#nighthawks 1978

[celluloidrainbow]

NIGHTHAWKS (1978) dir. Ron Peck Jim, a London teacher by day, spends his evenings cruising bars and discos meeting men from different backgrounds and places, constantly on the lookout for any kind of connection. He tries to keep his personal life separate from his professional one, compartmentalizing his 'Gay encounters' and his 'friendships with school colleagues' in different boxes, but this status quo can't remain forever. (link in title)

[monkeyspanker69]

[pierppasolini]

Nighthawks (1978) // dir. Ron Peck

[lazzarella]

“The film only shows one part of the gay scene . . . it does not cover everything as many people wish it did. But such a hope or expectation is only a reflection of the dire situation in which there are so few films with or about gay characters. Almost any film starts off with the burden of trying to redress an imbalance, to make homosexuality visible in the cinema. We need hundreds of gay films, not half a dozen.”

- Ron Peck, director of Nighthawks 1978, quoted in The Celluloid Closet revised edition by Vito Russo

[cosmicanger]

Nighthawks (1978)

dir. Ron Peck

[fatsamsgrandslamspeakeasy]

SYLVESTER STALLONE: JULY 6, 1946

PERSONAL FAVORITE MOVIES: THE LORDS OF FLATBUSH (1974), ROCKY (1976), F.I.S.T. (1978), PARADISE ALLEY (1978), ROCKY 2 (1979), NIGHTHAWKS (1981), ROCKY 3 (1983), FIRST BLOOD (1983), RAMBO: FIRST BLOOD PART 2 (1985), ROCKY 4 (1985), COBRA (1986), OVER THE TOP (1987), RAMBO 3 (1988), TANGO AND CASH (1989), ROCKY 5 (1990), ROCKY BALBOA (2006), RAMBO (2008), THE EXPENDABLES (2010), CREED (2015), THE SUICIDE SQUAD (2021)

[marvelousmrm]

Doctor Strange #29 (Stern/Sutton, Apr 1978). Nighthawk recruits Strange to investigate a murder. Perhaps the Daredevil foe Death-Stalker is more mystical than we’d assumed!

[garethllane]

FILM LOG || March 2024

★★★★★ - Blonde Ambition, Lem Amero and John Amero (1981) ★★★★☆ - Salo, or the 120 Days of Sodom, Pier Paolo Pasolini (1975) ★★★★☆ - Theorem, Pier Paolo Pasolini (1968) ★★★★☆ - Wild at Heart, David Lynch (1990) ★★★★☆ - Chatterbox!, Tom DeSimone (1977) ★★★★☆ - Barbara Broadcast, Radley Metzger (1977) ★★★★☆ - Peeping Tom, Michael Powell (1960) ★★★★☆ - Streets of Fire, Walter Hill (1984) ★★★★☆ - Women in New York, Rainer Werner Fassbinder (1977) ★★★★☆ - Shock Corridor, Samuel Fueller (1963) ★★★★☆ - Pumping Iron, George Butler and Robert Fiore (1977) ★★★★☆ - Rapture, Ivan Zulueta (1979) ★★★★☆ - Superstar: Karen Carpenter Story, Todd Haynes (1987) ★★★★☆ - Pumping Iron II: The Women, George Butler (1985) ★★★☆☆ - Muscle, Hisayasu Sato (1989) ★★★☆☆ - The Death of Maria Malibran, Werner Schroeter (1972) ★★★☆☆ - Reform School Girls, Tom DeSimone (1986) ★★★☆☆ - Hell Night, Tom DeSimone (1981) ★★★☆☆ - Angel III: The Final Chapter, Tom DeSimone (1988) ★★★☆☆ - Mary Jane's Not a Virgin Anymore, Sarah Jacobson (1996) ★★★☆☆ - Gentlemen Prefer Blondes, Howard Hawks (1953) ★★★☆☆ - Death on the Beach, Enrique Gomez Vadillo (1991) ★★★☆☆ - Erotikus, Tom DeSimone (1973) ★★★☆☆ - I'm Going to Get You Elliot Boy, Ed Forsyth (1971) ★★★☆☆ - Mondo Trasho, John Waters (1969) ★★★☆☆ - Nighthawks, Ron Peck (1978) ★★★☆☆ - Bloody Muscle Body Builder, Shinichi Fukazawa (1995) ★★★☆☆ - Fortune and Men's Eyes, Harvey Hart (1971) ★★★☆☆ - She Devils on Wheels, Hershell Gordon Lewis (1968) ★★☆☆☆ - Jail Bait, Ed Wood (1954) ★★☆☆☆ - Athena, Richard Thorpe (1954) ★★☆☆☆ - Flaming Creatures, Jack Smith (1963) ★★☆☆☆ - The Hunger, Tony Scott (1983) ★★☆☆☆ - Jesus Christ Superstar, Norman Jewison (1973) ★★☆☆☆ - Beefcake, Thom Fitzgerald (1998) ★★☆☆☆ - Partners, James Burrows (1982)

Shorts:

★★★★☆ - La Ricotta, Pier Paolo Passolini (1963) ★★★★☆ - I Was a Teenage Serial Killer, Sarah Jacobson (1993) ★★★☆☆ - Le Plus Del Homme Du Monde, Jean Mineur (1948) ★★★☆☆ - Sins of the Fleshapoids, Mike Kuchar (1965) ★★☆☆☆ - Ed Fury on the Beach, Bob Mizer (1960)

[betogun]

“We all are innocent while we sleep” - Fotograma de “Nighthawks” (1978) de Ron Peck.

[mogwai-movie-house]

The Best of Tom Waits

Every album, ranked and rated high-to-low:

Swordfishtrombones (1983) ★★★★★★★★★★

Rain Dogs (1985) ★★★★★★★★★½

Closing Time (1973) ★★★★★★★★★☆

Frank's Wild Years (1987) ★★★★★★★★½☆

Bone Machine (1992) ★★★★★★★★☆☆

Real Gone (2004) ★★★★★★★★☆☆

Heartattack and Vine (1980) ★★★★★★★★☆☆

Mule Variations (1999) ★★★★★★★½☆☆

Small Change (1976) ★★★★★★★½☆☆

Blood Money (2002) ★★★★★★★½☆☆

Nighthawks at the Diner (1975) ★★★★★★★½☆☆

Blue Valentine (1978) ★★★★★★★½☆☆

Orphans (2006) ★★★★★★★½☆☆

Alice (2002) ★★★★★★★½☆☆

Bad As Me (2011) ★★★★★★★☆☆☆

The Black Rider (1993) ★★★★★★★☆☆☆

Foreign Affairs (1977) ★★★★★★★☆☆☆

The Heart of Saturday Night (1974) ★★★★★★½☆☆☆

Night On Earth (1992) ★★★★★★☆☆☆☆

One From The Heart (1982) ★★★★★☆☆☆☆☆

[queerstuffonscreen]

Nighthawks (1978)

108 min.

Country: UK

Genre: Drama, History

Language: English

A gay teacher is forced to hide his sexuality by day while living his secret life by night, in Great Britain in the 1970s, not mixing his professional and private life, until the day comes when his students and his headmaster find out.

Watch on Tubi or Kanopy

[pierppasolini]

Nighthawks (1978) // dir. Ron Peck

[traeuthaeou]

WHY THE FEMALE IS BARBRA KAUFFMAN IF THAT IS YOUR NAME AT OR NOT AT HOPKINS , AND YOU NOT A HAWKINS OR HAWKINGSON

traeuthaeou

9m ago

F=FEMALE SEX LETTER SIX F-117

traeuthaeou

58s ago

WHO IN THE COUNTRY CAN SPELL HAWKINS AND HOPKINS NIGHT HAWK BOMBER WEAPONS SYSTEM

traeuthaeou

35s ago

BALTIMORE HAWKINS HOPKINS

traeuthaeou

30s ago

TO ALL LEGAL RELIGIOUS AND UNITED NATIONS AND AUTHORITIES NOT JUST MY FORM OF COMMUNICATION TO RESPOND AND IT'S PUBLIC ,,

traeuthaeou

37s ago

IRS TAXATION RECORDS HOPKINSPLACE 31CA CORRECTIONS ASSOCIATION

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traeuthaeou

1m ago

BITCH YOUR LAST NAME NOT HAWKINS TO SPELL OT HAVE ONE

traeuthaeou

45s ago

NIGHT HAWK BOMBER

Here's a more detailed look at the Nighthawk's weaponry:

Weapons Bays:The F-117 had two internal weapons bays, each designed to hold one 2,000-pound laser-guided bomb. 

Primary Munitions:The principal munition for the F-117 was the GBU-27, a 2,000-pound bomb modified with a Paveway III laser guidance kit. 

Other Weapons:The F-117 could also carry other laser-guided bombs like the GBU-10, GBU-12, or GBU-16, or after 2006, two Joint Direct Attack Munitions (JDAM) GPS/INS-guided stand-off bombs. 

Internal Stores:The F-117 was designed to carry all fuel and weapons internally, which limited the payload to 5,000 pounds (2,300 kg) of ordnance. 

Stealth Technology:The Nighthawk's stealth capabilities, including its radar-evading shape and materials, were crucial for its mission of delivering precision strikes against high-value targets. 

Operational Use:The F-117 was used in Operations DESERT SHIELD and DESERT STORM to target critical Iraqi command and control installations, key communication centers, and storage, production, and research facilities for nuclear and chemical weapons. 

Retirement:The F-117 was officially retired in 2008, but some remain operational. 

Reblog by @traeuthaeou · 1 link

Hawkins Vesrus Yale | Facebook Be Y or why maybe X or XY and not so much xyz yet be it 678 and ABC123 - XYZ678 and every letter in between b

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The Lockheed F-117 Nighthawk is a retired American single-seat, subsonic, twin-engined, stealth attack aircraft developed by Lockheed's secretive Skunk Works division and operated by the United States Air Force (USAF). It was the first operational aircraft to be designed with stealth technology.

Work on what would become the F-117 commenced in the 1970s as a means of countering increasingly sophisticated Soviet surface-to-air missiles (SAMs). During 1976, the Defense Advanced Research Projects Agency (DARPA) issued Lockheed with a contract to produce the Have Blue technology demonstrator, the test data from which validated the concept. On 1 November 1978, Lockheed decided to proceed with the F-117 development program. A total of five prototypes were produced; the first of which performed its maiden flight in 1981 at Groom Lake, Nevada. The first production F-117 was delivered in 1982, and its initial operating capability was achieved in October 1983. All aircraft were initially based at Tonopah Test Range Airport, Nevada.

The aircraft's faceted shape (made from two-dimensional flat surfaces) heavily contributes to its relatively low radar cross-section of about 0.001 m2 (0.0108 sq ft). To minimize its infrared signature, it has a non-circular tail pipe that mixes hot exhaust with cool ambient air and lacks afterburners; it is also restricted to subsonic speeds as breaking the sound barrier would produce an obvious sonic boom that would increase both its acoustic and infrared footprints. While its performance in air combat maneuvering was less than that of most contemporary fighters, it was strictly an attack aircraft despite being commonly referred to as the "Stealth Fighter". For this reason, it is equipped with integrated sophisticated digital navigation and attack systems, targeting being achieved via a thermal imaging infrared system and a laser rangefinder/laser designator. It is aerodynamically unstable in all three aircraft principal axes and thus requires constant flight corrections via a fly-by-wire (FBW) flight system to maintain controlled flight.

Even in the years following its entry to service, the F-117 was a black project, its existence being denied by USAF officials. On 10 November 1988, the F-117 was publicly acknowledged for the first time. Its first combat mission was flown during the United States invasion of Panama in 1989. The last of 59 production F-117s were delivered on 3 July 1990. The F-117 was widely publicized for its role in the Gulf War of 1991, having flown around 1,300 sorties and scored direct hits on what the US military described as 1,600 high-value targets in Iraq. F-117s also participated in the conflict in Yugoslavia, during which one was shot down by a SAM in 1999. It was also active during Operation Enduring Freedom in 2001 and Operation Iraqi Freedom in 2003. The USAF retired the F-117 in 2008, primarily due to the fielding of the F-22 Raptor.[3] Despite the type's official retirement, a portion of the F-117 fleet has been kept in airworthy condition, and some have been observed flying since being retired from combat.

[daydreamerdrew]

Comics read this past week:

Marvel Comics:

The Avengers (1963) #73-87

These issues were published across December 1969 to February 1971. All were written by Roy Thomas, except that the Grand Comics Database lists Len Wein as an uncredited plotter on issues #85-86. Issues #73 and #87 were penciled by Frank Giacoia, with issue #73 being inked by Sam Grainger and issue #87 being inked by Sal Buscema. Issues #74-85 were penciled by John Buscema, with all but issue #85 being inked by Tom Palmer, which was inked by Frank Giacoia. And issue #86 was penciled by Sal Buscema and inked by Jim Mooney. Issues #73-77 were 20 pages, and issues #78-87 were 19 pages.

Wanda and Pietro rejoined the book in issue #75, having last appeared in issue #53. And Hank and Janet left the book in issue #75, having last rejoined it in issue #26, though Janet appeared once again in issue #83.

Issue #80 was the first appearance of the Native American superhero Red Wolf.

Issue #83 was the feminism-themed issue, featuring the villain Amora the Enchantress leading the Wasp, Medusa, Black Widow, and Scarlet Witch as the Liberators.

Issues #85-86 had early Nighthawk appearances that I didn’t know about because, as it was an alternate universe version of him, it wasn’t on the list of the 616 version’s appearances. This version, rather than being a villain on the Squadron Sinister, was a hero on a team called the Squadron Supreme. And he featured prominently in the story as the only member of the Squadron Supreme to believe the Avengers’ story in the beginning that they were from another universe and that their world was in grave danger.

The Amazing Spider-Man (1963) #71 and #86

Issue #71 was published in January 1969. According to the Grand Comics Database, it was plotted by John Romita and scripted by Stan Lee. And the layouts were drawn by John Romita, which were finished by Jim Mooney. It was 20 pages.

I read it because it continued Pietro’s arc regarding his feelings about the Avengers between The Avengers (1963) #53 and #75.

Issue #86 was published in April 1970. It was written by Stan Lee, and the layouts were drawn by John Romita, which were finished by Jim Mooney. It was 20 pages.

I read it because it was Natasha’s one appearance in-between The Avengers (1963) #83 and her run of solo stories in Amazing Tales (1970).

Daredevil (1964) #43 and #69

Issue #43 was published in June 1968. It was written by Stan Lee, penciled by Gene Colan, and inked by Vince Colletta. It was 20 pages.

I read it just because it was a crossover with Captain America.

Issue #69 was published in August 1970. It was written by Roy Thomas, penciled by Gene Colan, and inked by Syd Shores. It was 19 pages.

I read it because it continued T’Challa’s story in-between The Avengers (1963) #81 and #82.

Captain Marvel (1968) #20-21 and Sub-Mariner (1968) #30

The Captain Marvel issues were published in February 1970 and April 1970, and the Sub-Mariner issue was published in July 1970. All were written by Roy Thomas. The Captain Marvel issues were penciled by Gil Kane and inked by Dan Adkins. The Sub-Mariner issue was penciled by Sal Buscema and inked by Mike Esposito. All were 19 pages.

Marvel Two-in-One (1974) #52 and the Moon Knight stories in The Hulk! (1978) #17-18 and #20

The Marvel Two-in-One issue was published in March 1979. It was written by Stephen Grant, and the breakdowns were drawn by Jim Craig and finished by Pablo Marcos. It was 17 pages.

The issues of The Hulk! were published across August 1979 to February 1980. All of the stories were written Doug Moench, penciled by Bill Sienkiewicz, and inked by Klaus Janson. The story in issue #17 was colored by Olyoptics, and the stories in issues #18 and #20 were colored by Steve Oliff. And the stories in issues #17-18 were both 15 pages, and the story in issue #20 was 7 pages.

DC Comics:

Batman & Robin: Year One (2024) #6

This issue was published in March 2025. The series was co-plotted by Mark Waid and Chris Samnee. And the issue written by Mark Waid, drawn by Chris Samnee, and colored by Matheus Lopes. It was 22 pages.

Fawcett Comics:

the Captain Marvel stories in The Marvel Family (1945) #30

These 2 stories were in an issue cover dated December 1945. They were 8 and 9 pages long.

Image Comics:

The Power Fantasy (2024) #7

This issue was published in March 2025. It was written by Kieron Gillen and drawn (including colored) by Caspar Wijngaard. It was 20 pages.

[sheetmusiclibrarypdf]

Happy birthday, Tom Waits (born in December 1949)

Happy birthday, Tom Waits (born in December 1949)Best Sheet Music download from our Library.Please, subscribe to our Library.Tom Waits' DiscographyFilmography (on Wikipedia)Tom Waits - "This One's From The Heart"Browse in the Library:

Happy birthday, Tom Waits (born in December 1949)

Thomas Alan Waits (born December 7, 1949) is an American musician, composer, songwriter, and actor. His lyrics often focus on society's underworld and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, Delta blues, opera, vaudeville, cabaret, funk, hip hop and experimental techniques verging on industrial music. As per The Wall Street Journal, Waits “has composed a body of work that’s at least comparable to any songwriter’s in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that’s unlike any other in pop history.” Tom Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazzy Closing Time (1973), The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), which reflected his lyrical interest in poverty, criminality and nightlife. He repeatedly toured the United States, Europe and Japan, and found greater critical and commercial success with Small Change (1976), Blue Valentine (1978) and Heartattack and Vine (1980). During this period, Waits entered the world of film, acting in Paradise Alley (1978), where he met a young story editor named Kathleen Brennan. He composed the soundtrack for Francis Ford Coppola's One from the Heart (1982) and made cameos in several subsequent Coppola films.

In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). Waits starred in Jim Jarmusch's Down by Law (1986), lent his voice to his Mystery Train (1989), composed the soundtrack for his Night on Earth (1991) and appeared in his Coffee and Cigarettes (2003). He collaborated with Robert Wilson and William S. Burroughs on the "cowboy opera" The Black Rider (1990), the songs for which were released on the album The Black Rider. Waits and Wilson collaborated again on Alice (2002) and Woyzeck (2000). Bone Machine (1992) and Mule Variations (1999) won Grammys for Best Alternative Music Album and Best Contemporary Folk Album, respectively. In 2002, the songs from Alice and Wozzeck were recorded and released on the albums Alice and Blood Money. Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011).

Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos, Rod Stewart and the Eagles and he has written songs for Johnny Cash and Norah Jones, among others. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said: "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling… I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." In accepting the award, Waits mused, "They say that I have no hits and that I'm difficult to work with. And they say that like it's a bad thing!" Musical style Per Bowman, Tom Waits: has never been of his time, ahead of his time, or, for that matter, locked into any particular time. An outsider artist before the term was in common use, Waits has been enamored, at various points in his career, with the cool of 1940s and 1950s jazz; the 1950s and 1960s word-jazz and poetry of such Beat and Beat-influenced writers as Jack Kerouac, Lord Buckley, and Charles Bukowski; the primal rock & roll crunch of the Rolling Stones; the German cabaret stylings of Kurt Weill; the postwar, alternate world of invented instruments and rugged individualism of avant-garde composer Harry Partch; the proto-metal blues of 1950s and 1960s Howlin' Wolf and their extension into the world of Captain Beefheart's late-1960s avant-rock; the archaic formalism of 19th-century parlor ballads; Dylan's early- and mid-sixties transformation of the possibilities of language in the worlds of both folk and rock; the elegance of pre-war Irving Berlin, Cole Porter, and Hoagy Carmichael; the sophistication of postwar Frank Sinatra; and, more recently, the bone-crushing grooves of 1980s and 1990s funk and hip-hop. Indeed, the art of Tom Waits has altogether transcended time and, to some degree, place. Asked about the distinction between words and music, he says: "I'm still a word guy. I'm drawn to people who use a certain vernacular and communicate with words. Words are music, really. I mean, people ask me, 'Do you write music or do you write words?' But you don't really, it's all one thing at its best." His work was influenced by his voracious reading and by conversations that he overheard in diners. In addition to Kerouac and Bukowski, literary influences include Nelson Algren, John Rechy and Hubert Selby Jr. Bowman notes the influence of crime writers like Dashiell Hammett and John D. Macdonald. Tom Waits says that "for a songwriter, Dylan is as essential as a hammer and nails and saw are to a carpenter." Musical influences include Randy Newman and Dr. John. He has praised Merle Haggard: "Want to learn how to write songs? Listen to Merle Haggard." He is an opera lover, and recalls hearing Puccini's "Nessun dorma" "in the kitchen at Coppola's with Raul Julia one night, and it changed my life, that particular Aria… It was like giving a cigar to a five-year old." A jazz influence is Thelonious Monk: "He almost sounded like a kid taking piano lessons. I could relate to that when I first started playing the piano, because he was decomposing the music while he was playing it." Regarding his eclectic influences, he says: "I draw from all kinds of sources and I listen to a lot of things … I would recommend that when you are starting out that you stay with your own stuff and find out who you are. And stay with you mining your own unique qualities rather than trying to sound like somebody else. I mean you do start out like somebody else, and slowly you become yourself, so it's kinda like life, you know?" Waits described his voice as being "the sand in the sandwich." By 1982, Waits's musical style shifted; Hoskyns noted that this new style "was fashioned out of diverse and disparate ingredients." This new style was influenced by Beefheart and Partch. Noting that he had a "gravelly timbre", Humphries characterized Waits's voice as one that "sounds like it was hauled through Hades in a dredger." His voice was described by critic Daniel Durchholz as sounding as though "it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car." Rolling Stone also noted his "rusted plow-blade voice." One of Waits's own favorite descriptions of his vocal style was "Louis Armstrong and Ethel Merman meeting in Hell." Humphries cited him, alongside Newman, Kris Kristofferson and John Prine, as a number of U.S. singers who followed Dylan in breaking away from conventional styles of popular music and singing with their "distinctive" voices. Tom Waits can sing in falsetto, as heard on "Shore Leave", "Temptation" and "All Stripped Down". Waits said he couldn't sing in falsetto until after he quit smoking, adding "Nobody does it like Mick Jagger; nobody does it like Prince." He is known for his eclectic use of instruments, some of his own devising. On Swordfishtrombones, his orchestration included talking drums, bagpipes, banjo, bass marimba and glass harmonica; on Rain Dogs, accordion and harmonium; on Franks Wild Years, glockenspiel, Mellotron, Farfisa and Optigan; on Bone Machine and Mule Variations, the Chamberlin; on The Black Rider, the singing saw; on Alice, the Stroh violin; on Blood Money, a 57-whistle pneumatic calliope and an Indonesian seedpod. He explains "I use things we hear around us all the time, built and found instruments. Things that aren't normally considered instruments: dragging a chair across the floor or hitting the side of a locker real hard with a two-by-four, a freedom bell, a brake drum with a major imperfection, a police bullhorn. It's more interesting. I don't like straight lines. The problem is that most instruments are square and music is always round." As he later put it, "A lot of things are instruments and they don't even know it." Tom Waits' Discography Closing Time (1973) The Heart of Saturday Night (1974) Nighthawks at the Diner (1975) Small Change (1976) Foreign Affairs (1977) Blue Valentine (1978) Heartattack and Vine (1980) Swordfishtrombones (1983) Rain Dogs (1985) Franks Wild Years (1987) Bone Machine (1992) The Black Rider (1993) Mule Variations (1999) Alice (2002) Blood Money (2002) Real Gone (2004) Bad as Me (2011) Filmography (on Wikipedia)

Tom Waits - "This One's From The Heart"

https://www.youtube.com/watch?v=P40vLY45nQQ "This One's From The Heart" by Tom Waits from the 'One From The Heart' soundtrack Read the full article

[marvelousmrm]

Defenders #59 (Kraft/Hannigan, May 1978). Kyle tests some upgrades to his Nighthawk gear, while Strange strives to prevent the impending xenogenesis. It doesn’t go great for either of them…