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majinkura · 4 years ago

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Friday the 13th Part IV: The Final Chapter ( 1984)

Did You Know?👇👇👇👇🤔

The strange dance which Jimbo performs at the party was contributed by actor Crispin Glover and was based on the eccentric way he actually danced in clubs. On the set he was dancing to "Back in Black" by AC/DC as the scene was filmed. In the film however an edited version of "Love Is a Lie" by Lion was dubbed into the scene.

Last film in the series to pick up immediately where the previous film left off. At 58 years old at the time Ted White is the oldest stuntman/actor to portray Jason Voorhees. On a budget of $1,800,000 the film made $32,600,000 at the box office.

At the time, this installment of the series contained the most nudity and gore. The film was released on Friday the 13th: April 13, 1984.

In Turkey, this film, and the next sequel, Friday the 13th V: A New Beginning (1985), were released at the same time. People could watch both films back to back. Even the posters for both movies were displayed next to each other.

(at around 1h 2 mins) In one scene, Rob talks to Trish about his sister, Sandra. Sandra was one of Jason's victims in Friday the 13th - Part II (1981).

(at around 10 mins) The workout video Axel watches is Aerobicise (1982). It stars Darcy DeMoss who went on to have a role in Friday the 13th Part VI: Jason Lives (1986).

This is the only film in the series to shoot new footage using sets and locations from a previous film. The beginning takes place on the set of Friday the 13th - Part III (1982), before moving to a new location.

Director Joseph Zito was opposed to using clips from previous installments at the beginning of the film.

(at around 9 mins) The nurse's name tag reads "R. Morgan, RN," an homage to actress Robbi Morgan, who played Annie in Friday the 13th (1980).

During filming Kimberly Beck, who plays Trish, experienced strange occurrences including a man watching her while she ran in the park and strange phone calls at all hours. This stopped when production was over.

Though he disliked being involved with the film, Ted White is considered by many fans to be one of the best Jasons.

(at around 9 mins) The moment where Jason's hand moves in the morgue was done by Ted White after Joseph Zito had called cut on the scene. However, the camera was still rolling, and caught this movement, and it was included in the film.

Writer Barney Cohen originally wrote a scene involving Jason fondling Trish's breasts but the producers vetoed it. Director Joseph Zito also disliked the scene because it made Jason seem too human and less menacing. The scene was excised.

Joseph Zito had previously directed The Prowler (1981), but they wanted him to both direct AND write Friday the 13th Part 4. He said, "But I'm not a writer," to which they said, "Here's a contract paying you double to write and direct," and then he responded, "Yeah, I'm totally a writer." Zito used the extra salary to hire Barney Cohen to somewhat secretly write the script. Their process entailed Zito taking nightly one-hour phone calls with Phil Scuderi to discuss the story and script for Final Chapter. The next day Zito would meet Cohen in an apartment in New York to relay what notes and ideas Scuderi had offered, which they would then turn into new script pages to be sent later that day to Scuderi in Boston to be discussed again over the phone that night.

Camilla More actually read for the role of Samantha, but when the producers discovered she had a twin, they offered both sisters the roles of Tina and Terri.

It is played for humor throughout Final Chapter that young Tommy Jarvis (Feldman) is suddenly surrounded by horny teenagers renting a cabin he can see into from his own house. However, the reality of the situation is that those actresses were indeed very or partially naked, and Corey Feldman was still young enough that Erich Anderson and Kimberly Beck took him trick-or-treating the first day of filming since it happened to be October 31, 1983. So, they shielded 12-year-old Feldman from most of the bad stuff, using tricky editing when necessary. What they could not control was the power of a low-cut top sans bra underneath. According to Feldman, in the scene in which Jodie Aronson's character bends over to greet Tommy's dog unbeknownst to anyone but Feldman he could see down her low-cut top.

It has been suggested that the only reasons Tom Savini worked as make-up artist on this film was in order that he could accurately age and properly kill the character he created from the first film.

Barbara Howard used a body double for her shower sex scene.

After Jason actor Ted White finished his scenes for this film, he immediately started work on Starman (1984). While on set for the night's filming, a group of reporters were waiting to interview Jeff Bridges, but he was unavailable. Therefore, director, John Carpenter, told the reporters to talk to White about the film he had recently finished. After telling the reporters he had just finished playing Jason in the latest Friday the 13th film, the next day's article was entirely about him, and that night, numerous "Friday" fans arrived at the set solely in order to see White.

Jason actor Ted White and special effects artist Tom Savini at first were confrontational with one another. But once White found out Savini had experience with stunts, the two became friends.

Rob was originally supposed to have high-tech equipment which he had used to track Jason, but the props for this looked cheap, and the idea was scrapped.

The film takes place on Sunday the 15th and beyond which makes it the second "Friday" film not to actually take place on a Friday at all. While the beginning with the coroners takes place during the night of Sunday the 15th, the rest of the film takes place on Monday the 16th, with Tuesday the 17th being the climactic night.

Even though he plays her son, Ted White (Jason Voorhees) is actually 11 months older than Betsy Palmer (Pamela Voorhees).

Rather than making masks, Tommy was originally going to have been an inventor. One of his projects was a device made from a microwave oven, which would have been what he used to kill Jason. Some of this is seen in the final product in a scene where he helps repair a car.

Amy Steel talked Peter Barton into doing the film. By the time the Final Chapter offer came around Matthew Star was off the air, and Barton wanted no part of horror films, having hated working on Hell Night in 1981. Amy Steel somehow talked him into it, selling him on the notoriety of starring in the final Friday the 13th film.

Director Joseph Zito wanted Jason's hockey mask to explode apart in the opening credits, but there was not enough time in post-production to pull off this gag.

Paramount was originally going to release the film in October, 1984. After filming wrapped in January Paramount studio head Frank Mancuso Sr. screened footage of the film to much enthusiasm. After a window opened up the release date was changed to April upon confirmation from Joseph Zito that he could complete the film faster than planned. This led to Zito, producer Frank Mancuso Jr., and a crew of editors essentially remaining locked in a house in Malibu editing around the clock in order to finish the film on time. This marked one of the only times that Paramount actively helped in the production of a Friday the 13th film, as they were generally produced independently, with the studio only handling marketing and distribution.

The house used for the Jarvis home was later used as the Anderson home in the film Ed Gein (2000) where serial killer Ed Gein is apprehended.

Bonnie Hellman's agents told her about a possible role in this film - the hitchhiker - but then told her that she would not want to do it, as there were no lines. However, she ended up taking the role anyway.

Kimberly Beck stated in the Crystal Lake Memories book that she does not like the horror genre. In addition to this, she also said that she feels this film was not even a B-movie, but rather a C-movie.

Distinguished film critic Roger Ebert called this film "an immoral and reprehensible piece of trash."

The Jarvis family's dog, Gordon, was named after a recently deceased dog which a friend of director Joseph Zito owned.

Peter Barton was talked into taking a role in this film by his The Powers of Matthew Star (1982) co-star Amy Steel who played Ginny in Friday the 13th - Part II (1981).

The female hitchhiker was called "Fat Girl" in the original draft of the script.

The poster shows the hockey mask with a knife on its left eyesocket. Jason is defeated with a machete going through his left eye.

Kimberly Beck is the only Friday the 13th actress that appeared in an Alfred Hitchcock film. She worked on Marnie (1964), exactly 20 years prior to this. She plays the little girl that Marnie's mother babysits.

The film was shot entirely in California.

Carey More's audition was to simply read one line.

Lisa Freeman, who played Nurse Morgan, and Crispin Glover, who played Jimmy Mortimer, both would go on to be in the Back To The Future movies. Crispin Glover played George McFly in Back to the Future (1985) and Lisa Freeman played Babs in Back to the Future (1985) and Back to Future, part II (1989).

(at around 20 mins) The Jarvis family sandwich hug was based on a group hug that screenwriter Barney Cohen's family did.

Jason's death won the Golden Chainsaw Award in Dead Meat's "Friday the 13th: The Final Chapter" kill count.

This is considered by many fans, to be the best and most popular Friday the 13th film.

The Jarvis family car is a 1970 Dodge Polara.

Rob's rifle is a Winchester Model 70.

Rob looks to be the main male hero of the film to work alongside Final Girl Trish. Instead he dies almost immediately after encountering Jason, with the real Final Guy of the film being Tommy

The ambulance driver played by Antony Ponzini & Axel and the coroner played by Bruce Mahler both appeared on the sitcom Seinfled. Ponzini as Jerry's barber Enzo and Mahler as the Rabbi in Elaine's building.

Was released in theaters, directly a week before Crispin Glover's (Jimmy) 20th birthday.

Tracy Jarvis' fate and death would have been more further explained in a deleted scene that had been cut from the film. An alternate ending to the film, included in the 2009 Deluxe Edition DVD, shows a dream sequence where Trish and Tommy wake up the next morning after killing Jason to the sound of police sirens. Trish sends Tommy to summon the police who have arrived next door. At that point she notices water dripping from the ceiling and goes to investigate. She enters the upstairs bathroom, and finds the body of her mother floating in a tub full of bloody water. Trish lifts her mother out of the tub, prompting Tracy's eyes to open, revealing them to be solid white and devoid of irises. Jason suddenly appears from behind the bathroom door and prepares to attack Trish. Trish then suddenly wakes up in the hospital in a scene reminiscent of the ending of the first movie.

Ted White was uncredited as Jason Voorhees by his own request.

The twins are played by real life sisters Camilla and Carey More, who both also appeared on the daytime soap opera Days of our Lives as Gillian and Grace Forrester. More stars from the soap DAYS also appear in further Friday The 13th sequels like Renee Jones in Part 6, and Kevin Spirtas and Staci Greason in Part 7. Other soap stars that appeared in Friday The 13th films include Kevin Bacon, Russell Todd, Lauren Marie Taylor, Dana Kimmell, Kimberly Beck, Peter Barton, Jennifer Cooke, Michael Swan, and Scott Reeves.

Paul's car is a 1973 Chevrolet Caprice Estate station wagon.

According to Ted White, he and director Joseph Zito did not get along very well during filming.

The actress playing Trish's mother was only 14 years and 1 day older than her.

Both Corey Feldman and Crispin Glover later appeared in different films with actor Kiefer Sutherland in the same year: Feldman in Stand by Me (1986) and Glover in At Close Range (1986).

Pamela Voorhees' first name appears on a tombstone.

#friday the 13th the final chapter #jason voorhees #pamela voorhees

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impressivepress · 4 years ago

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Rivera, Kahlo, and the Detroit Murals: A History and a Personal Journey

The year 1932 was not a good time to come to Detroit, Michigan. The Great Depression cast dark clouds over the city. Scores of factories had ground to a halt, hungry people stood in breadlines, and unemployed autoworkers were selling apples on street corners to survive. In late April that year, against this grim backdrop, Diego Rivera and Frida Kahlo stepped off a train at the cavernous Michigan Central depot near the heart of the Motor City. They were on their way to the new Detroit Institute of Arts (DIA), a symbol of the cultural ascendancy of the city and its turbo-charged prosperity in better times. The next 11 months in Detroit would take them both to dazzling artistic heights and transform them personally in far-reaching, at times traumatic, ways.

I subtitle this article “a history and a personal journey.” The history looks at the social context of Diego and Frida’s defining time in the city and the art they created; the personal journey explores my own relationship to Detroit and the murals Rivera painted there. I was born and raised in the city, listening to the sounds of its bustling streets, coming of age in its diverse neighborhoods, growing up with the driving beat of its music, and living in the shadows of its factories. Detroit was a labor town with a culture of social justice and civil rights, which on occasion clashed with sharp racism and powerful corporations that defined the age. In my early twenties, I served a four-year apprenticeship to become a machine repair machinist in a sprawling multistory General Motors auto factory at Clark Street and Michigan Avenue that machined mammoth seven-liter V8 engines, stamped auto body parts on giant presses, and assembled gleaming Cadillacs on fast-moving assembly lines. At the time, the plant employed some 10,000 workers who reflected the racial and ethnic diversity of the city, as well as its tensions. The factory was located about a 20-minute walk from where Diego and Frida got off the train decades earlier but was a world away from the downtown skyscrapers and the city’s cultural center.

I grew up with Rivera’s murals, and they have run through every stage of my life. I’ve been gone from the city for many years now, but an important part of both Detroit and the murals have remained with me, and I suspect they always will. I return to Detroit frequently, and no matter how busy the trip, I have almost always found time for the murals.

In Detroit, Rivera looked outwards, seeking to capture the soul of the city, the intense dynamism of the auto industry, and the dignity of the workers who made it run. He would later say that these murals were his finest work. In contrast, Kahlo looked inward, developing a haunting new artistic direction. The small paintings and drawings she created in Detroit pull the viewer into a strange and provocative universe. She denied being a Surrealist, but when André Breton, a founder of the movement, met her in Mexico, he compared her work to a “ribbon around a bomb” that detonated unparalleled artistic freedom (Hellman & Ross, 1938).

Rivera, at the height of his fame, embraced Detroit and was exhilarated by the rhythms and power of its factories (I must admit these many years later I can relate to that response). He was fascinated by workers toiling on assembly lines and coal-fired blast furnaces pouring molten metal around the clock. He felt this industrial base had the potential to create material abundance and lay the foundation for a better world. Sixty percent of the world’s automobiles were built in Michigan at that time, and Detroit also boasted other state-of-the-art industry, from the world’s largest stove and furnace factory to the main research laboratories for a global pharmaceutical company.

“Detroit has many uncommon aspects,” a Michigan guidebook produced by the Federal Writers Project pointed out, “the staring rows of ghostly blue factory windows at night; the tired faces of auto workers lighted up by simultaneous flares of match light at the end of the evening shift; and the long, double-decker trucks carrying auto bodies and chassis” (WPA, 1941:234). This project produced guidebooks for every state in the nation and was part of the Works Progress Administration (WPA), a New Deal Agency that sought to create jobs for the unemployed, including writers and artists. I suspect Rivera would have embraced the approach, perhaps even painted it, had it then existed.

Detroit was a rough-hewn town that lacked the glitter and sophistication of New York or the charm of San Francisco, yet Rivera was inspired by what he saw. In his “Detroit Industry” murals on the soaring inner walls of a large courtyard in the center of the DIA, Rivera portrayed the iconic Ford Rouge plant, the world’s largest and most advanced factory at the time. “[These] frescoes are probably as close as this country gets to the ceiling of the Sistine Chapel,” New York Times art critic Roberta Smith wrote eight decades later (Smith, 2015).

The city did not speak to Kahlo in the same way. She tolerated Detroit — sometimes barely, other times with more enthusiasm — rather than embracing it. Kahlo was largely unknown when she came to Detroit and felt somewhat isolated and disconnected there. She painted and drew, explored the city’s streets, and watched films — she liked Chaplin’s comedies in particular — in the movie theaters near the center of the city, but she admitted “the industrial part of Detroit is really the most interesting side” (Coronel, 2015:138).

During a personally traumatic year — she had a miscarriage that went seriously awry in Detroit, and her mother died in Mexico City — she looked deeply into herself and painted searing, introspective works on small canvases. In Detroit, she emerged as the Frida Kahlo who is recognized and revered throughout the world today. While Vogue still identified her as “Madame Diego Rivera” during her first New York exhibition in 1938, the New York Times commented that “no woman in art history commands her popular acclaim” in a 2019 article (Hellman & Ross, 1938; Farago, 2019).

My emphasis will be on Rivera and the “Detroit Industry” murals, but Kahlo’s own work, unheralded at the time, has profoundly resonated with new audiences since. While in Detroit, they both inspired, supported, influenced, and needed each other.

Prelude

Diego and Frida married in Mexico on August 21, 1929. He was 43, and she was 22 — although their maturity, in her view, was inverse to their age. Their love was passionate and tumultuous from the beginning. “I suffered two accidents in my life,” she later wrote, “one in which a streetcar knocked me down … the other accident is Diego” (Rosenthal, 2015:96).

They shared a passion for Mexico, particularly the country’s indigenous roots, and a deep commitment to politics, looking to the ideals of communism in a turbulent and increasingly dangerous world (Rosenthal, 2015:19). Rivera painted a major set of murals — 235 panels — in the Ministry of Education in Mexico City between 1923 and 1928. When he signed each panel, he included a small red hammer and sickle to underscore his political allegiance. Among the later panels was “In the Arsenal,” which included images of Frida Kahlo handing out weapons, muralist David Alfaro Siqueiros in a hat with a red star, and Italian photographer Tina Modotti holding a bandolier.

The politics of Rivera and Kahlo ran deep but didn’t exactly follow a straight line. Kahlo herself remarked that Rivera “never worried about embracing contradictions” (Rosenthal, 2015:55). In fact, he seemed to embody F. Scott Fitzgerald’s notion that “the test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time and still retain the ability to function” (Fitzgerald, 1936).

Their art, however, ultimately defined who they were and usually came out on top when in conflict with their politics. When the Mexican Communist Party was sharply at odds with the Mexican government in the late 1920s, Rivera, then a Party member, nonetheless accepted a major government commission to paint murals in public buildings. The Party promptly expelled him for this act, among other transgressions (Rosenthal, 2015:32).

Diego and Frida came to San Francisco in November 1930 after Rivera received a commission to paint a mural in what was then the San Francisco Stock Exchange. He had already spent more than a decade in Europe and another nine months in the Soviet Union in 1927. In contrast, this was Kahlo’s first trip outside Mexico. The physical setting in San Francisco, then as now, was stunning — steep hills at the end of a peninsula between the Pacific and the Bay — and they were intrigued and elated just to be there. The city had a bohemian spirit and a working-class grit. Artists and writers could mingle with longshoremen in bars and cafes as ships from around the world unloaded at the bustling piers. At the time, California was in the midst of an “enormous vogue of things Mexican,” and the couple was at the center of this mania (Rosenthal, 2015:32). They were much in demand at seemingly endless “parties, dinners, and receptions” during their seven-month stay (Rosenthal, 2015:36). A contradiction with their political views? Not really. Rivera felt he was infiltrating the heart of capitalism with more radical ideas.

Rivera’s commission produced a fresco on the walls of the Pacific Stock Exchange, “Allegory of California” (1931), a paean to the economic dynamism of the state despite the dark economic clouds already descending. Rivera would then paint several additional commissions in San Francisco before leaving. While compelling, these murals lacked the power and political edge of his earlier work in Mexico or the extraordinary genius of what was to come in Detroit.

While in San Francisco, Rivera and Kahlo met Helen Wills Moody, a 27-year-old world-class tennis player, who became the central model for the Allegory mural. She moved in rarified social and artistic circles, and as 1930 drew to a close, she introduced the couple to Wilhelm Valentiner, the visionary director of the Detroit Institute of Arts (DIA), who had rushed to San Francisco to meet Rivera when he learned of the artist’s arrival.

Valentiner was “a German scholar, a Rembrandt specialist, and a man with extraordinarily wide tastes,” according to Graham W.J. Beal, who himself revitalized the DIA as director in the 21st century. “Between 1920 and the early 1930s, with the help of Detroit’s personal wealth and city money, Valentiner transformed the DIA … into one of the half-dozen top art collections in the country,” a position the museum continues to hold today (Beal, 2010:34). The museum director and the artist shared an unusual kinship. “The revolutions in Germany and Mexico [had] radicalized [both],” wrote Linda Downs, a noted curator at the DIA (Downs, 2015:177). Little more than a decade later, “the idea of the mural commission reinvigorated them to create a highly charged monumental modern work that has contributed greatly to the identity of Detroit” (Downs, 2015:177).

When Valentiner and Rivera met, the economic fallout of the Depression was hammering both Detroit and its municipally funded art institute. The city was teetering at the edge of bankruptcy in 1932 and had slashed its contribution to the museum from $170,000 to $40,000, with another cut on the horizon. Despite this dismal economic terrain, Valentiner was able to arrange a commission for Rivera to paint two large-format frescoes in the Garden Court at the new museum building, which had opened in 1927. Edsel Ford, the son of Henry Ford and a major patron of the DIA, pledged $10,000 for the project — a truly princely sum at that moment — and would double his contribution as Rivera’s vision and the scale of the project expanded (Rosenthal, 2015:51). Edsel also played an unheralded role in support of the museum through the economic traumas to come.

A discussion of Rivera’s mural commission gets a bit ahead of our story, so let’s first look at Detroit’s explosive economic growth in the early years of the 20th century. This industrial transformation would provide the subject and the inspiration for Rivera’s frescoes.

The Motor City and the Great Depression

At the turn of the 20th century, Detroit “was a quiet, tree-shaded city, unobtrusively going about its business of brewing beer and making carriages and stoves” (WPA, 1941:231). Approaching 300,000 residents, Detroit was the 13th-largest city in the country (Martelle, 2012:71). A future of steady growth and easy prosperity seemed to beckon.

Instead, Henry Ford soon upended not only the city, but much of the world. He was hardly alone as an auto magnate in the area: Durant, Olds, the Fisher Brothers, and the Dodge Brothers, among others, were also in or around Detroit. Ford, however, would go beyond simply building a successful car company: he unleashed explosive growth in the auto industry, put the world on wheels, and became a global folk hero to many, yet some were more critical. The historian Joshua Freeman points out that “Aldous Huxley’s Brave New World (1932) depicts a dystopia of Fordism, a portrait of life A.F. — the years “Anno Ford,” measured from 1908, when the Model T was introduced — with Henry Ford the deity” (Freeman, 2018:147).

Ford combined three simple ideas and pursued them with razor-sharp, at times ruthless, intensity: the Model T, an affordable car for the masses; a moving assembly line that would jump-start productivity growth; and the $5 day for workers, double the prevailing wage in the industry. This combination of mass production and mass consumption — Fordism — allowed workers to buy the products they produced and laid the basis for a new manufacturing era. The automobile age was born.

The $5 day wasn’t altruism for Ford. The unrelenting pace and control of the assembly line was intense — often unbearable — even for workers who had grown up with back-breaking work: tilling the farm, mining coal, or tending machines in a factory. Annual turnover approached 400 percent at Ford’s Highland Park plant, and daily absenteeism was high. In response, Ford introduced the unprecedented new wage on January 12, 1914 (Martelle, 2012:74).

The press and his competitors denounced Ford — claiming this reckless move would bankrupt the industry — but the day the new rate began, 10,000 men arrived at the plant in the winter darkness before dawn. Despite the bitter cold, Ford security men aimed fire hoses to disperse the crowd. Covered in freezing water, the men nonetheless surged forward hoping to grasp an elusive better future for themselves and their families.

Here is where I enter the picture, so to speak. One of the relatively few who did get a job that chaotic day was Philip Chapman. He was a recent immigrant from Russia who had married a seamstress from Poland named Sophie, a spirited, beautiful young woman. They had met in the United States. He wound up working at Ford for 33 years — 22 of them at the Rouge plant — on the line and on machines. They were my grandparents.

By 1929, Detroit was the industrial capital of the world. It had jumped its place in line, becoming the fourth-largest city in the United States — trailing only New York, Chicago, and Philadelphia — with 1.6 million people (Martelle, 2012:71). “Detroit needed young men and the young men came,” the WPA Michigan guidebook writers pointed out, and they emphasized the kaleidoscopic diversity of those who arrived: “More Poles than in the European city of Poznan, more Ukrainians than in the third city of the Ukraine, 75,000 Jews, 120,000 Negroes, 126,000 Germans, more Bulgarians, [Yugoslavians], and Maltese than anywhere else in the United States, and substantial numbers of Italians, Greeks, Russians, Hungarians, Syrians, English, Scotch, Irish, Chinese, and Mexicans” (WPA, 1941:231). Detroit was third nationally in terms of the foreign-born, and the African American population had soared from 6,000 in 1910 to 120,000 in 1930 (WPA, 1941:108), part of a journey that would ultimately involve more than six million people moving from the segregated, more rural South to the industrial cities of the North (Trotter, 2019:78).

DIA planners projected that Detroit would become the second-largest U.S. city by 1935 and that it could surpass New York by the early 1950s. “Detroit grew as mining towns grow — fast, impulsive, and indifferent to the superficial niceties of life,” the Michigan Guidebook writers concluded (WPA, 1941:231).

The highway ahead seemed endless and bright. The city throbbed with industrial production, the streetcars and buses were filled with workers going to and from work at all hours, and the noise of stamping presses and forges could be heard through open windows in the hot summers. Cafes served dinner at 11 p.m. for workers getting off the afternoon shift and breakfast at 5 a.m. for those arriving for the day shift. Despite prohibition, you could get a drink just about any time. After all, only a river separated Detroit from Canada, where liquor was still legal.

Rivera’s biographer and friend Bertram Wolfe wrote of “the tempo, the streets, the noise, the movement, the labor, the dynamism, throbbing, crashing life of modern America” (Wolfe, as cited in Rosenthal, 2015:65). The writers of the Michigan guidebook had a more down-to-earth view: “‘Doing the night spots’ consists mainly of making the rounds of beer gardens, burlesque shows, and all-night movie houses,” which tended to show rotating triple bills (WPA, 1941:232).

Henry Ford began constructing the colossal Rouge complex in 1917, which would employ more than 100,000 workers and spread over 1,000 acres by 1929. “It was, simply, the largest and most complicated factory ever built, an extraordinary testament to ingenuity, engineering, and human labor,” Joshua Freeman observed (Freeman, 2018:144). The historian Lindy Biggs accurately described the complex as “more like an industrial city than a factory” (Biggs, as cited in Freeman, 2018:144).

The Rouge was a marvel of vertical integration, making much of the car on site. Giant Ford-owned freighters would transport iron ore and limestone from Minnesota and Michigan’s Upper Peninsula down through the Great Lakes, along the St. Clair and Detroit Rivers, and then across the Rouge River to the docks of the plant. Seemingly endless trains would bring coal from West Virginia and Ohio to the plant. Coke ovens, blast furnaces, and open hearths produced iron and steel; rolling mills converted the steel ingots into long, thin sheets for body parts; foundries molded iron into engine blocks that were then precision machined; enormous stamping presses formed sheets of steel into fenders, hoods, and doors; and thousands of other parts were machined, extruded, forged, and assembled. Finished cars drove off the assembly line a little more than a day after the raw materials had arrived at the docks.

In 1928, Vanity Fair heralded the Rouge as “the most significant public monument in America, throwing its shadow across the land probably more widely and more intimately than the United States Senate, the Metropolitan Museum of Art, the Statue of Liberty.... In a landscape where size, quantity, and speed are the cardinal virtues, it is natural that the largest factory turning out the most cars in the least time should come to have the quality of America’s Mecca, toward which the pious journey for prayer” (Jacob, as cited in Lichtenstein, 1995:13). My grandfather, I suspect, had a more prosaic goal: he needed a job, and Ford paid well.

Despite tough conditions in the plant, workers were proud to work at “Ford’s,” as people in Detroit tended to refer to the company. They wore their Ford badge on their shirts in the streetcars on the way to work or on their suits in church on Sundays. It meant something to have a job there. Once through the factory gate, however, the work was intense and often dangerous and unhealthy. Ford himself described repetitive factory work as “a terrifying prospect to a certain kind of mind,” yet he was firmly convinced strict control and tough discipline over the average worker was necessary to get anything done (Ford, as cited in Martelle, 2012:73). He combined the regimentation of the assembly line with increasingly autocratic management, strictly and often harshly enforced. You couldn’t talk on the line in Ford plants — you were paid to work, not talk — so men developed the “Ford whisper” holding their heads down and barely moving their lips. The Rouge employed 1,500 Ford “Service Men,” many of them ex-convicts and thugs, to enforce discipline and police the plant.

At a time when economic progress seemed as if it would go on forever, the U.S. stock market drove over a cliff in October 1929, and paralysis soon spread throughout the economy. Few places were as shaken as Detroit. In 1929, 5.5 million vehicles were produced, but just 1.4 million rolled off Detroit’s assembly lines three years later in 1932 (Martelle, 2012:114). The Michigan jobless rate hit 40 percent that year, and one out of three Detroit families lacked any financial support (Lichtenstein, 1995). Ford laid off tens of thousands of workers at the Rouge. No one knew how deep the downturn might go or how long it would last. What increasingly desperate people did know is that they had to feed their family that night, but they no longer knew how.

On March 7, 1932 — a bone-chilling day with a lacerating wind — 3,000 desperate, unemployed autoworkers met near the Rouge plant to march peaceably to the Ford Employment Office. Detroit police escorted the marchers to the Dearborn city line, where they were confronted by Dearborn Police and armed Ford Service Men. When the marchers refused to disperse, the Dearborn police fired tear gas, and some demonstrators responded with rocks and frozen mud. The marchers were then soaked with water from fire hoses and shot with bullets. Five workers were killed, 19 wounded by gunfire, and dozens more injured. Communists had organized the march, but a Michigan historical marker makes the following observation: “Newspapers alleged the marchers were communists, but they were in fact people of all political, racial, and ethnic backgrounds.” That marker now hangs outside the United Auto Workers Local 600 union hall, which represents workers today at the Rouge plant.

Five days later, on March 12, thousands of people marched in downtown Detroit to commemorate the demonstrators who had been killed. Although Rivera was still in New York, he was aware of the Ford Hunger March before it took place and told Clifford Wight, his assistant, that he was eager “not [to] miss…[it] on any account” (Rosenthal, 2015:51). Both he and Kahlo had marched with workers in Mexico and embraced their causes. Rivera had captured their lives as well as their protests in his murals in Mexico.

As it turned out, they missed both the march and the commemoration. Instead, the following month Kahlo and Rivera’s train pulled into the Michigan Central Depot, where Wilhelm Valentiner met them. They were taken to the Ford-owned Wardell Hotel next to the Detroit Institute of Arts. The DIA was the anchor of a grass-lined and tree-shaded cultural center several miles north of downtown. The Ford Highland Park Plant, where the automobile age began with the Model T and the moving assembly line, was four miles further north on the same street. Less than a mile northwest was the massive 15-story General Motors Building, the largest office building in the United States when it was completed in 1922, designed by the noted industrial architect Albert Khan, who also created the Rouge. Huge auto production complexes such as Dodge Main or Cadillac Motor — where I would serve my apprenticeship decades later — were not far away.

Valentiner had written Rivera stating, “The Arts Commission would be pleased if you could find something out of the history of Detroit, or some motif suggesting the development of industry in this town. But in the end, they decided to leave it entirely to you” (Beal, 2010:35). Beal points out “that what Valentiner had in mind at the time may have been something like the Helen Moody Wills paintings, something that had an allegorical slant to it. They were to get something completely different” (Beal, 2010:35). Edsel Ford emphasized he wanted Rivera to look at other industries in Detroit, such as pharmaceuticals, and provided a car and driver for Rivera and Kahlo to see the plants and the city.

But when Rivera visited the Rouge plant, he was mesmerized. He saw the future here, despite the fact that the plant had been hard hit by the Depression: the complex had been shuttered for the last six months of 1931, and thousands of workers had been let go before he arrived (Rosenthal, 2015:67). His fascination with machinery, his respect for workers, and his politics fused in an extraordinary artistic vision, which he filled with breathtaking technical detail. He had found his muse.

Rivera took on the seemingly impossible task of capturing the sprawling Rouge plant in frescoes. The initial commission of two large-format frescoes rapidly expanded to 27 frescoes of various sizes filling the entire room from floor to ceiling. Rivera spent the next two months at the manufacturing complex drawing, pacing, photographing, viewing, and translating these images into large drawings — “cartoons” — as the plans for the frescoes. He demonstrated an exceptional ability to retain in his head — and, I suspect, in his dreams — what he would paint.

Rivera’s Vast Masterpieces

Rivera’s “Detroit Industry” murals are anchored in a specific time and place — a sprawling iconic factory, the Depression decade, and the Motor City — yet they achieve the universal in a way that transcends their origins. Rivera painted workers toiling on assembly lines amid blast furnaces pouring molten iron into cupolas, and through the alchemy of his genius, the art still powerfully — even urgently — speaks to us today. The murals celebrate the contribution of workers, the power of industry, and the promise and peril of science and technology. Rivera weaves together Aztec myths, indigenous world views, Mexican culture, and U.S. industry in a visual tour-de-force that delights, challenges, and provokes. The art is both accessible and profound. You can enjoy it for an afternoon or intensely study it for a lifetime with a sense of constant discovery.

Roberta Smith points out that the murals “form an unusually explicit, site-specific expression of the reciprocal bond between an art museum and its urban setting” (Smith, 2015). Over time, the frescoes have emerged as a visible and vital part of the city, becoming part of Detroit’s DNA. Rivera’s art has been both witness to and, more recently, a participant in history. When he began the project in late spring 1932, Detroit was tottering at the edge of insolvency, and 80 years later, the murals witnessed the city skidding into the largest municipal bankruptcy in history in 2013. A deep appreciation for the murals and their close identification with the spirit and hope of Detroit may have contributed to saving the museum this second time around.

I still vividly remember my own reaction when I first saw the murals. As a young boy, the Rouge, the auto industry, and Detroit seemed to course through our lives. My grandfather Philip Chapman, who was hired at Ford’s Highland Park plant in 1914, wound up spending most of his working life on the line at the Rouge. As a young boy, I watched my grandmother Sophie pack his lunch and fill his thermos with hot coffee before dawn as he hurried to catch the first of three buses that would take him to the plant. When my father, Max, came to Detroit three decades later in the mid-1940s to marry my mother, Rose — they had met on a subway while she was visiting New York City, where he lived — he worked on the line at a Chrysler plant on Jefferson Avenue.

One weekend, when I was 10 or 11 years old, my father took me to see the murals. He drove our 1950 Ford down Woodward Avenue, a broad avenue that bisected the city from the Detroit River to its northern border at Eight Mile Road. Woodward seemed like the main street of the world at the time; large department stores — Hudson’s was second only to Macy’s in size and splendor — restaurants, movie theaters, and office buildings lined both sides of the street north from the river. Detroit had the highest per capita income in the country, a palpable economic power seen in the scale of the factories and the seemingly endless numbers of trucks rumbling across the city to transport parts between factories and finished vehicles to dealers.

We walked up terraced white steps to the main entrance of the Detroit Institute of Arts, an imposing Beaux-Arts building constructed with Vermont marble in what had become the city’s cultural center. As we entered the building, the sounds of the city disappeared. We strolled the gleaming marble floors of the Great Hall, a long gallery topped far above by a beautiful curved ceiling with light flowing through large windows. Imposing suits of medieval armor stood guard in glass cases on either side of us as we crossed the Hall, passed under an arch, and entered a majestic courtyard.

We found ourselves in what is now called the Rivera Court, surrounded on all sides by the “Detroit Industry” murals. The impact was startling. We weren’t simply observing the frescoes, we were enveloped by them. It was a moment of wonder as we looked around at what Rivera had created. Linda Downs captured the feeling: “Rivera Court has become the sanctuary of the Detroit Institute of Arts, a ‘sacred’ place dedicated to images of workers and technology” (Downs, 1999:65). I couldn’t have articulated this sentiment then, but I certainly felt it.

The size, scale, form, pulsing activity, and brilliant color of the paintings deeply impressed me. I saw for the first time where my grandfather went every morning before dawn and why he looked so drawn every night when he came home just before dinner. Many years later, I began to appreciate the art in a much deeper way, but the thrill of walking into the Rivera Court on that first visit has never left. I came to realize that an indelible dimension of great art is a sense of constant discovery and rediscovery. The murals captured the spirit of Detroit then and provide relevance and insight for the times we live in today.

Beal points out that Rivera “worked in a heroic, realist style that was easily graspable” (Beal, 2010:35). A casual viewer, whether a schoolboy or an autoworker from Detroit or a tourist from France, can enjoy the art, yet there is no limit to engaging the frescoes on many deeper levels. In contrast, “throughout Western history, visual art has often been the domain of the educated or moneyed elite,” Jillian Steinhauer wrote in the New York Times. “Even when artists like Gustave Courbet broke new ground by depicting working-class people, the art itself still wasn’t meant for them” (Steinhauer, 2019). Rivera upended this paradigm and sought to paint public art for workers as well as elites on the walls of public buildings. By putting these murals at the center of a great museum in the 1930s through the efforts of Wilhelm Valentiner and Edsel Ford — and more recently, under Graham Beal and the current director Salvador Salort-Pons — the Detroit Institute of Arts opened itself and the murals to new Detroit populations. Detroit is now 80-percent African American, the metropolitan area has the highest number of Arab Americans in the United States, and the Latino population is much larger than when Rivera painted, yet the murals retain their allure and meaning for new generations.

Upon entering the Rivera Court, the viewer confronts two monumental murals facing each other on the north and south walls. The murals not only define the courtyard, they draw you into the engine and assembly lines deep inside the Rouge. The factory explodes with cacophonous activity. The production process is a throbbing, interconnected set of industrial activities. Intense heat, giant machines, flaming metal, light, darkness, and constant movement all converge. Undulating steel rail conveyors carry parts overhead. There were 120 miles of conveyors in the Rouge at the time; they linked all aspects of production and provide a thematic unity to the mural. And even though he’s portraying a production process in Detroit, Rivera’s deep appreciation of Mexican culture and heritage infuses the frescoes. An Aztec cosmology of the underworld and the heavens runs in long panels spanning the top of the main murals and similar imagery appears throughout the frescoes.

On the north wall, a tightly packed engine assembly line, with workers laboring on both sides, is flanked by two huge machine tools — 20 feet or so high — machining the famed Ford V8 engine blocks. Workers in the foreground strain to move heavy cast-iron engine blocks; muscles bulge, bodies tilt, shoulders pull in disciplined movement. These workers are not anonymous. At the center foreground of the north wall, with his head almost touching a giant spindle machine, is Paul Boatin, an assistant to Rivera who spent his working life at the Rouge. He would go on to become a United Auto Workers (UAW) organizer and union leader. Boatin had been present at the Ford Hunger March on that disastrous day in March 1932 and still choked up talking about it many decades later in an interview in the film The Great Depression (1990).

In the foreground, leaning back and pulling an engine block with a white fedora on his head may have been Antonio Martínez, an immigrant from Mexico and the grandfather of Louis Aguilar. A reporter for the Detroit News, Aguilar describes how fierce, at times ugly, pressures during the Great Depression forced many Mexicans to leave Detroit and return to their homeland. The city’s Mexican population plummeted from 15,000 at the beginning of the 1930s to 2,000 at the end of the decade. If the figure in the mural is not his grandfather, Aguilar writes “let every Latino who had family in Detroit around 1932 and 1933 declare him as their own” (Aguilar, 2018).

A giant blast furnace spewing molten metal reigns above the engine production, which bears a striking resemblance to a Charles Sheeler photo of one of the five Rouge blast furnaces. The flames are so intense, and the men so red, you can almost feel the heat. In fact, the process is truly volcanic and symbolic of the turbulent terrain of Mexico itself. It brings to mind Popocatépetl, the still-active 18,000-foot volcano rising to the skies near Mexico City. To the left, above the engine block line, green-tinted workers labor in a foundry, one of the dirtiest, most unhealthy, most dangerous jobs. Meanwhile, a tour group observes the process. Among them in a black bowler hat is Diego Rivera himself.

On the south wall, workers toil on the final assembly line just before the critical “body drop,” where the body of a Model B Ford is lowered to be bolted quickly to the car frame on a moving assembly line below. Once again, through his perspective Rivera draws you into the line. A huge stamping press to the right forms fenders from sheets of steel like those produced in the Rouge facilities. Unlike most of the other machines Rivera portrays, which are state of the art, this press is an older model, selected because of its stylized resemblance to an ancient sculpture of Coatlicue, the Aztec goddess of life and death (Beale, 2010:41; Downs, 1999:140, 144).

On the left is another larger tour group, which includes a priest and Dick Tracy, a classic cartoon character of the era. The Katzenjammer Kids — more comic icons of the time — are leaning on the wall watching the assembly line move. The eyes of most of the visitors seem closed, as if they were physically present, but not seeing the intense, occasionally brutal, activity before them. Rivera, in effect, is giving us a few winks and a nod with cartoon characters and unobservant tourists.

~ Harley Shaiken · Fall 2019.

#diego rivera #frida kahlo #detroit industry murals #painting #exibition review #review #clas berkeley

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numbuh-1507 · 2 years ago

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My demons also have names.

They are Balthazor and Tina Hellman.

youtube

Wendell & Wild | Official Teaser

Wendell & Wild will stream on Netflix on October 28, 2022.

Teaser Poster

Synopsis

From the delightfully wicked minds of Henry Selick (director of The Nightmare Before Christmas and Coraline) and Jordan Peele (Nope, Us, Get Out) comes the story of Kat (Lyric Ross), a troubled teen haunted by her past, who must confront her personal demons, Wendell & Wild (played by Keegan-Michael Key and Jordan Peele) to start a new life in her old hometown.

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numbuh-1507 · 5 years ago

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A random comic idea I had. A crossover between Invader Zim and TBS' Neighbors from Hell. Now, you may be wondering: what is "Neigbors from Hell"? It was a 2010 adult cartoon that aired in TBS, created by Pam Brady. It follows the Hellmans, a family of demons sent to infiltrate the surface world to stop a drill that is powerful enough to reach the center of the Earth, where Hell is located. It's more or less "Invader Zim" with the typical dark comedy and kafka humor, with a few shock factors and swearing. Like IZ, the show was also cancelled because of poor ratings, but it only lasted 10 episodes. It was temporarily avaiable on Netflix, but not anymore. I found out about it a year or so while searching for that game with the same name. Reception-wise, it seems to be mixed, mostly because of the satanic overtones, tasteless shock humor that you would find on Family Guy or South Park and typical sitcom scenarios that turned people away from it. Rotten Tomatoes wasn't fond of it, and there's very few fanart of it, mostly lewd of Tina (Balthazor's wife) and Mandy (his daughter). In twitter, most people that like it come from Brazil, which is also my birthplace, so this must be why the show is such a guilty pleasure for me. elixirXsczjX13 was probably the one that drew the most "clean" fanart of the show and even created a club for it (which I'm part of), but she hasn't been active for years. She probably doesn't even like the show anymore. If she's still alive that is. Anyway, since Zim has some things in common with the Hellmans, I thought about making a crossover comic about it. aftertaster7 has already beat me to it, but I guess the more the merrier. I almost used Zim's green color on Balthazor here, but decided against it afterwards. Dib's thought balloon was merely to fill up space. I tried to use Filler Bunny for this one, but it didn't work. You can learn more about NFH here:https://en.wikipedia.org/wiki/Neighbors_from_Hell https://www.awn.com/animationworld/.....neighbors-hell As usual: Invader Zim belongs to Jhonen Vasquez and Nickelodeon Neighbors from Hell belongs to Pam Brady and TBS

#invader zim #Neighbors from Hell

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tabloidtoc · 6 years ago

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TV Guide, May 13-26

Cover: The 10 Biggest Stars on TV -- Mark Harmon, Oprah Winfrey, Chip and Joanna Gaines

Page 2: Contents

Page 4: Ask Matt -- Madame Secretary, Perry Mason reboot starring Matthew Rhys, Your Feedback

Page 6: All in the Family and The Jeffersons go live with one episode of each recreated by current stars in the 90-minute special Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons

Page 7: The Big Bang Theory shot its series finale, Tribute -- Ken Kercheval

Page 8: Tastemakers -- Please try a vegan diet

Page 10: The Roush Review -- Catch-22

Page 11: Line of Duty, Chernobyl, Fleabag

Page 12: Cover Story -- Giants

Page 13: Number 1 -- Mark Harmon

Page 14: 2 -- Oprah Winfrey, 3 -- Ted Danson

Page 15: 4 -- Tom Selleck, Always Worth Watching -- Connie Britton, Allison Janney, Idris Elba, Alex Trebek

Page 16: 5 -- Ellen DeGeneres, 6 -- John Krasinski

Page 17: 7 -- Julia Louis-Dreyfus, 8 -- Ryan Seacrest, Always Worth Watching -- Sarah Paulson, Nathan Fillion, Christine Baranski, Judge Judy, Jim Parsons

Page 18: 9 -- Bryan Cranston

Page 19: 10 -- Regina King, 11 and 12 -- Chip and Joanna Gaines, Always Worth Watching -- Elisabeth Moss, Sterling K. Brown, Henry Winkler, William Shatner, Tina Fey, Betty White

Page 20: Comic Relief with a Heart -- 5 ways Ellen DeGeneres keeps things real

Page 23: What’s Worth Watching -- Week 1 -- Tiger Woods in the PGA Championship

Page 24: Monday, May 13 -- Orson Welles Marathon, 9-1-1, The Bachelorette, Arrow, Bull, Tuesday, May 14 -- FBI, Good Bones, New Amsterdam, NBA Basketball

Page 25: Wednesday, May 15 -- In Search of Monsters on Travel Channel, The Joan Rivers Show, Survivor, Riverdale, Southern Charm, NBA Basketball

Page 26: Thursday, May 16 -- The Good Fight, Grey’s Anatomy, Superstore, Young Sheldon, Station 19, S.W.A.T., The Late Show With Stephen Colbert with guests the cast of The Big Bang Theory

Page 27: Friday, May 17 -- Gayle King on Meghan and Harry Plus One, General Hospital, Jeopardy!, Hawaii Five-O

Page 28: Saturday, May 18 -- Psycho Granny, Smallfoot, Saturday Night Live with Paul Rudd and DJ Khaled, NASCAR, Major League Baseball, 12 Strong, Call the Midwife, American Idol, Aerial Britain

Page 29: Sunday, May 19 -- Game of Thrones, Supergirl, Les Miserables, Beach Hunters, NCIS: Los Angeles, Meghan’s New Life: The Real Princess Diaries, Barry

Page 44: Netflix -- Laugh-In with Lily Tomlin

Page 45: Stream More Comedy Icons -- My Next Guest Needs No Introduction With David Letterman, Ellen DeGeneres: Relatable, Comedians in Car Getting Coffee, Steve Martin & Martin Short: An Evening You Will Forget For the Rest of Your Life

Page 46: What/If, Nailed It!, Supernatural

Page 47: Hulu -- Catch-22 with George Clooney, Hugh Laurie, Kyle Chandler

Page 48: Prime Video -- Fleabag, 3 reasons to binge Poldark

Page 49: Acorn TV -- Line of Duty, Spectrum Originals -- L.A.’s Finest

Page 50: New Movie Releases

Page 51: Series, Specials and Documentaries

Page 53: What’s Worth Watching -- Week 2 -- The Red Nose Day Special

Page 54: Monday, May 20 -- The Late Late Show Carpool Karaoke Primetime Special 2019 with Celine Dion, DC’s Legends of Tomorrow, Beat Shazam, Private Lives of Monarchs, Wrestle, “Made” in America marathon, The Bookshop

Page 55: Tuesday, May 21 -- NCIS, American Housewife, The Kids Are Alright, The Voice, Blood & Treasure, black-ish

Page 56: Wednesday, May 22 -- Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons, Chicago Med, Chicago Fire, Chicago P.D., SEAL Team, Brockmire, Whiskey Cavalier, Bernie the Dolphin

Page 57: Thursday, May 23 -- Elementary, Marvel’s Cloak & Dagger, Top Gear, Christina on the Coast, The Name of the Rose

Page 58: Friday, May 24 -- A Simple Favor, Lillian Hellman marathon, Bigger, Dynasty, Live From Lincoln Center: Megan Hilty in Concert

Page 59: Saturday, May 25 -- Halloween, Mission: Impossible -- Fallout, The Dirty Dozen, Operation Finale, Fatal Getaway, Love in the Sun, Major League Baseball

Page 60: Behind the Scenes -- Killing Eve

Page 61: Sunday, May 26 -- Vida, National Memorial Day Concert, Game of Thrones: The Last Watch, The Dick Van Dyke Show, Auto Racing

Page 80: Cheers & Jeers -- Cheers to Busy Tonight, Jeopardy!, Game of Thrones, Gotham, Jeers to Chicago Med, The Real Housewives of Beverly Hills, American Idol

#tv #television #television shows #mark harmon #ncis #oprah #oprah winfrey #chip gaines #joanna gaines #chip and joanna gaines

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covid19-lifestories · 4 years ago

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EDWARD ANTONIO

ANTONIO--Edward J., II Edward J. "Ed" Antonio, II A first generation American born on September 4, 1940, Ed lost his battle at home with COVID-19 on April 14, 2020. He was the childhood sweetheart and adored husband for over 60 years of Paula (nee Pauline Dalton). Ed was the cherished father of Lynne (John Lonie) and E.J. (Maysa Perez); treasured grandfather ("Bubba") of Gabriella, Eddie Joe, and Andres, and triplet siblings John, Emily and Patrick. Ed leaves a sister Ellen Quackenboss in Florida and nieces Tina Silverio in Massachusetts and Michelle Jacks in Illinois. As a classic Brooklyn kid, he spent his childhood days in Coney Island leaping from the Steeplechase and devouring hot dogs from Nathans and pizza from Totono's--he enjoyed the latter two all his life. For Ed, everything about Brooklyn and NYC was great! He was infatuated with its history, loved fishing in its bays, and was a proud ambassador. Often, he would bring Brooklyn bagels and Junior's Cheesecakes to sales meetings in other cities such as Philadelphia or Los Angeles. To host any clients in NYC, especially out-of-town guests, his go-to restaurant was Sammy's Romanian Steakhouse. With his family, it was knishes at Yonnah Shimmel, pastrami at Katz's (maybe a hot dog to take the edge off while in line), or dim sum in Bay Ridge. After graduating from Brooklyn Tech, he became a certified technician for Johnson Outboard Motors, repairing boat engines at Pete's Marina on the Sheepshead Bay waterfront, while attending Pace University in the evenings to earn his bachelor's degree in business. He was both extremely mechanical as well as a sharp businessman. He didn't start his day until finishing a large black coffee as well as digesting the complete print editions of both the New York Times and Daily News. Ed was the best joke teller and loved the average person. To all, he made each one of us feel welcomed, cared for, and special. Ed lived an outsized New Yorker life. He was born and raised in Sheepshead Bay, moved to Marine Park to raise his own family, taking on a mega single-handed home renovation, and lived the duration of his retirement in Belle Harbor. Ed started his professional career with Standard Register in Manhattan, wearing a required fedora, after which he was at Best Foods selling products such as Hellman's Mayonnaise directly to grocery stores across NYC. He then transitioned into pharmaceutical sales for GlaxoSmithKline calling directly on doctors' offices, hospitals and wholesalers. Ed culminated his professional career as a sales executive, building Amgen's national sales team before retiring. For his retirement hobby, Ed sold residential solar systems throughout NYC. Selling was his passion and challenge. In addition to Ed's devotion to his family, friends and neighbors, he prioritized community involvement and directly supported many Catholic organizations. Throughout his service, he was an active community member and was recognized for outstanding contributions to the New York Firefighters Burn Center, Marine Park Civic Association, Brooklyn Community Board 14, 63rd Police Precinct Council--including founder and leader of their teen Explorer group as well as an auxiliary police officer--and activist preventing the closure of Brooklyn's Community Hospital. He was one of the initial founding members of the Flatlands Volunteer Ambulance and First Aid Corps, Scoutmaster of Boy Scout Troop 172, and other senior council positions for over a decade including spending summer weeks at Ten Mile River Scout Camp and earning the Bronze Pelican Award. He proudly served on the boards of the Brooklyn Historical Society and the New York State Council of Health-system Pharmacists. For his devotion to the Catholic Church, Ed chaired the first opening of Catholic Charities Flatlands Guidance Center; and, served on the parish councils for Saint Thomas Aquinas and Saint Mark, boards of Midwood Catholic Academy, Saint Edmund Preparatory High School, and Saint Mark Catholic Academy, second generation member of the Knights of Baron De Kalb and active officer of the Flatlands Lions Club--also an excellent annual Santa for visits to Brooklyn nursing homes and schools. Ed was a dedicated Knight of the Holy Sepulchre of Jerusalem. Perhaps his greatest mark on earth was his loving partnership with his wife. They were the "Ed & Paula" team who persevered even during their most difficult challenges, such as a full hit to their home and neighborhood by Superstorm Sandy. After the storm, they stayed in their home without electricity or their home heating system, keeping an eye on the homes of neighbors and feeding relief workers. Even in the golden years of their marriage, it was not uncommon for them to be seen holding hands just walking down the street. Together as "Nana and Bubba", they never missed a performance for their grandchildren, including when invited to out of state college events.

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nohookstobefoundhere · 3 years ago

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Feel free to ask, might help me develop my OCS.

Here are my OCS btw:

-Alan Stoneheart

-Krozen The Black Wolf

-Krozen Wildwoods

-Crocs-Zen

-Ataniel The Black Angel,

-Silver

-Silvus

-Silveranium

-Creatio/Ezekiel Stoneheart

-Destia

-Bianca Blanche

-Kyle Rosewood

-Deus Moonbang

-Cherish Moonbang

-Mr. white/Mr. black

-Tarod Slick

-Elliott Hellmane

-Ekric Hellmane

-Olivia Minuit

-Louise Hellmane

-Tina Ironbeard

-Barok WhistleTusk

-Miles, Mike and Michael Vitues

-Adamant "The Cursed" Towerbell

-Corin Towerbell

-Astor Mendingclaw

-Sunis "the slothful" Summerdream

-Kakura Springdance

-Maple Stagleaf

-The Moon

-The Elk

-The White Wolf

-White Angel

-Golden Dragon

-Ikah

-Sovus

-Hunter DesTulipes

-Dante Desjardins

Those are the ones I can recall off the top of my head.

:¨·.·¨: `·. 𝗖𝗼𝗰𝗸𝘁𝗮𝗶𝗹 𝗢𝗖 𝗔𝘀𝗸𝘀

𝗮𝗺𝗮𝗿𝗲𝘁𝘁𝗼 𝘀𝗼𝘂𝗿 〜 if your oc can drive, what kind of vehicle do they have? do they have a dream vehicle?

𝗯𝗹𝘂𝗲 𝗹𝗮𝗴𝗼𝗼𝗻 〜 what does your oc wear to sleep? do they have a dedicated set of pajamas or do they just wear whatever?

𝗽𝗶𝗻𝗮 𝗰𝗼𝗹𝗮𝗱𝗮 〜 if your oc has a bag or a purse, what are five things that’d be inside?

𝘀𝗶𝗻𝗴𝗮𝗽𝗼𝗿𝗲 𝘀𝗹𝗶𝗻𝗴 〜 what was one of your oc’s favorite tv shows/movies as a child? do they still enjoy it now?

𝘄𝗼𝗼 𝘄𝗼𝗼 〜 what’s their relationship like with their parent(s)/guardian(s)?

𝗺𝗮𝗿𝗴𝗮𝗿𝗶𝘁𝗮 〜 does your oc have any disorders or disabilities?

𝗹𝗼𝗻𝗴 𝗶𝘀𝗹��𝗻𝗱 𝗶𝗰𝗲𝗱 𝘁𝗲𝗮 〜 who are some of your oc’s best friends?

𝗴𝗿𝗮𝘀𝘀𝗵𝗼𝗽𝗽𝗲𝗿 〜 describe your oc’s personality

𝗷𝘂𝗻𝗴𝗹𝗲 𝗯𝗶𝗿𝗱 〜 has your oc ever made any choices they regret?

𝗵𝗮𝗿𝘃𝗲𝘆 𝘄𝗮𝗹𝗹𝗯𝗮𝗻𝗴𝗲𝗿 〜 post some images or a moodboard that fit your oc’s aesthetic

𝗱𝗶𝗿𝘁𝘆 𝗯𝗮𝗻𝗮𝗻𝗮 〜 post a song or a lyric that fits your oc

𝗰𝗵𝗼𝗰𝗼𝗹𝗮𝘁𝗲 𝗺𝗮𝗿𝘁𝗶𝗻𝗶 〜 does your oc’s name or design reference anything? i.e. music, movies, etc.

𝗺𝗼𝗷𝗶𝘁𝗼 〜 does your oc have any tattoos and/or piercings? if so, what are they? if not, do they want any?

𝗱𝗮𝗶𝗾𝘂𝗶𝗿𝗶 〜 is your oc a smoker? (tobacco, cannabis, etc.) if so, do they plan on quitting?

𝗺𝗶𝗺𝗼𝘀𝗮 〜 has your oc ever committed any crimes? if so, what did they do? if not, what would they be most likely to commit?

𝘁𝗲𝗾𝘂𝗶𝗹𝗮 𝘀𝘂𝗻𝗿𝗶𝘀𝗲 〜 what kind of hobbies does your oc enjoy? is there anything they’ve always wanted to do but never had the time/resources to try?

𝗺𝗮𝗶 𝘁𝗮𝗶 〜 how was your oc’s life growing up? did they do well in school if they attended? do they have any awkward teenage memories?

𝗯𝗹𝘂𝗲 𝗵𝗮𝘄𝗮𝗶𝗶 〜 does your oc speak any other language(s)? if they didn’t learn to speak the language(s) when they were growing up, when and why did they learn it?

𝗰𝘂𝗯𝗮 𝗹𝗶𝗯𝗿𝗲 〜 if your oc wears any perfume/cologne, what’s their favorite?

𝗰𝗮𝗶𝗽𝗶𝗿𝗶𝗻𝗵𝗮 〜 what does your oc’s voice sound like?

𝗴𝗶𝗻 𝗿𝗶𝗰𝗸𝗲𝘆 〜 what does your oc consider to be their best feature? alternatively, what’s something they’re most self conscious about?

𝗺𝗮𝗻𝗵𝗮𝘁𝘁𝗮𝗻 〜 what kind of people does your oc hate the most?

♡ practice good reblog karma and send an ask to the person you reblog from ♡

#askgame #me #my ocs

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curedestiny4 · 1 year ago

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Incorrect Quotes #211

Tina: I CAN'T DO IT! Haleigh, laughing: I CAN'T EITHER! Tina: I CANT FUCKING DO IT ANYMORE Hassan: WELL I'LL TELL YOU WHAT, YOU CAN EITHER GIVE UP NOW, OR YOU CAN FIGURE IT OUT. BECAUSE WE CERTAINLY CAN'T DO IT WITHOUT YOU, AND WE KNOW YOU CAN'T DO IT WITHOUT US. Tina: Tina: I appreciate it, Tina: BUT LOOK WHAT WE'RE DEALING WITH- Balthazor: Tina- Tina: YOU GOTTA DRAW THE LINE SOMEWHERE! Carecrow: Tina we gotta- Tina: YOU GOTTA DRAW A FUCKING LINE IN THE SAND. YOU GOTTA MAKE A STATEMENT. Tina: YOU GOTTA LOOK INSIDE YOURSELF AND SAY 'What am I willing to put up with today?' Tina, motioning to Achmed: NOT FUCKING THIS!

(NOTE: Holy tits, it’s been waaaaay too long.)

#tina hellman #haleigh kuroi #hassan al hassan #balthazor hellman #carecrow #achmed the dead terrorist #neighbors from hell tbs #achmed saves america #toonstruck #incorrect quotes

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citizenscreen · 7 years ago

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Only a handful of movies have been announced for the 2018 Turner Classic Movies Film Festival (TCMFF), but excitement builds anyway as tickets are scheduled to go on sale in just a few days. The 2018 festival is scheduled for April 26 – 29 and many of us have been waiting for 2018 passes since this year’s event concluded. It’s a vicious cycle we enjoy perpetuating. In any case, mark your calendars for 10AM ET. on Tuesday, November 7 if you’re a Citi member for the exclusive pre sale and for 10AM ET. November 9 for the public sale. Get all of the details you need at TCM. You’ll note, by the way, that passes for this festival are not cheap and overall expenses can be prohibitive, but if you’re a classics fan and have never attended TCMFF it’s a sacrifice worth making at least once. You can read any number of posts about past experiences by many bloggers to know why. Now to 2018…

Along with the anticipation of the festival itself is the yearning for our favorite movies to be screened. I’ve yet to be disappointed with a screening in the five years I’ve attended the festival, but that doesn’t mean I don’t have ideas about what I would love to see. This year is no different. The chosen theme for TCMFF 2018 is Powerful Words: The Page Onscreen, which is intended as a “celebrating the representation of the written word on the silver screen.” When you consider that all movies start out as written words the possibilities for screenings are endless. That said, I still have had specific titles swirling around in my head since the dates and theme were announced and I’d like to share those recommendations with you. I should mention that I planned the list to contain 10 suggestions, but as you’ll see I failed miserably at limiting the list to so few. In fact, it was a strain on my heart to keep it at a svelte 21.

These are not listed in order of preference and I also did not take into account whether any have been screened in previous festivals. I don’t think that should necessarily be a deterrent. You’ll also notice my choices are from varied eras, allowing for the greatest number of guests possible. I’ve highlighted the guests I’d like to see in a few instances to make it easy for TCM to know who they should extend an invitation to. You’re welcome! Also, while I don’t mention the inclusion of writers they would no doubt enhance any presentation. Here we go…

My TCMFF 2018 Recommendations

Powerful Words: The Page Onscreen

Alan Crosland’s The Beloved Rogue (1927) starring John Barrymore and Conrad Veidt gets the most votes in my mind. This film, about French poet François Villon, had been thought lost for decades. According to legend, The Beloved Rogue is the John Barrymore movie the star watched with a large audience who didn’t know he was in attendance. The story goes that Barrymore was standing at the back of the movie palace and, dissatisfied with his own performance, said, “what a ham…”

It would be fun to have Drew Barrymore introduce this movie with Tom Meyers of the Fort Lee Film Commission. Tom and his team have several Barrymore-related projects in the works in Fort Lee. The Barrymores have strong ties to America’s first film town. I believe the TCMFF crowd would appreciate some early film history added to the introduction of the great Barrymore in a silent movie.

Another movie I am really rooting for is William Dieterle‘s The Life of Emile Zola (1937). This movie has a memorable supporting cast, but it’s the film’s star, Paul Muni, who would make this special. He was my father’s favorite actor, which means a lot to me right now. Plus I’ve never seen him on a big screen. This biopic of the famous French novelist, which won Best Picture of the year, would be the perfect opportunity for me to do so.

Rouben Mamoulian‘s 1931 screen adaptation of Robert Louis Stevenson‘s Strange Case of Dr. Jekyll and Mr. Hyde is another one I’d love to see. Dr. Jekyll and Mr. Hyde stars Fredric March, who won the Oscar for his portrayal of the main character(s), and Miriam Hopkins who is always enjoyable to watch.

Curtis Bernhardt‘s Devotion (1946) starring Ida Lupino and Olivia de Havilland as Emily and Charlotte Bronte should be a strong contender. The movie also stars Paul Henreid, which means Monika Henreid can be on hand to introduce the movie. Monika has just completed Paul Henreid: Beyond Victor Laszlo, a documentary focused on her father’s career.

Based on John Steinbeck‘s Pulitzer Prize winning novel, John Ford‘s The Grapes of Wrath (1940) is as essential as it gets among book-to-film adaptations. It would be terrific to have both Jane Fonda and Peter Fonda on hand to introduce this movie, which features one of the greatest performances from their father’s legendary career.

Based on a collection of stories titled The Jungle Book by Rudyard Kipling (1894), Disney’s 1967 animated classic of the same name directed by Wolfgang Reitherman should be considered a bare necessity. (Pa rum pum.) But seriously folks, wouldn’t it be fun to watch this animated classic together?

Norman Taurog‘s The Adventures of Tom Sawyer (1938) would be an enjoyable screening. This movie features a stellar cast and we can have the added attraction of Cora Sue Collins in attendance to discuss the making of it. Cora Sue plays Amy Lawrence in the movie and she is sure to enchant the TCMFF crowd with her stories.

The perfect vehicle to follow Tom Sawyer is Irving Rapper‘s The Adventures of Mark Twain (1944). This movie is not without its flaws, but it’s no throw away second feature either. After all Twain, born Samuel Langhorne Clemens, was one of – if not thee – greatest humorists the world has ever known. His story deserves the kind of actors cast in this picture including Fredric March, Alexis Smith, Donald Crisp and Alan Hale leading a terrific list of supporting players. To introduce this one we can have any number of Mark Twain Prize winners including Carol Burnett, Carl Reiner, Billy Crystal, Tina Fey, Bill Murray, Eddie Murphy, Whoopi Goldberg and on and on. Just sayin’.

Sidney Franklin‘s The Barretts of Wimpole Street (1934) starring Norma Shearer and Fredric March focuses on the difficult early family life of poet Elizabeth Barrett Browning. This is another one I’d love to see with the TCMFF audience. The cast alone is worth standing on line for.

The lovely Barbara Rush should introduce The Young Philadelphians (1959) in which she co-starred with Paul Newman. Directed by Vincent Sherman, the movie is based on a 1956 novel by Richard Powell. Plus, I happen to be very fond of it and its terrific cast, which includes Alexis Smith, Brian Keith, Robert Vaughn, Billie Burke and a few other classic greats of note. I’d have Illeana Douglas interview Barbara Rush, by the way.

Rob Reiner’s Misery (1990) is memorable thanks in large part to Kathy Bates’ extraordinary performance as the fan from hell. The fact that the movie is sure to chill even the most ardent horror fan is a side benefit. With Reiner, Bates and James Caan, (who’s also great in the movie) in attendance the experience would be absolutely unforgettable. Jot that down!

Based on the novel Wuthering Heights by Emily Brontë (1847), William Wyler’s 1939 movie of the same title would be a treat on the big screen. I have to admit I’m not a huge fan of this movie because of what I think is a sell out ending. However, I also think it would be an immersive experience watching Wuthering Heights with a TCMFF audience.

Lumet’s criminally underrated Fail-Safe (1964) starring Henry Fonda, Walter Matthau and another impressive list of players is one of the greatest thrillers of all time. Directed in the style of 12 Angry Men, Fail-Safe is based on the novel by Eugene Burdick. With an ending that leaves one speechless this is sure to be a hit with the TCMFF crowd. Again, the Fondas could introduce it along with Charles Matthau.

Phil Karlson’s Scandal Sheet (1952) starring Broderick Crawford and Donna Reed is a fantastic film noir choice. I know Reed’s daughter, Mary Owen, does appearances for screenings of her mother’s films. It would be great to have her introduce this movie, which tells the story of a newspaper editor who commits a murder, alongside Eddie Muller.

George Cukor’s version of Louisa May Alcott’s novel would be fantastic to see on the big screen. Little Women (1933) features an impressive cast any number of which can be well represented for an introduction. To name just two ideas – Tom Meyers would do a swell job of representing the Fort Lee-born Joan Bennett and Wyatt McCrea can discuss the movie and Frances Dee’s career.

Fred Zinnemann’s Julia (1977) is based on the story by Lillian Hellman and both of the film’s two stars, Jane Fonda and Vanessa Redgrave, deliver affecting performances. It would be a huge attraction to have them both in attendance for a screening of this memorable film.

Peter Brook’s 1963 adaptation of William Golding’s Lord of the Flies is a must. I had to read the book in high school and I will never forget the effect it had on me. The same goes for Brook’s naturalistic and truthful telling of the disturbing story. Any member of the cast and/or the director in attendance to discuss the making of the movie would be great.

Charles Vidor’s Hans Christian Andersen (1952) starring Danny Kaye is my favorite of his movies. Beautiful to look at, wonderful to listen to and with all the charm of its star, Hans Christian Andersen reminds us fairy tales can come true. Who doesn’t want to share that with like-minded classic movie fans?

An Odets/Lehman screenplay based on a Ernest Lehman novel – that’s what big money screenings are made of. Oh yeah plus Lancaster, Curtis and a memorable supporting cast. That’s what makes up Alexander Mackendrick‘s Sweet Smell of Success (1957) and its cynical world. I would love to see this introduced by Jamie Lee Curtis and Eddie Muller.

Any number of movies based on the writing of W. Somerset Maugham would be treats at TCMFF. For personal reasons, however, I’m going with William Wyler’s The Letter (1940), which is based on a 1927 play by Maugham. Given this movie’s power of seduction (who can look away after that opening sequence) it deserves an introduction with serious clout. My plan would be to ask either Susan Sarandon, since she narrates the TCM original documentary, Stardust: The Bette Davis Story, or Meryl Streep who narrates the terrific Tribute to Bette Davis on the network. Both of them in attendance talking about Davis before we watch one of her greatest films would be a dream.

I was going to end my recommendations list with Wilder’s Sunset Blvd. because what better example of writing for the screen is there? But then I couldn’t in good conscience include Wilder’s masterpiece and leave out the movie that beat it at the Oscars, Joseph L. Mankiewicz’s All About Eve (1950), which I also love. Of the two I had to admit Mankiewicz’s movie is the better choice due to the fact that the writer of the short story, The Wisdom of Eve, on which the movie is based does not get screen credit. TCMFF 2018 is the perfect occasion during which to honor the writer’s work officially this many years later. Of course either Sarandon or Streep would do quite nicely introducing this movie alongside Ben Mankiewicz.

Mary Orr’s The Wisdom of Eve was originally a 9-page short story that appeared in Cosmopolitan magazine in May 1946. Orr later expanded the story, in collaboration with Reginald Denham, into a successful play. 20th Century Fox later paid Mary Orr $5,000 for all rights to The Wisdom of Eve. What resulted is one of the all-time great motion pictures, which also deals with the importance of writing to a star’s career – stage or screen.

Those are my 21 choices. I know acquiring all of the movies I mentioned is not possible and I know that some may not even be in good shape, but maybe I made note of a few that hadn’t occurred to anyone before. If not, then at least I enjoyed giving serious thought to how I would schedule the festival myself if I had great powers. Also, in case anyone’s interested, I have quite a few ideas for panels and Club TCM presentations. For instance, Illeana Douglas can moderate a group discussion about Pioneering Women Screenwriters and Victoria Riskin can discuss her father Robert Riskin’s many contributions to films. Let me know if you want to hear more of those ideas and what your movie recommendations would be. Here endeth my post.

Hope to see you at TCMFF 2018!

The Page Onscreen: Recommendations for #TCMFF 2018 Only a handful of movies have been announced for the 2018 Turner Classic Movies Film Festival (TCMFF)

#TCM #TCMFF 2018 #The Page Oncreen #Written Word in Movies

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