore too Babey to fight, but does later become notable for being the man to start construction on wayne manor. in 1795, using the money inherited from his brother horatio on his death, he hires an architect nathan van derm, to begin planning and building. sadly darius will never see it completed, with funds dwindling and his older brother’s death, eventually darius takes his own life.

not to worry, he leaves behind 2 sons - herkimer and charles wayne. literally herkimer’s only notable feature is that he fights in the war of 1812. sorry my guy, DC hate you. charles, on the other hand, is a businessman, who manages the failing company his father had left behind and starts to grow the wayne fortune. charles buys more land surrounding the manor, as well as a lot of general gotham real estate, and is the man accrediting for starting wayne enterprises as a series of several small business, ranging from merchant trading to land ownership to mining, in 1845. however charlie contracts tuberculosis at the ripe old age of 62 and shuffles off the mortal coil.

the oldest of his sons, charles lincoln wayne, also known as charles junior, does 2 things - begins construction on the wayne manor again in 1855 after purchasing it back from jerome k. van derm, the destitute son of the original architect, who had been living in the bones of the construcion, and uses a considerable portion of his inheritance to build the gotham botanical gardens in 1870. the next son, winslow wayne, is another enigma - the only thing mentioned about him in the comics is that he fought alongside teddy roosevelt, which i’m guessing is in the spanish-american war. but the youngest two brothers, joshua thomas and solomon zebadiah wayne are the real spicy pair. not only do they tackle the bat infestation on the manor grounds, but the pair work to change the federal system of america - joshua, when he’s not managing the wayne companies, is an abolitionist who engages in secret missions to free slaves by getting them across the border into canada, and solomon, the vaguely more sensible of the two, becomes a judge, attempting to be as fair and incorruptible as possible. sadly joshua is killed due to his slave smuggling antics (THE CURRSSEE), and this sends solomon slightly nuts, and causes him to contract the architect cyrus pinkney, who is even more nuts, to basically. build gotham. these two men are the reason 97% of buildings have gargoyles on them.

solomon has only 1 child before he dies, who fortunately, grows up to be a very shrewd businessman capable of growing wayne ent even through with the advent of shipping and rail sectors. this man, alan wayne, constructs the original wayne tower in 1888, and it completely swamps the gotham skyline. he also marries catherine van derm, the great granddaughter of the original architect of wayne manor, and finally manage to complete and move in to the building in 1895, exactly 100 years after the project was started. for a while they are very happy, and catherine falls pregnant. but this darn curse just won’t leave these wayne boys alone, and in 1897, catherine dies giving birth to their son, kenneth wayne. a year later, lost and traumatised and going insane thinking about his wife’s death alan wayne mysteriously disappears (read as: fell down a well and was maybe or maybe not tortured and killed by the court of owls).

kenneth wayne, raised as virtually an orphan, turns out to have his papa’s business management skills, and, foreseeing america's impending industrialisation in the 20s and 30s, makes some risky moves that pay off, including the advent of wayne chemicals, and wayne ent expands yet again. kenneth, like the recurring pattern that you can see here, dies fairly early due to WW2 however, leaving his wife laura to care for their 4 sons AND the company, which she does like a boss ass bitch. seriously, women barely had the vote and she was already a titan of industry and raising 4 teenage boys like. massive props to you babe. these boys are

ishmael wayne, a whaler who is an incredible parody of captain ahab and also dies trying to catch a white whale, elwood wayne, who goes and reclaims what is now called waynemoor castle in scotland, living there until his death, silas wayne, who may or may not be a thief posing as a wayne because the real silas died, AND at long last, patrick wayne - bruce’s granpappy, who founded the wayne tech arm of the company at 20 years old, aiding the war effort, and where this stupidly long post ends, because there is 0 point in me recounting the lives of thomas, bruce, or any of his children. everyone knows them. could i write more about thomas’ siblings and the kanes and how they tie in? yes. but this post is like 2100 words long and i want to sleep at some point today so this will have to do askjdbjsdhgf

#im #this is virtually incomprehensible #\system\directory\hidden.txt ›› META #long post /

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eddycurrents · 6 years ago

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For the week of 18 February 2019

Quick Bits:

Aquaman #45 gives us a new creation story with Father Sea and Mother Salt. It’s interesting world-building for what’s going on on this island. Robson Rocha, Daniel Henriques, and Sunny Gho seem to level up on their art again. This book is gorgeous.

| Published by DC Comics

Avengers #15 continues the vampire civil war, with the Shadow Colonel basically kidnapping Ghost Rider. Jason Aaron is definitely taking this series in weird places, but it remains highly entertaining. Especially with collaborators like David Marquez and Erick Arciniega who deliver some incredible artwork.

| Published by Marvel

Avengers: No Road Home #2 reveals how Nyx and her family took Olympus. There’s also a neat parallel narration for Hawkeye explaining how the guy with just a bow and arrows can take on gods and monsters. The art from Paco Medina, Juan Vlasco, and Jesus Aburtov is gorgeous, they really seem to pushing themselves with their storytelling. It’s just a shame that none of the artists are credited on the cover.

| Published by Marvel

Barbarella/Dejah Thoris #2 is ridiculously impressive. Leah Williams, Germán García, Addison Duke, and Crank! are delivering an intelligent, humorous, and compelling adventure tale here that reminds me a lot of some of what Alan Moore and Chris Sprouse did in Tom Strong. It’s incredibly inventive and the artwork is amazing. Highly recommended.

| Published by Dynamite

Batman #65 gives us the penultimate chapter of “The Price”, featuring an all out battle between Flash, Gotham Girl, and Gotham. The artwork from Guillem March and Tomeu Morey is stunning, with some incredible layouts as the action continues.

| Published by DC Comics

Black Widow #2 is fairly bloody and violent as Natasha racks up a body count tracking down the people running “No Restraints Play”, a site that specializes in depravity. Flaviano’s line art seems scratchier than the first issue, but it works for the violent tone of story.

| Published by Marvel

Bloodborne #9 begins the third arc, “A Song of Crows”, as Aleš Kot, Piotr Kowalski, Brad Simpson, Aditya Bidikar, and Jim Campbell spotlight Eileen the Crow. This is a bit of return to the kind of abstract storytelling and embrace of oblique existentialism of the first arc as Eileen investigates the ritual murder of a hunter, but is confounded by time and holes in the narrative.

| Published by Titan

Catwoman #8 is ostensibly the “conclusion” to “Something Smells Fishy”, but it doesn’t actually end the story in any way and leaves the reader at a cliffhanger of continuing elements. That being said, it’s still an entertaining issue from Joëlle Jones, Elena Casagrande, Fernando Blanco, John Kalisz, and Josh Reed. Wonderful action sequences, and more questions as to the nature of a reliquary that seems to contain resurrective powers.

| Published by DC Comics

Delver #1 begins a new Comixology Original series from MK Reed, C. Spike Trotman, Clive Hawken, Maarta Laiho, and Ed Dukeshire. It’s a very intriguing and unique take on the fantasy gaming theme of a dungeon full of treasure and monsters with delvers working to plumb the depths. But it’s from the perspective of the townsfolk whose land the door to the dungeon appears in and how it changes and impacts their lives.

| Published by Iron Circus Comics

Doctor Strange #11 concludes the battle with Dormammu and the Faltine, for now at least, from Mark Waid, Jesús Saiz, Javier Pina, Rachelle Rosenberg, and Cory Petit. Some very nice art as usual from Saiz, Pina, and Rosenberg.

| Published by Marvel

Friendly Neighborhood Spider-Man #3 continues “Mother of Exiles” from Tom Taylor, Juann Cabal, Nolan Woodard, and Travis Lanham as Peter finds out a bit about the rumours regarding his neighbour and Under York, another duplicate New York City under New York City, that oddly isn’t the Monster Metropolis. Great humour from Taylor in the dialogue.

| Published by Marvel

Guardians of the Galaxy #2 takes a somewhat different approach as Peter Quill drunk dials Kitty as he tries to make sense of what’s going on with Thanos, Gamora, everyone who’s dead, and the current state of the Guardians. Donny Cates, Geoff Shaw, Marte Gracia, and Cory Petit are really taking this series into interesting offbeat territory, while still delivering some excellent humour and an ominous feel to Starfox’s new band of “guardians”.

| Published by Marvel

Incursion #1 begins a new mini picking up on where the Eternal Warrior and Geomancer are since Harbinger Wars 2 and Ninja-K, and pit them against Imperatrix Virago, a cosmic villain that is devouring worlds (kind of like if Galactus were pestilence), from Andy Diggle, Alex Paknadel, Doug Braithwaite, José Villarrubia, Diego Rodriguez, and Marshall Dillon. The art is incredible, the stakes seem pretty high, and the outlook after this first issue look pretty grim for Earth.

| Published by Valiant

James Bond 007 #4 sees Stephen Mooney join Greg Pak, Tríona Farrell, and Ariana Maher for the art chores for three issues, continuing the tale of Bond and “Oddjob”’s team-up. Like Marc Laming, Mooney seems to be born to draw Bond and espionage themed stories.

| Published by Dynamite

Judge Dredd: Toxic #4 concludes what has been an excellent series dealing with xenophobia and hateful rhetoric from Paul Jenkins, Marco Castiello, Vincenzo Acunzo, Jason Millet, Shawn Lee, and Robbie Robbins. I’ve always found non 2000 AD Judge Dredd stories to be a bit of crapshoot, but IDW have been delivering well with the past two mini-series, this and Under Siege.

| Published by IDW

Justice League #18 is the latest excursion into the Legion of Doom territory from James Tynion IV, Pasqual Ferry, Hi-Fi, and Tom Napolitano. It works with some of the revelations from last issue regarding Martian Manhunter and builds a new narrative for Lionel Luthor’s past and his work with Vandal Savage. It’s interesting to see Tynion working with variations on discarded continuities in this way, building a new past that synthesizes pre-Flashpoint ideas with the current batch of backstories.

| Published by DC Comics

Middlewest #4 only seems to be getting better and better as more of this world and how it seems to work get fleshed out by Skottie Young, Jorge Corona, Jean-Francois Beaulieu, and Nate Piekos. There’s something incredibly magical and special about this series that taps into the feeling of some of the best coming-of-age fantasies as it blends Ray Bradbury, JM Barrie, and Carlo Collodi into this magical realist adventure.

| Published by Image

Miles Morales: Spider-Man #3 concludes the opening arc from Saladin Ahmed, Javier Garrón, David Curiel, and Cory Petit by adding Captain America to Miles & Rhino’s team-up. This has been a very entertaining start to the series, with a nice mix of Miles’ personal life and superheroics.

| Published by Marvel

Naomi #2 reasserts that Jamal Campbell is a powerhouse of an artist and one of the best kept secrets of the past few years who really should have a higher profile. His art is amazing. It also helps that the story he, Brian Michael Bendis, David F. Walker, and Carlos M. Mangual are telling is as compelling as this, as Naomi confronts Dee as she tries to learn about the day of her adoption. It’s very widescreen and epic as it hints at the broader DC Universe, but at the same time this is very deeply personal.

| Published by DC Comics

Old Man Quill #2 gives the Guardians a taste of the depravity and despair that Earth has fallen to in this post-superhero world. Ethan Sacks shows there’s still a bit of humour left, though, in that Piledriver’s descendent thinks that Piledriver was one of the all-time greats. Also the art from Robert Gill and Andres Mossa gives a wonderful amount of detail to the wastelands.

| Published by Marvel

Relay #4 returns after a delay with new artist Dalibor Talajić (I believe Andy Clarke had to bow out due to illness, but I’m not 100% sure on that). Talajić’s art style is not as bright and clean as Clarke’s, giving a darker, shadowy approach that results in the bleak, horror elements of the story coming further into focus.

| Published by AfterShock

Seven to Eternity #13 returns from its own lengthy delay to conclude the arc in Skod, with the revelation of part of Adam’s choice to save the Mud King. It reiterates the theme since the beginning that there seem to be no good choices in this world, that everything tainted, despite Adam’s father believing the world black and white. While we are going into another trade break, Rick Remender, Jerome Opeña, Matt Hollingsworth, and Rus Wooton consistently make this worth the wait.

| Published by Image / Giant Generator

Sharkey: The Bounty Hunter #1 is the latest of Mark Millar’s Netflix feeder series, after The Magic Order and Prodigy, with Simone Bianchi and Peter Doherty rounding out the team. This one feels a bit like if Warren Ellis were writing Strontium Dog, and it works. The artwork from Bianchi is worth it on its own. Gorgeous character designs.

| Published by Image

Venom #11 is another holy crap issue from Donny Cates, Ryan Stegman, Joshua Cassara, JP Mayer, Frank Martin, and Clayton Cowles. There are some really big revelations about Eddie and his family that really need to be read firsthand. Amazing work.

| Published by Marvel

X-O Manowar #24 reminds us again just how good of an artist and storyteller Tomás Giorello is. The action sequences and battle between Aric and Hesnid is incredible, with fairly inventive layouts that just elevate the overall impact of the pages. Giorello and Diego Rodriguez really make this something joyous to behold.

| Published by Valiant

Other Highlights: American Carnage #4, Bitter Root #4, Black Badge #7, The Black Order #4, Breakneck #3, Coda #9, Death Orb #5, DuckTales #18, East of West #41, Evolution #14, Exorsisters #5, Go Bots #4, Grumble #4, High Level #1, Hot Lunch Special #5, Jessica Jones: Purple Daughter #2, Jim Henson’s Beneath the Dark Crystal #5, Jim Henson’s Labyrinth: Discovery Adventure, Jughead: The Hunger #12, Lightstep #4, The Lone Ranger #5, Lucifer #5, Lumberjanes #59, Mars Attacks #5, Monstress #20, Outpost Zero #7, Rainbow Brite #4, Shuri #5, Solo: A Star Wars Story #5, Star Wars Adventures #18, Starcraft: Soldiers #2, Stronghold #1, Sukeban Turbo #4, Superb #17, TMNT: Urban Legends #10, Teen Titans #27, Turok #2, The Unstoppable Wasp #5, The Witcher: Of Flesh and Flame #3

Recommended Collections: Amazing Spider-Man - Volume 2: Friends & Foes, Bedtime Games, The Beauty - Volume 5, Black Lightning: Brick City Blues, Captain America - Volume 1: Winter in America, Days of Hate - Volume 2, High Crimes, Infinity 8 - Volume 3: The Gospel According to Emma, Old Man Hawkeye - Volume 2: The Whole World Blind, The Punisher - Volume 1: World War Frank, West Coast Avengers - Volume 1: Best Coast

d. emerson eddy would do anything for a Klondike bar, but he won’t do that.

#This Week in Comics

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freakyfoottours · 3 years ago

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thegeneralhospitalawards · 6 years ago

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General Hospital June 2018 Awards Results:

Best Actor: Roger Howarth (Franco Baldwin) (WINNER) 36.5% Steve Burton (Jason Morgan) 27% Billy Miller (Drew Cain) (WINNER) 36.5% Maurice Benard (Sonny Corinthos) 0%

Best Actress: Michelle Stafford (Nina Reeves) (WINNER) 58% Kristen Storms (Maxie Jones) 25% Kelly Monaco (Sam McCall) 8.5% Laura Wright (Carly Corinthos) 8.5%

Favourite Male Character: Curtis Ashford (Donnell Turner) (WINNER) 54.5% Jason Morgan (Steve Burton) 27.3% Nathan West (Ryan Pavey) 18.2% Drew Cain (Billy Miller) 0%

Favourite Female Character: Maxie Jones (Kristen Storms) (WINNER) 54.5% Sam McCall (Kelly Monaco) 45.5% Kiki Jerome (Hayley Erin) 0% Elizabeth Webber (Rebecca Herbst) 0%

Breakout Character: Nelle Benson (Chloe Lainer) 30% Curtis Ashford (Donnell Turner) 30% Nurse Deanna (Dionni Michelle Collins) 0% Harrison Chase (Josh Swickard) (WINNER) 40%

Worst Exit: Nikolas Cassadine (Tyler Christopher) 0% Laura Spencer (Genie Francis) (WINNER) 36.5% Dillon Quartermaine (Robert Palmer Watkins) 27% Hayden Barnes (Rebecca Budig) (WINNER) 36.5%

Disappointing Character: Valentin Cassadine (James Patrick Stuart) (WINNER) 25% Kim Nero (Tamara Braun) (WINNER) 25% Peter August/Henrik Faison (Wes Ramsey) 8.3% Nelle Benson (Chloe Lainer) 16.7% Drew Cain (Billy Miller) 8.3% Franco Baldwin (Roger Howarth) 16.7%

Favourite Couple: Julian Jerome and Alexis Davis (William DeVry & Nancy Lee Grahn) 25% Jason Morgan and Sam McCall (Steve Burton & Kelly Monaco) (WINNER) 50% Josslyn Jacks and Oscar Nero (Eden McCoy & Garren Stitt) 0% Drew Cain and Sam McCall (Billy Miller & Kelly Monaco) 25% Lulu Spencer and Dante Falconeri (Emme Rylan & Dominic Zamprogna) 0% Olivia Falconeri and Ned Quartermaine (Lisa LoCicero & Wally Kurth) 0%

Favourite Recurring Female Character: Liesl Obrecht (Kathleen Gati) 25% Diane Miller (Carolyn Hennesy) 0% Monica Quartermaine (Leslie Charleson) (WINNER) 50% Emma Scorpio-Drake (Brooklyn Rae Silzer) 16.6% Robin Scorpio (Kimberley McCullough) 8.4% Bobbie Spencer (Jacklyn Zeman) 0%

Favourite Recurring Male Character: Robert Scorpio (Tristan Rogers) (WINNER) 41.6% Ned Quartermaine (Wally Kurth) 0% Damian Spinelli (Bradford Anderson) 16.6% Brad Cooper (Parry Shen) 25% Mike Corbin (Max Gail) 8.4% Lucas Jones (Ryan Carnes) 8.4%

Most Missed Ship: Sam McCall and Patrick Drake (Kelly Monaco & Jason Thompson) 15.4% Lucky Spencer and Elizabeth Webber (Jonathan Jackson & Rebecca Herbst) 15.4% Drew Cain and Elizabeth Webber (Billy Miller & Rebecca Herbst) 0% Michael Corinthos and Kiki Jerome (Chad Duell & Hayley Erin) 0% Hayden Barnes and Hamilton Finn (Rebecca Budig & Michael Easton) (WINNER) 61.5% Ric Lansing and Alexis Davis (Rick Hearst & Nancy Lee Grahn) 7.7%

Character That Needs to Return: Britt Westbourne (Kelly Thiebaud) 25% Jasper ‘Jax’ Jacks (Ingo Rademacher) 0% Hayden Barnes (Rebecca Budig) (WINNER) 33% Lucky Spencer (Jonathan Jackson) 17% Laura Spencer (Genie Francis) 25% Steve Webber (Scott Reeves) 0%

Favourite Crackship: Johnny Zacchara and Maxie Jones (Brandon Barash & Kristen Storms) 30.7% AJ Quartermaine and Britt Westbourne (Sean Kanan & Kelly Thiebaud) 0% Scott Baldwin and Ava Jerome (Kin Shriner & Maura West) 7.7% Curtis Ashford and Nina Reeves (Donnell Turner & Michelle Stafford) (WINNER) 38.5% Griffin Munro and Elizabeth Webber (Matt Cohen & Rebecca Herbst) 23.1%

Character We Need to See More Of: Liesl Obrecht (Kathleen Gati) 23.1% Molly Lansing (Haley Pullos) 23.1% TJ Ashford (Tequan Richmond) 7.7% Lucas Jones (Ryan Carnes) (WINNER) 38.4% Brad Cooper (Parry Shen) 7.7%

Least Favourite Couple: Carly Corinthos and Sonny Corinthos (Laura Wright & Maurice Benard) 8.3% Franco Baldwin and Elizabeth Webber (Roger Howarth & Rebecca Herbst) (WINNER) 50% Michael Corinthos and Nelle Benson (Chad Duell & Chloe Lainer) 16.7% Hamilton Finn and Anna Devane (Michael Easton & Fionla Hughes) 25% Curtis Ashford and Jordan Ashford (Donnell Turner & Vinessa Antoine) 0%

Favourite Return: Robert Scorpio (Tristan Rogers) 33.3% Jason Morgan (Steve Burton) (WINNER) 66.7%

Favourite Storyline: Kiki’s sexual harassment (WINNER) 50% The Tale of Two Jasons 33.3% Mike Alzheimer’s 16.7%

Best Exit: Robin Scorpio and Patrick Drake (Kimberley McCullough & Jason Thompson) (WINNER) 41.7% Nathan West (Ryan Paevey) 25% Tracy Quartermaine (Jane Elliot) 33.3%

Best Episode: Nathan’s Death (WINNER) 50% The Nurses’ Ball 25% The Earthquake 0% Patient Six reveals himself at the Metro Court 25%

Storyline/Pairing That Needs to Happen in The Future: Scott and Ava 7.7% Hayden returning with the HayFinn baby (WINNER) 46.2% Drew getting his memory back and bonding with Jason 38.4% Sam’s paternity retconned. 7.7%

Worst Storyline: Faison’s son, Henrik and the reveal 21.4% Retcon of Anna’s History 28.6% Franco’s Redemption (WINNER) 35.7% Nelle’s obsession with Michael and gaslighting Carly 14.3%

These two categories only received one nomination. I considered omitting them, but thought I’d share to see if you agree of not.

Funniest Moment: Franco finds out about there being two Jasons

Most Underrated Character: Brad Cooper

Wishes for the Future:

This is what you fans want to see happen this year or next year. This is not a popularity category, like do not reflect the general GH audience on Tumblr, but more the individual fans. And one of them we have already gotten.

- Jax makes a full time return.

- Kiki to not get pregnant with Griffin’s baby.

- Britt to return and meet her nephew James West.

- Kristina, Dillon, Valerie, Ric and Brook Lynn Ashton to return

- Franco and Nelle to die.

- Cameron finally being SORAS.

- Griffin and Elizabeth or Drew and Elizabeth to happen.

- Kim and Drew, with his memories intact.

- Other pairings that are missed include: Nikolas and Emily, Ric and Alexis, Jax and Carly, Nikolas and Britt, Dillon and Georgie, Alan and Monica, AJ and Elizabeth and Curtis and Valerie.

Do you agree with the winners this year? What do you disagree with? Please share your thoughts if you want to.

#General Hospital #General Hospital Awards #General Hospital Tumblr Awards #General Hospital Awards Full Results #GHA 2018

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newyorktheater · 7 years ago

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The Broadway composer Richard Rodgers found four things invariably gratifying: “eating, a warm bath, making love and having a successful show.”

But how gratifying is it to read about successful shows – or the people who’ve created them?

That’s the question that lingers over two recently published Broadway biographies — Something Wonderful: Rodgers and Hammerstein’s Broadway Revolution (Henry Holt, 2018, 386 pages) by Todd S. Purdum and Renaissance Man: The Lin-Manuel Miranda Story An Unauthorized Biography (Riverdale Avenue Books, 2018, 184 pages) by Marc Shapiro Both are about people who created Broadway musicals that became cultural phenomena. But they differ so radically in quality it’s almost an offense to consider them together.

Richard Rodgers and Oscar Hammerstein

South Pacific, 1949. Ezio Pinza an Mary Martin

Carousel (1945 – 1947 Broadway) Music by Richard Rodgers; Book and Lyrics by Oscar Hammerstein II Directed by Rouben Mamoulian Shown from left: Jan Clayton, John Raitt

The King and I 1951. Gertrude Lawrence and Yul Brynner.

Oklahoma! (1955) Directed by Fred Zinnemann Shown from left: Gordon MacRae, Shirley Jones, Charlotte Greenwood

Sound of Music (1959-1963, Broadway) Music by Richard Rogers, Lyrics by Oscar Hammerstein, Book by Howard Lindsay & Russel Crouse Directed by Vincent J. Donehue Shown from left: (top) Mary Martin, Joseph Stewart, Kathy Dunn, William Snowden, Lauri Peters; (front) Marilyn Rogers, Evanna Lien, Mary Susan Locke

from left to right: Richard Rodgers, Dorothy Hammerstein, Dorothy Rodgers, Oscar Hammerstein. Both their wives were named Dorothy, and both were interior decorators.

Composer Richard Rodgers and lyricist/librettist Oscar Hammerstein II together wrote some half dozen musicals between 1943 and 1959 that were the most popular Broadway shows of their time. The songs from these musicals remain among the most beloved and familiar of any that have ever been sung on Broadway. Todd Purdum, a former White House correspondent for the New York Times and current writer for Politico, devotes a chapter to each of these shows – Oklahoma, Carousel, South Pacific, The King and I, The Sound of Music. We learn where the ideas came from; how Hammerstein figured out the right lyrics (Rodgers’ process was more mysterious and often instantaneous), how the initial productions came together, how the public and the critics reacted. But the author spends almost as much time on some of the movie adaptations of these hits, and on the Rodgers and Hammerstein shows that weren’t hits – Allegro, Me and Juliet, Pipe Dream, Flower Drum Song. And the first two of the book’s 11 chapters are taken up with the individual careers of the two men before they started collaborating with each other. Both had successful partnerships with other theater artists – Oscar Hammerstein with composer Jerome Kern, most notably on Show Boat; Rodgers with lyricist Larry Hart, whose 28 stage musicals together included Pal Joey and On Your Toes. And then there are the shows Purdum writes about that Rodgers and Hammerstein produced but didn’t write, most notably “Annie Get Your Gun,” which they lured Irving Berlin into scoring. And the author also goes into some depth about the projects that each man undertook separately in-between their collaborations, such as “Carmen Jones,” Hammerstein’s adaptation of Bizet’s opera “Carmen” transposed to the American South with an all African-American cast. (A revival of ‘Carmen Jones” is opening this month at the Classic Stage Company) All of this information is well researched and competently written. There are plenty of memorable tidbits. The night after “Oklahoma!” opened, we’re told, the house sold out for the next four years. During “The Sound of Music,” lead actress and investor Mary Martin had befriended a theater-loving nun, who became an advisor on the show. Among Sister Gregory’s advice: “ Please don’t have the nuns giggle. Chuckle, laugh— and even explode with laughter, but not giggle.” Yet after a while, with so much covered in its 320 pages of text, “Something Wonderful” (the title is taken from a song in “The King and I”) feels more like “Many Wonderful Things,” and occasionally even “Too Many Wonderful Things.” One begins to wonder: What’s the point of this book? And also: Why now? Rodgers died in 1979, Hammerstein in 1960. (There’s an entire chapter on what Rodgers did in the years after Hammerstein died; and more details about each of their end-of-life illnesses than I was eager to learn.) Certainly I can be excused for assuming that the book would take advantage of the passage of time to offer fresh critical perspectives. But any critical evaluations are perfunctory – largely brief excerpts from contemporary reviews. The author does offer a line or two of analysis here and there: “If Oklahoma! had satisfied wartime America’s longing for a simpler time and Carousel had tapped into the returning servicemen’s familiarity with death, South Pacific offered a dramatization of a conflict that was still visceral for millions.” But that doesn’t explain why the shows are still popular. A brief section in the Epilogue makes the current case for Rodgers and Hammerstein shows as if they’re under attack, but, again, by briefly quoting critics. Instead of critical insights, Purdum opts for a compact historical overview of two impossibly fruitful careers. We learn that during his lifetime Rodgers had written the music for some 900 songs, and Hammerstein had written the lyrics for 1,589. (The 1,589th was Edelweiss from The Sound of Music. By the end of “Something Wonderful” I can’t claim to have gotten a firm handle on either theater artist – not what made them great, nor even a vivid sense of what they were like as individuals. It is hard to blame the author for this. Mary Rodgers, Richard’s daughter and an accomplished composer in her own right, is quoted as saying: “I don’t think anybody ever knew who he really was, with the possible exception of one of the five psychiatrists he went to.” Stephen Sondheim (Hammerstein’s protégée and Rodgers one-time, unhappy collaborator) is reduced to a kind of unhelpful Zen description of the two: Hammerstein as a man of limited talent but infinite soul, and Rodgers as a man of infinite talent but limited soul. Still, “Something Wonderful” is a reasonably good read about two theater artists whose work remains familiar and beloved 75 years after they first started collaborating.

“The Sound of Music” was one of the many original Broadway cast albums lying around in the Miranda household when Lin-Manuel was growing up in Inwood, we learn in “Renaissance Man: The Lin-Manuel Miranda Story.” Hunter College Elementary School put on Oklahoma when Miranda was in the fourth grade. His senior thesis at Wesleyan was an analysis of the lyrics of Alan Lerner, Stephen Sondheim…and Oscar Hammerstein. So, yes, Rodgers and Hammerstein were among Lin-Manuel’s many influences in an eclectic cultural upbringing that featured, among many other things – as Renaissance Man reminds us — his parents’ many original cast albums, a school bus driver who loved rap, early exposure to Disney animated films, a household full of Puerto Rican culture, schooling that emphasized the arts, especially theater. “Renaissance Man” by Marc Shapiro (who specializes in “unauthorized” celebrity biographies) is a cut-and-paste job, splicing together facts and quotes gathered from newspaper articles and blog posts and podcasts and speeches. This alone wouldn’t necessarily be reason to condemn it. As with “Something Wonderful,” there should be some appeal in revisiting Lin-Manuel Miranda’s extraordinary story, even though it is by this point so thoroughly familiar – how he created “In The Heights” starting when he was a sophomore at Wesleyan; followed by the six year journey to create “Hamilton.” We can even appreciate being reminded of some of Miranda’s other activities as writer and rapper and actor – his improvisational rap group Freestyle Love Supreme, his work on other Broadway shows (co-composing Bring It On The Musical; writing the Spanish translations for a West Side Story revival) the his songwriting for the animated Disney film Moana and a Star Wars movie; his appearance as himself in Fatwa: The Musical in Curb Your Enthusiasm, his forthcoming role in the movie Mary Poppins Returns All of this is mentioned in “Renaissance Man: The Lin-Manuel Miranda Story,” but we don’t wind up caring. The book could hardly be a worse read. It’s poorly written, cliché-ridden, and so full of typos and obvious errors that one wonders what else the author got wrong. (It’s the Outer Critics Circle Awards, not The Outer City Circle Awards. It’s the Eugene O’Neill Theater Center. Miranda’s friend Chris Hayes is sometimes spelled Chris Harris; Hamilton performer Daveed Diggs is sometimes referred to as David.) Marc Shapiro uses the word “literal” or “literally” incorrectly so many times (“Miranda was a literal babe in the woods”…”Miranda was literally over the moon…”) that I stopped counting. There is no intelligent or even cogent insight into Miranda or his shows, and virtually no original reporting. The only apparent interview the author conducted was with one Irv Steinfink, Miranda’s 11th grade Social Studies teacher, said he assigned him to do a report on the Hamilton-Burr duel “It was a good paper. He got an A on it. As I think about it now, it may have actually been an A plus.” There are so many hilariously awkward sentences and extended forays into incoherence that I briefly wondered whether Renaissance Man was secretly a spoof. Here is a typical paragraph, which purports to explain the reason for the book: “That Lin-Manuel Miranda has emerged as the pop composer/literal renaissance man of his time was the logical reason to profile his life. Hamilton is on everybody’s lips and so, in the immortal words of the publishing bard, strike while the iron is hot became the order of the day. But it soon became something a bit more than cashing in on the latest big thing.” Actually, “Renaissance Man: The Lin-Manuel Story” is never anything more than an attempt to cash in on the latest big thing.

New Broadway Biographies: Lin-Manuel Miranda, Rodgers and Hammerstein The Broadway composer Richard Rodgers found four things invariably gratifying: “eating, a warm bath, making love and having a successful show.”

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nba24highlights · 2 years ago

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Jerry West, in full Jerome Alan West, byname Mr. Clutch, (born May 28, 1938, Cheylan, West Virginia, U.S.), American basketball player, coach, and general manager who spent four noteworthy decades with the Los Angeles Lakers of the National Basketball Association (NBA). #capcut #thelogo #nbalogo #thenbalogo #jerrywestlogo #nbajerrywest #nba #nba24highlights #nbahighlights #throwback #jerrywest41 #jerrywestlakers #jerrywestthelogo #jerrywestnbalogo #happybirthday #happybirthdayjerrywest #jerrywesthappybirthday #viral #fyp #fup #happybday #happybirthday

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nyfacurrent · 7 years ago

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Artist News | December Part II

In this holiday season, treat yourself with works by NYFA Affiliated Artists!

Whether you'll be enjoying the snow in New York or the sun in Florida, you can count on NYFA Affiliated Artists to provide you with an end of year full of art. Will you be attending any of the exhibitions, performances, or screenings listed below? Make sure to tag us on Twitter, Facebook, and Instagram using the handle @nyfacurrent.

Things to do & see in NYC:

Liliana Porter (Fellow in Graphics ’85, Film ’99) Ana Tiscornia (Fellow in Photography ’04) Accomplices features a rare collection of collaborative works by Porter and Tiscornia. When: Now through December 22, 2017 Where: Johannes Vogt Gallery, 55 Chrystie Street, Suite 202, New York, NY 10002

Debi Cornwall (Sponsored Project) Debi Cornwall’s solo exhibition on Guantanamo and its global diaspora, Debi Cornwall: Welcome to Camp America, is now on view at Steven Kasher Gallery. When: Now through December 22, 2017 Where: Steven Kasher Gallery, 515 West 26th Street, New York, NY 10001

Amy Brener (Fellow in Crafts/Sculpture ’14) Come see Bener’s sculptures in the two-person show at 315 Gallery. When: Now through December 22, 2017 Where: 315 Gallery, 312 Livingston Street, Second Floor, Brooklyn, NY 11217

Sharon Lawless (Fellow in Painting ’90) Reusable is a solo exhibition of mixed-media collages and sculptures composed of both found and purchased materials. When: Now through December 22, 2017 Where: Robert Henry Contemporary, 56 Bogart Street, Brooklyn, NY 11206

Michele Brody (Fellow in Architecture/Environmental Structures/Design ’00) Esperanza Cortes (Fellow in Sculpture ’95) Shaun Leonardo (Fellow in Painting ’08) Jessica Segall (Fellow in Crafts/Sculpture ’14) Seldon Yuan (Fellow in Interdisciplinary Work ’15) There is still time to see the group show, Uproot, which presents the work of artists who have been urgently engaging with the current state of affairs since the 2016 presidential election. When: Now through December 31, 2017 Where: Smack Mellon, 92 Plymouth Street, Brooklyn, NY 11201

Dread Scott (Fellow in Sculpture ’01, Performance ’05, Interdisciplinary ’12) You can still see Scott’s work in Amplify: Advancing the Front Lines of Social Justice, a public art and design initiative partnering artists and designers. When: Now through January 7, 2018 Where: Museum of Arts and Design, Jerome and Simona Chazen Building, 2 Columbus Circle, New York, NY 10019

Leigh Davis (Sponsored Project) Leigh Davis: Inquiry Into the ELE will be on view at BRIC House. Working in a variety of media, Davis creates an archive of End-of-life Experiences (or ELEs) and accumulates assemblage of images and oral and written accounts that bridge the mystical gap between the earthly realm and that of the spiritual. When: Now through January 7, 2018 Where: Project Room at BRIC House, 647 Fulton Street, Brooklyn, NY 11217

Elia Alba (Fellow in Crafts ’01, Photography ’08) One more month to see Alba’s The Supper Club, a solo exhibition centered on racial politics and visual culture. When: Now through January 12, 2018 Where: The 8th Floor, 17 West 17th Street, 8th Floor, New York, NY 10011

Lori Nix (Fellow in Photography ’04, ’10) Empire features nine new photographs created by Lori Nix and Kathleen Gerber, exploring different aspects of our ever-changing landscape. When: Now through January 27, 2018 Where: ClampArt, 247 West 29th Street, Ground Floor, New York, NY 10001

Lina Puerta (Fellow in Crafts/Sculpture ’17) It Was a Dark and Stormy Night: Gothic Influence in Contemporary Art is a group exhibition featuring Puerta’s work. When: Now through February 10, 2018 Where: The Lehman College Art Gallery, 250 Bedford Park Boulevard West, Fine Arts Building, Bronx, NY 10468

Alan Berliner (Fellow in Film ’85, ’91, ’99) Allan Wexler (Fellow in Architecture ’85, ’90) See Yourself E(x)ist is a group exhibition, featuring eighteen artists working in different mediums, all considering the future of humans and nature. When: Now through February 17, 2018 Where: Pratt Manhattan Gallery, 144 West 14th Street, 2nd Floor, New York, NY 10011

Walter Dundervill (Finalist in Choreography ’16) Arena Triptych is a video/audio installation created by Iki Nakagawa and inspired by Dundervill’s choreographic piece Arena. When: December 15 - December 17, 2017 Where: Harvestworks, 596 Broadway, 6th Floor, New York, NY 10012

Lovid (Fellows in Interdisciplinary Work ’09, Digital/Electronic Arts ’17) Lovid will be performing live audio/video compositions with their handmade analog synthesizers as a part of The Curated Wall: A Holiday Event showcase. RSVP at [email protected]. When: December 15, 2017, 7:00 PM - 9:00 PM Where: LMAKbooks+design, 298 Grand Street, 2nd Floor, New York, NY 10002

Bill Young (Fellow in Choreography ’10) Loft Into Theater presents new performances by several artists, including Bill Young. Reserve your seat online here. Admission is $10. When: December 15 & 16, 2017, 8:00 PM Where: Loft Into Theater, 100 Grand Street, New York, NY 10013

Janelle Iglesias (Fellow in Sculpture ’11) Lisa Iglesias (Fellow in Printmaking/Drawing/Artists’ Books ’09) Mark your calendars for Fire Sale, a one day sale in which the entire gallery will be stocked with artwork from 30+ artists, all at a holiday friendly price point. When: December 17, 2017, 12:00 PM - 7:00 PM Where: Present Company, 254 Johnson Avenue, Brooklyn, NY 11206

Adrianne Wortzel (Fellow in Fiction ’15) Wortzel will be participating in NY LASER Talks, a series of lectures and presentations on art and science projects. Register online. When: December 17, 2017, 4:00 PM - 7:00 PM Where: Levy Studios, 40 East 19th Street, Apartment 3, New York, NY 10003

Kyle Abraham (Fellow in Choreography ’10) Ping Chong (Fellow in Choreography ’88, Playwriting/Screenwriting ’98, Performance Art ’03, Interdisciplinary Work ’12) Elizabeth Diller (Fellow in Architecture ’85, ’89, ’98) Reggie Gray (Fellow in Choreography ’16) Craig Harris (Fellow in Music Composition ’92) Branden Jacobs-Jenkins (Fellow in Playwriting/Screenwriting ’10) David Lang (Fellow in Music Composition ’86) Shirin Neshat (Fellow in Photography ’96) Lynn Nottage (Fellow in Playwriting/Screenwriting ’94, ’00) Carl Hancock Rux (Fellow in Playwriting/Screenwriting ’02) Carmelita Tropicana (Fellow in Performance ’87, Playwriting/Screenwriting ’06) Hank Willis Thomas (Fellow in Photography ’06) Basil Twist (Fellow in Performance Art/Multidisciplinary Art ’03) These Fellows and more will be participating in The Shape of Things, a conclusion to Carrie Mae Weem’s year-long artist residency with the Park Avenue Armory. Buy tickets online. When: December 17, 2017, 12:00 PM - 10:00 PM Where: Thompson Arts Center, Park Avenue Armory, 643 Park Avenue, New York, NY 10065

Jayson Smith (Fellow in Poetry ’17) Smith will be a guest panelist at Reparations, Live! With Morgan Parker, an event where panelists present ideas around mending injustices and speaking out about what America owes them. RSVP online. When: December 18, 2017, 9:00 PM Where: Liberty Hall, Ace Hotel New York, 20 West 20th Street, New York, NY 10001

Shamel Pitts & Mirelle Martin (Sponsored Project) Black Velvet, an original multidisciplinary performance artwork that has been performed internationally, will also be exhibited in New York at 14 Street Y. Advanced tickets are $20. When: January 11 - January 14, 2018, 8:00 PM Where: 14th Street Y, 344 East 14th Street, New York, NY 10003

Get out of town to see:

Michelle Jaffé (Sponsored Project) Jaffé’s video and sound installation, Soul Junk, places the viewer inside a metaphoric mind at work. Mimicking synaptic circuitry firing in the brain, the installation explores raw emotions as conveyed and betrayed by the human voice and facial expressions. When: Now through January 6, 2018 Where: Milton Art Bank, 23 South Front Street, Milton, PA 17847

Joseph Osmundson (Fellow in Nonfiction Literature ’17) Osmundson will be having a launch party in Seattle as a part of the tour for his new book Inside/Out. When: December 22, 2017, 7:00 PM - 8:00 PM Where: University Bookstore, 4326 University Way North East, Seattle, WA 98105

Liliana Porter (Fellow in Graphics ’85, Film ’99) Savannah College of Art and Design Museum of Art presents Other Situations, a survey exhibition of object-based works, photography, prints, and two video pieces by Porter. When: Now through January 7, 2018 Where: Savannah College of Art and Design, 601 Turner Boulevard, Savannah, GA 31402

Ben Altman (Sponsored Project) Ben Altman’s photographic project, "The More That is Taken Away," is included in the exhibition Artificial Things at Art at the ARB at the University of Cambridge. When: Now through January 19, 2017 Where: Art at the ARB, Alison Richard Building, 7 West Road, CB3 9DT Cambridge, Cambridgeshire, UK

Jennifer Karady (Sponsored Project) Karady’s photographs from "Soldiers’ Stories from Iraq and Afghanistan" is a part of the exhibition, Aftermath: The Fallout of War - America and the Middle East. When: Now through January 21, 2018 Where: The Ringling, 5401 Bay Shore Road, Sarasota, FL 34243

Kambui Olujimi (Fellow in Crafts/Sculpture ’17) Sabbath: The 2017 Dorothy Saxe Invitational is a group show centered around works which comment on the Sabbath, the day of rest. When: Now through February 25, 2018 Where: The Contemporary Jewish Museum, 736 Mission Street, San Francisco, CA 94103

New releases to enjoy at home:

Brenda Zlamany (Fellow in Painting ’94) Read a recent discussion between Zlamany and Leslie Wayne regarding her recent project with the Hebrew Home at the Derfner Judaica Museum. Where: Online at Artcritical

Doug Skinner (Fellow in Performance ’91) Le Scat Noir Encyclopedia features contributions by individuals from around the world, including work by Skinner, presenting rare facts, fictions, illustrations, and the like. Where: Buy it here

Young Jean Lee (Fellow in Playwriting/Screenwriting ’10) Read some recent news regarding Lee’s play Straight White Men, which will begin previews at the Helen Hayes Theatre on Broadway Summer 2018. Where: Online at TheaterMania

NYFA congratulates:

Simone Leigh (Fellow in Sculpture ’09) Leigh is a Finalist for the 2018 Hugo Boss Prize! The Winner will be announced in 2018.

Follow us on Twitter and Instagram for more events with NYFA affiliated artists. Also, don’t forget to like us on Facebook to see what current fiscally sponsored projects are up to! To receive more artist news updates, sign up for our bi-weekly newsletter, NYFA News.

The NYSCA/NYFA Artist Fellowship Program awards $7,000 grants to individual artists living and working in New York State. The 2018 award cycle is currently open, with applications being accepted through January 24, 2018. NYFA Fiscal Sponsorship enhances the fundraising capabilities of individual artists and emerging arts organizations. The next quarterly no-fee application deadline is December 31, 2017.

Image: Leigh Davis, Inquiry Into the ELE, 2017, Video Still

#artist news #fiscal sponsorship #nyfa fiscal sponsorship #nyscanyfafellows #artist fellowships #instagram

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thepoolscene · 5 years ago

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The Pool Scene - Billy Thorpe, Brandon Shuff, Earl Strickland, Frank Hernandez, Jayson Shaw, Jeremy Sossei, Len Gianfrate, Raphael Dabreo, Shane Van Boening, Shaun Wilkie, Steve Fleming, Thorsten Hohmann, Tom Zippler, Yesid Garabello - Joss Northeast 9-Ball

New Post on https://thepoolscene.com/?p=55138

Shane Van Boening wins 5th Turning Stone Title

Everyone, Here is the complete order of finish for our Joss Northeast 9-Ball Tour’s, “Turning Stone Classic XXXII 9-Ball Open”, which was held August 22-25, 2019. The event was $25,000 added with a total prize fund of $41,400. There was a full field of 128 players. All players were paid in cash immediately upon their elimination from the event!

1st $8,000 Shane Van Boening 2nd $5,000 Earl Strickland 3rd $3,600 Jayson Shaw 4th $2,600 Billy Thorpe 5/6th $2,000 each – Brandon Shuff, Thorsten Hohmann 7/8th $1,600 each – Raphael Dabreo, Frank Hernandez 9/12th $1,200 each – Jeremy Sossei, Yesid Garabello, Len Gianfrate, Shaun Wilkie 13/16th $850 each – Hunter Lombardo, John Andrade (Can), Dan Hewitt (Can), LoreeJon Hasson 17/24th $550 each – Randy Labonte, Steven Winter (Can), Brent Boemmels, Damon Sobers, Jorge Rodriguez, Chad Bazinet, Kevin West, Qais Kolee 25/32nd $300 each – Mike Yednak, Eric Lim, Jesse Docalavich, Eric Cloutier (Can), Matt Krah, Holden Chin, Sean Morgan, Earl Herring 33/48th – Zion Zvi, Dave Fernandez, Darren Clement (Can), Mika Immonen, Nick Coppola, Erik Hjorleifson (Can), Paul Laverdiere, Rich Kravetz, Jia Li, Dave Dreidel, Nick Antonakos, Brad Guthrie (Can), Mike Hurley, Bucky Souvanthong, Jerome Rockwell, Donny Mills

49/64th – Matt Tetreault, Tom Zippler, Fred Gokey, Willie Oney, Johnny Archer, Dan Sharlow, Keith Nelson, Ray Buthe, Jon McConnell, Dave Shlemperis, Jennifer Barretta, Dave Grau, Alvin Thomas, Ron Casanzio, Nelson Weimer, Caroline Pao 65/96th – Tony Antone, Bob Cunningham, Bud Robideau, Ed Yero, Alan Gordon, Frank Wolak, Joe Dupuis, Steve Fleming, Jed Jecen, Rich Howard, Jerry Crowe, Gregg McAndrews, Ray Lee, Roarke Dickson, Dave Mills, John Moody, Sean Santoro, Bruce Gordon, Pascal Dufresne, Tom Gildea, Larry Phleger, Jay Chiu, Greg Antonakos, Phil Harju, Jim Kearney, Mike Pettit, James Stonkus, Dominic Byrne, Ed Culhane, Mike Toohig, Chris Braiman, Rob Pole,

97/128th – Greg Bombard, Bruce Nagle, Mike Verducci, Jason Platt, Nabil Lazouzi, Gene Hunt, Ben Werblow, Steve Sutton, Dave Callaghan, Steven W. Smith, Don Reigel, Jesse Piercey (Can), Lida Mullendore, Joe Sinicropi, Randy Whitehead, Pat Fleming, Erin Bechner, Chris Pyle, Bill Cote, Ryan Smith, Allen Hazelwood, Catherine Ong, Devin Buttle (Can), Jim Prather, Aaron Cameron, Bruce Barthelette, Tommy Tokoph, Jim McManus, Marco Kam, Brian Wheel, Rob Hart, Bruce Carroll

Our Second Chance event had a field of 26 players with a total prize fund of $1,300.

1st $400 Steve Fleming 2nd $300 Tom Zippler 3/4th $180 each – Ben Werblow, Jim Prather5/8th $60 each – Brent Boemmels, Joe Sinicropi, Jesse Docalavich, Jim Kearney

$1,500 Joss Cue raffle winners – Scott Brown & D. Nixon & the winner of the autographed Aramith Pro Cup cue ball used in the final match – Bill Keymel The Joss Northeast 9-Ball Tour Is Proudly Sponsored By;

Joss Cues – http://www.josscues.com Turning Stone Resort Casino – http://www.turningstone.com Simonis Cloth – http://www.simoniscloth.com Poolonthenet.com – http://www.poolonthenet.com AzBilliards.com – http://www.azbilliards.comAramith – http://www.aramith.com Billiards Press – http://www.billiardspress.com World Class Cue Care – http://www.jnj-industries.comFargoRate – http://www.fargorate.com

#Billy Thorpe #Brandon Shuff #Earl Strickland #Frank Hernandez #Jayson Shaw #Jeremy Sossei #Len Gianfrate #Raphael Dabreo #Shane Van Boening #Shaun Wilkie #Steve Fleming #Thorsten Hohmann #Tom Zippler #Yesid Garabello

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davidmann95 · 8 years ago

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It's implied in Animal Man that the REM song "Superman" exists in the DCU. It still totally flows, but how would other songs/movies/etc be changed in the DCU to reflect that Superman's a celebrity and not a fictional character? We know he's licensed his image out to cartoons for charity work, for instance.

I’d say that obviously anything directly referencing his secret identity would be right out, but maybe not. The Golden Age story “Superman, Matinee Idol!” (the first marked as an “Imaginary Story”) had him and Lois go to a movie with a Superman cartoon serial at the front…a sequel to the classic Superman versus The Mad Scientist Fleischer short, which reveals Superman’s secret identity! With no more explanation than pondering if the creators - credited from “Action Comics and Superman Magazine, Based on the famous comic strip created by Jerome Siegel and Joe Shuster” - were clairvoyant, Superman spent the whole story making sure Lois’s attention was divided whenever ‘Superman’ changed on-screen. You’d think this would be pretty pointless given everyone’s going to know now anyway, but I admit, if it was my secret identity that was blown wide open, I’d probably use my last few minutes of privacy to screw with a friend too. And logic be damned, it got us this panel:

So Superman as a fictional entity in-universe has been established for awhile; as you said, he licensed his image out to charity, and Gregory Reed is consistently his most prominent actor in the movies (in one version he hitchhiked to Metropolis from Chicago and made a living as a pizza delivery boy while fighting “Dr. Cosmos”). He exists in the in-universe DC Comics, too; in a Mark Millar short where he interviewed Wally West it was mentioned that Superman didn’t have a secret identity in the comics since they didn’t believe he had one, whereas I know Young Justice once mentioned his comics self had a name that Impulse referred to him as for months. According to Jimmy Olsen’s Big Week, he also had a video game made by Lexcorp of all companies, because money’s money no matter who your arch-nemesis is.

So Superman’s out there in all media in the DCU, but that invites the question: what did comics and movies and whatnot look like before superheroes arrived, stripping away their influence on pop culture? We can assume Iron Munroe was around in comics given he’s been cited as a childhood hero of Clark’s once or twice, but what else is there to fill the gap (unless you’re assuming the JSA was already around long before Superman and his allies, but that was always dumb so I’m ignoring it)?

I have a semi-serious suggestion on that front.

If you’re not familiar, America’s Best Comics was a Wildstorm imprint run by Alan Moore, and while it’s most well-known for being the starting place of The League of Extraordinary Gentlemen, its main accomplishment as far as I’m concerned was in the shared universe it built between Tom Strong, Top 10, Promethea, and Tomorrow Stories. Top 10 was the only one of the bunch to prominently feature ‘traditional’ superheroes, and even there it was about the police-procedural adventures of cops in a city full of them; almost everyone else was more directly inspired by superheroes’ pulp predecessors, or comics outside the traditional superhero genre like MAD Magazine or The Spirit. They were universally excellent - as indicated by them all being written by Alan Moore, with the likes of Chris Sprouse, Gene Ha, J.H. Williams III, Kevin Maguire, Rick Veitch and more in tow - and one of Moore’s explicit driving ideas behind it was wondering what comics would have looked like had Superman never been created, i.e. adventure comics would still have reigned, and superheroes inevitably still would have emerged, but multiple genres would have had a better shot at coexisting.

In that light, I definitely could see little Clark Kent reading about Tom Strong growing up. The ABC universe is probably the biggest expansive superhero concept DC has its hands on that it hasn’t attempted to integrate into its main universe one way or another, and unlike Watchmen, these were at least actually meant to be eternal ongoings in the same way as Superman or Batman. You could just suggest that all the most explicit superhero stuff are additions from a recent reboot to account for Superman and his kin - the original ABC #1s all acted like these were preexisting concepts being relaunched that we were all already familiar with, so Top 10 being a retcon could easily fit - and just having them pop up as comics in the background would be better than trying to shove all the decades of history implied into DC’s own setup. Not that any of this needs to happen, but DC has a habit of not leaving anything alone, and this would be a way of slotting them in that addresses an aspect of how the DCU works without stepping on the actual original comics.

#Superman #DC Comics #America's Best Comics #Alan Moore #fanfic #Opinion

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michaeljtraylor · 6 years ago

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Trump’s other tax problem – POLITICO

Editor’s Note: This edition of Morning Money is published weekdays at 8 a.m. POLITICO Pro Financial Services subscribers hold exclusive early access to the newsletter each morning at 5:15 a.m. To learn more about POLITICO Pro’s comprehensive policy intelligence coverage, policy tools and services, click here.

Trump’s tax problem — No, it’s not just his own returns. I write here about how President Trump’s signature tax cut law remains remarkably unpopular and could prove to be a drag in 2020. It’s part of this reason Trump is in Minnesota to tout the law on Tax Day today and the White House will remain focused on it for the week.

Story Continued Below

What’s changed — Via AEI’s Karlyn Bowman: “I think the two major developments on tax attitudes are that Republicans have lost the edge they once had as the party best able to handle taxes … And Democrats seem to be making headway by hammering away at the rich not paying enough.”

Buttigieg gets in — Our Daniel Strauss writes here about South Bend Mayor Pete Buttigieg, already surging in early primary polls, officially joining the presidential field. Mayor Pete, as he likes to be called, faces longs odds of winning the nomination. But his generational appeal for an entirely new politics is clearly resonating.

Here’s what he told me in a recent interview: “So by 2054, when I get to the current age of the current president, the shape of the world then, both environmentally, economically, and beyond, that’s not a theoretical question; it’s a personal one that I have to prepare for just as a human being and I think that gives me a certain sense of urgency around the policy conversation, too.”

GOOD MONDAY MORNING — Congrats to 43-year old Masters champion Tiger Woods, an MM fav for decades, who gives hope to all us aging Gen Xers with bad backs. Email me on [email protected] and follow me on Twitter @morningmoneyben. Email Aubree Eliza Weaver on [email protected] and follow her on Twitter @AubreeEWeaver.

THIS MORNING ON POLITICO PRO FINANCIAL SERVICES — Victoria Guida and Patrick Temple-West on the White House’s move to exert greater control over independent government agencies and how it could permanently alter the political considerations behind regulatory actions. To get Morning Money every day before 6 a.m., please contact Pro Services at (703) 341-4600 or [email protected].

DRIVING THE WEEK — Congress is out on recess … Trump visits Burnsville, Minn. at 1:00 p.m. local time for a tax reform roundtable … Trump speaks at an Opportunity Zones conference on Wednesday … AG Bill Barr has said he hopes to release the redacted Mueller Report this week …

FORGET RECESSION — Deutsche Bank’s Torsten Slok: “We have updated our US economic outlook and we do not see a recession for the next three years. Growth will slow from 3% in 2018 to 2% and inflation pressures will abate and the Fed will stay on hold until the end of 2021 and long rates will stay low.”

GOLDMAN: TRUMP THE FAVORITE — Via a new report led by Goldman Sachs analysts Jan Hatzius and Alec Phillips: “An update and expansion of our prior work on the relationship between the economy and presidential election outcomes suggests that President Trump has a narrow advantage going into the upcoming election.

“First-term incumbents have a built-in advantage of 5-6pp in the popular vote, we find, and our economic forecast also gives the President a slim advantage. A somewhat negative net presidential approval rating only partly offsets this.”

AND HE’S RAISING BIG BANK — Via AP: Trump’s reelection campaign is set to report that it raised more than $30 million in the first quarter of 2019, edging out his top two Democratic rivals combined, according to figures it provided to The Associated Press.” Read more.

WH NOT TOO WORRIED ABOUT MUELLER REPORT — Our Eliana Johnson, Daniel Lippman, and Darren Samuelsohn: “While most of official Washington is on edge ahead of the expected release of special counsel Robert Mueller’s full report, Trump White House aides are shrugging off the fevered anticipation with a simple message: been there, done that.” Read more.

TRUMP GOES AFTER THE FED AGAIN — Reuters’ Howard Schneider: “Trump said on Sunday that actions by the U.S. Federal Reserve have nicked U.S. economic growth and stock market gains by perhaps 30 percent, and that it should begin pumping money into the economy as it did during the 2007-2009 recession.

“Trump’s latest broadside against the central bank, delivered by Twitter and without citing any evidence, came as European Central Bank head Mario Draghi and other international officials worried that a Fed politicized by potential Trump nominees would rattle a dollar-based global system.” Read more.

And it cast a chill at the IMF meetings — WSJ’s Nick Timiraos: “Former Federal Reserve officials and foreign central bankers said … Trump’s combative stance toward the U.S. central bank could over time weaken the institution and its role in the global economy.” Read more.

IN NY PLAYBOOK TODAY — Check out news of a fresh PAC formed by tech companies in New York unhappy with how the Amazon HQ2 saga played out.

NEW ON TAX DAY — Americans for Prosperity has a new letter out today with other organizations “telling Congress that a federal gas tax increase is the last thing Americans need.” Read more.

MNUCHIN SAYS CHINA TRADE TALKS NEARING FINAL ROUND — NYT’s Alan Rappeport: “Treasury Secretary Steven Mnuchin said on Saturday that he believed the United States and China were nearing the final stage of trade negotiations, moving closer to what he said would be the biggest change in the economic relationship between the countries in 40 years.” Read more.

JACK LEW ON MMT — Former Treasury Secretary Jack Lew in remarks at Hofstra at the end of last week: “New economic theories will not erase the cost of servicing the debt, or the risk to our financial future if we simply abandon the notion that there is a limit to how much we can borrow and how much money we can print.”

DON’T GET TOO BULLISH — Mohamed A. El-Erian on Bloomberg Opinion: “Data released last week provided more support for the notion of short-term stabilization in China, but there isn’t yet a convincing longer-term case for higher growth, or for a less uncertain road for a global economy characterized by divergent performance among its systematically most important economies.” Read more.

POWELL NAVIGATES ANGRY PRESIDENT, TURBULENT MARKETS — NYT’s Jim Tankersley and Neil Irwin: “As soon as the Federal Reserve chairman, Jerome H. Powell, finished speaking at his December news conference, it was clear, even to him, that he had blown it. Stocks were tumbling. Analysts worried that the Fed was steering the economy into recession. And …Trump was furious.

“Four months later, Mr. Powell and the Fed have mostly repaired the damage, ending a steady march of interest rate increases and signaling that their next policy move may well be a rate cut if the economy continues to soften. Markets have rallied and recession fears have cooled. But one challenge has only worsened for Mr. Powell: Mr. Trump and his escalating anger at the Fed.” Read more.

Speaking of the Fed, what do you need to be on the board? — WSJ’s Greg Ip: “Neither Stephen Moore nor Herman Cain, political allies that President Trump hopes to put on the Federal Reserve Board, has a Ph.D. in economics. For fans and even some foes, that’s a virtue, not a vice. In these populist times, knowing too much economics means you’re out of touch, arrogant, and wrong. Few institutions have suffered the backlash against elitism and credentialism as much as central banks, which are mostly run by professional economists.” Read more.

WOULD A POLITICAL FED RESCUE THE WORLD? — Reuters’ Howard Schneider: “As a financial crisis spread across the globe in September of 2008, the U.S. Federal Reserve gathered in an emergency atmosphere as requests flooded in from other central banks for access to dollars.

“The ‘swap lines’ that the Fed quickly approved helped ease intense financial stress in foreign markets, but also showed the U.S. central bank was prepared to stand behind the global system. Would an ‘America First’ Fed do the same?” Read more.

S&P 500 NOTCHED 3RD STRAIGHT WEEKLY GAIN — AP’s Alex Veiga: “Stocks notched solid gains on Wall Street Friday, erasing most of the losses the market sustained after an uneven week of trading. The strong finish gave the S&P 500 its third straight weekly gain. The benchmark index is now just under 1% from its most recent all-time high set on September 20, reflecting the strong rebound for the market this year after a dismal slide in December.” Read more.

And the global stock rally has defied a dimming economic outlook — WSJ’s Akane Otani: “Global stocks are rising at the fastest pace in decades as growth around the world slows, leaving many investors questioning how much longer the market can defy the gravity of the underlying economics. Indexes from New York and Europe to China have soared double-digit percentages this year to regain most of their ground after tanking in the fourth quarter, supported by signs that central banks are willing to keep holding interest rates at low levels for the foreseeable future.” Read more.

NEW INVESTMENT FOR RIO TINTO — Per release: “Rio Tinto has committed $302 million of additional capital to advance its Resolution Copper project in the US state of Arizona. The investment will fund additional drilling, ore-body studies, infrastructure improvements and permitting activities as Rio Tinto looks to progress the project to the final stage of the project’s permitting phase.”

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