#willie neumann

[upontherisers]

mouse hole girls broke containment and are visiting dreamhouses again, “stitches on a cheekbone” for willie and mahalia :]

a/n: okay i'm only two months late but here's 600 words western!au willie and mahalia.

“Folks’ll think you’re a hothead,” Willie says, cradling Mahalia’s face in her hands. There, along the bloom of plum purple, sit five neat lines on parade, marching their way up her cheekbone. The skin under her thumb is hot and tender, and she can see Mahalia’s eye twitch in pain as she brushes over the wound before she reaches to stop her wrist from moving further, bringing her veins to her lips.

Willie shivers despite the warm breeze through the curtains and she can feel Mahalia smile.

“I think they’ll live,” Mahalia mumbles. “Worse things to be.”

“That girl couldn’t’ve knocked some sense into you?”

“‘Fraid I’m all up on sense.”

“Hey now,” Willie says, scooping Mahalia’s chin up into the orange glow of sunset. “I’m serious.”

Mahalia’s eyes roll. “I can handle myself just fine.”

“We have different definitions of fine,” she replies, taking in damage again. It’s a garish, angry thing — the bruise and the sutured gash and the red spilling into the white of Mahalia’s eye. Why does she insist on this? 

“You’re lucky Doc knows what he’s doing with a needle. Some scar you’ll have.”

“I’ll look rather rakish, yeah? Like Kid Cleven with his signature cheeks.”

Willie’s stomach turns, remembering how Gale came by his scars. “You’re a lawyer, not an outlaw.”

“How was I supposed to know she’d keep her ring on? Just like them other heiresses, only knows how to fight dirty.”

“It’s not about the scar, Mahalia, Jesus. It’s—”

Mahalia kisses her gently, smelling of parchment and the apothecary’s saccharine air, and Willie melts into it despite her anger. How mad can she stay on an evening like this? With the dry desert air blowing in and the rowdy sounds of the Silver Spurs picking up down the street. She has two more days until her next ride with the surveyors and she has to spend one of them packing, leaving only tonight and tomorrow to kiss Mahalia silly and memorize her profile for portrait practice on the road.

Winding her arms around Mahalia’s shoulders, she lets herself be pulled onto her lap, sitting back when she feels Mahalia’s proud smirk against her mouth.

“I’m still mad,” she says, pressing their foreheads together.

Mahalia’s hands fall to Willie’s hips, her thumbs making small circles over the silk at the hinge of her thighs. They sit in silence as their chests heave and Willie lets her hands wander over Mahalia’s collarbone to push her dressing gown down and expose that dark umber skin. The Geological Survey hasn’t noticed her increased demand for brown, orange, and beige in her monthly invoice for oils and charcoals, the chumps. If they ever see Mahalia, the jig would be up; she’s obviously meant for the canvas and sketchpad with the way her cheeks catch the light and the haughty set of her brows. 

Like the Muses of old, the original fount of art, to see her is to be inspired.

“It’s about my honor, Will,” says Mahalia, averting her gaze to her hands. “It’s all I got.”

“You got me,” she replies. “And the cat.”

That gets a laugh and Willie is going to keep the image for a night in her tent by lantern, pencil darting here and there to build the point of Mahalia’s chin and the curves of her throat. A fire sparks in her stomach and floods into her chest — she’s hungry, ravenously so.

A low ‘oof’ puffs out of Mahalia as she presses her back onto the mattress, looking rather rakish indeed when Willie lowers her mouth to hers. 

[mercurygray]

Poet, thank you so much for this! I can't say that I know Willie super-well, but you have such a sense of her out-of-depthness here. The image of always being part of a pair and never having to just be really made me stop and think. She's very lost, and I'm glad she landed on Marion's rock for a minute to try and find her bearings.

(And what also tickles me, because you and I know something Willie does not, is that Marion is probably in pieces herself and also missing Harding just as fiercely but for different reasons. The two of them probably talked about it, who to promote, but of course Marion can't say that.)

[1400 follower fest]

Chapters: 1/1 Fandom: Masters of the Air (TV 2024) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Original Female Character(s) & Original Female Character(s) Characters: Original Female Character(s), John Clarence “Bucky” Egan, John D. Brady Additional Tags: Crossover, Hurt/Comfort, Post-Munster, and uh… post-harding transfer Summary:

Willie’s wearing a costume that doesn’t fit quite right and doesn’t think it’ll ever suit her. In the wake of another mission as the 349th’s Squadron Commander, she seeks the guidance of someone older and wiser than herself, and one of the only people at Thorpe Abbotts that she thinks really knows her.

—

A little thing for @mercurygray ‘s 1400 Follower Fest, if you like Marion Brennan as much as I do (I’m her number one fan and her ride or die and— [is yanked offstage]). Anyways, check it out on AO3, and a thank you to Merc once again for letting me play with her barbie for this :)

[hesbuckcompton-baby]

MOUSE HOLE CREW ; ALL THESE THINGS THAT I'VE DONE - THE KILLERS

can we tell @latibvles's ocs have me in a chokehold. can we.

[bauerntanz]

30. Internationale Filmfest Oldenburg 

30. Internationale Filmfest #Oldenburg eröffnet. 50 Filme werden gezeigt, 13 davon sind Weltpremieren.

Gestern Abend hat hat mit einer feierlichen Eröffnung im Großen Haus des Staatstheaters in Oldenburg das 30. Internationale Filmfest begonnen. Vom 13. bis 17. September 2023 werden rund 50 internationale und deutsche Produktionen gezeigt, 13 davon sind Weltpremieren. Präsentiert wurde gestern Abend der Film „Willie and me“. Das Regiedebüt der in Los Angeles lebenden deutschen Schauspielerin Eva…

[josh0555]

This is the Christmas Station ID of TV5 in 2010. The Christmas Station ID was themed “Maligayang Pasko, Kapatid! In the Service of the Filipino”. The Station ID is accompanied with the Christmas version of “Para Sa’yo Kapatid” performed by Jose Mari Chan and Apo Hikng Society featuring Regine Velasquez. But somehow, Ogie Alcasid and Regine Velasquez also performed the original version of the “Para Sa’yo Kapatid” in June 30, 2010.

The Christmas Station ID was launched in December 1, 2010 which is the same thing that the “Da Best ang Pasko ng Pilipino” music video was released from ABS-CBN.

The Christmas Station ID features Luchi Cruz-Valdez, Pinky Webb, Korina Sanchez, Pia Arcangel, Connie Sison, Ivan Mayrina, Mark Salazar, Raffy Tima, Lourd de Veyra, Shawn Yao, Paolo Bediones, Martin Andanar, Seph Ubalde, Atom Araullo, Rhea Santos, Alex Santos, Zen Hernandez, Pinky Webb, Mai Rodriguez, Chiqui Roa-Puno, Alex Santos, Mario Dumaual, Gilbert Remulla, Emil Sumangil, John Consulta, Grace Lee, Sam Milby, Bea Alonzo, Marco Alcaraz, Hero Angeles, Vice Ganda, Empoy Marquez, Coco Martin, Zoren Legaspi, Ogie Alcasid, Luis Manzano, Matteo Guidicelli, DingDong Dantes, Enchong Dee, Rocco Nacino, Dennis Trillo, IC Mendoza, Jerald Napoles, Carmina Villaroel, Eugene Domingo, Nora Aunor, Angel Aquino, Aiko Melendez, BB Gandanghari, Randy Santiago, John Wayne Sace, Allen Dizon, John Arcilla, Gabby Eigenmann, Geoff Eigenmann, Edu Manzano, Jericho Rosales, Neil Coleta, Cogie Domingo, Lloyd Zaragoza, Kit Thompson, Nash Aguas, Valeen Montenegro, Emman Abelda, Joshua Dionisio, Enrique Gil, Carlo Aquino, Liza Soberano, Michael V., Allan K., Xian Lim, Yves Flores, German Moreno, Carmelito “Shalala” Reyes, Romy “Dagul” Pastrana, Aga Muhlach, Sid Lucero, Onemig Bondoc, Diether Ocampo, Ruru Madrid, Juancho Triviño, Ina Raymundo, Dina Bonnevie, Ahron Villena, Jun Sabayton, Niño Muhlach, Simon Ibarra, Baron Geisler, Dominic Roque, Ramon Bautista, Gian Magdangal, Chuckie Dreyfus, Mark Anthony Fernandez, Tirso Cruz III, Diego Castro III, Rafael Rosell, Jake Cuenca, Troy Montero, Antonio Aquitania, Isko Moreno, Lester Llansang, John Lapus, Arcee Muñoz, Alice Dixson, Tuesday Vargas, Ritz Azul, Eula Caballero, Kristine Hermosa, Angel Locsin, Coleen Garcia, Shaina Magdayao, Ellen Adarna, Louise de los Reyes, Jessie Mendiola, Ivana Alawi, Maja Salvador, Ivan Dorschner, Enrico Cuenca, John Lloyd Cruz, Benjamin Alves, Paulo Avelino, EJ Falcon, David Licauco, Ken Chan, CJ Muere, Pancho Magno, Paolo Serrano, Renz Fernandez, Adrian Alandy, Derrick Monasterio, Lance Serrano, Marky Cielo, Vince Gamad, Jiro Manio, Addy Raj, Dianne Medina, RR Enriquez, Princess Ryan, Sunshine Cruz, Kim Chiu, Pauleen Luna, Heaven Peralejo, Sanya Lopez, Lianne Valentin, Enzo Pineda, Marco Gumabao, Dion Ignacio, Jason Abalos, Regine Velasquez, JC de Vera, Martin Escudero, Gerald Anderson, Sef Cadayona and Edgar Allan Guzman including Julius Babao and his wife Christine Bersola-Babao, Mikoy Morales, the son of Vicky Morales, Ronwaldo and Kristoffer Martin, the sons of Coco Martin and Sandino Martin, the brother of Coco Martin, twin brothers Rodjun and Rayver Cruz, Master Boy Abunda, DJ Willie Revillame, Emcee Mo Twister, The Smosh Cast Members Anthony Padilla, Ian Hecox, Caleb Logan Bratayley, DJ Lance the Dinosaur from Sesame Street, Blue the Puppy from Disney’s Blues Clues who is the mascot of TV5, South Korean Boy Band Momoland and president Noynoy Aquino as Santa Claus featuring the Goin Bulilit new cast members like CX Navarro, Mutya Orquia, Donny Pangilinan, Belle Mariano, Charlie Dizon and more after the retirement of the original cast members like Vin Abrenica, Sophie Albert, Mark Neumann, Shaira Mae Diaz, Akihiro Blanco and Chanel Morales who appeared as special guests. But somehow, Vin Abrenica, Sophie Albert, Mark Neumann, Shaira Mae Diaz, Akihiro Blanco and Chanel Morales moved to ABS-CBN where they became the Artista Academy students.

Somehow, This was also the only Christmas Station ID to feature Marky Cielo before his death in November 30, 2012 due to a cardiac arrest. Somehow, Mel Tiangco, Howie Severino, Dominic Roco, Felix Roco, James Reid, Nadine Lustre and twin sisters Anne Curtis and Jasmine Curtis-Smith don’t appear in the Christmas Station ID at this point due to their retirement from TV5. Also Ram Revilla did not appear because he died in December 30, 2009.

The Christmas Station ID theme will be re-used in the 2011 Christmas Station ID from TV5 which is “Magpasaya ang Kapatid” but with minor changes and fireworks at the very end. Somehow, The fireworks at the very end will occur in the 2015 Christmas Station ID which is “Happy Ka Dito Ngayon Pasko” which will feature special guests like Rufa Mae Quinto, Julia Montes, Cristine Reyes, Dimples Romana, Alex Gonzaga, Roxanne Guinoo, Angelica Panganiban and Valerie Concepcion waving at the end.

[odkryjdolnyslask]

Aby uczcić tę okrągłą rocznicę Fundacja Domu Schminke, malarka Alina Grasmann i artysta dźwiękowy Daniel Neumann zapraszają do wspólnego świętowania w Löbau. To wspaniała okazja, aby poznać tę wyjątkową perłę architektury, a przy okazji doświadczyć nowych artystycznych doznań. Dla wszystkich odwiedzających wstęp w ramach uroczystości jest bezpłatny.

„Dom, który był mi najdroższy“, tak architekt Hans Scharoun mówił o domu rodziny Schminke w saksońskim Löbau. Wybitna ikona nowoczesnej architektury, która do dziś fascynuje i urzeka, w tym roku obchodzi 90. urodziny.

Z tej okazji od 30 września do 6 października zaplanowano szereg uroczystych wydarzeń: po raz pierwszy zostaną wystawione obrazy Aliny Grasmann z serii malarskiej „The Grand Buffet”. Dzieła bezpośrednio nawiązują do przełomowej architektury willi byłego właściciela fabryki w Löbau. Ponadto artysta dźwiękowy Daniel Neumann ożywi Dom Schminke intrygującą audioinstalacją, stworzoną specjalnie pod obiekt i obrazy Aliny Grasmann.

Dziś Dom Schminke funkcjonuje głównie jako muzeum architektury. Obrazy z serii Aliny Grasmann sugerują, jak pokoje mogłyby wyglądać gdyby dom był zamieszkany. Ten eksperyment jest wyrazem hołdu dla domu i jego burzliwej historii. W pierwszym tygodniu października zainteresowani będą mogli podziwiać pokoje Domu Schminke w połączeniu z obrazami Grasmann, poznając jednocześnie ideę współczesnego budownictwa od zupełnie innej strony. Dodatkowo, w ramach specjalnej oferty edukacyjnej codziennie odbywać się będą wycieczki z artystką i pracowni(cz)kami Fundacji Domu Schminke. Wstęp na zwiedzanie i oprowadzanie jest bezpłatny.

Tydzień festiwalowy zainauguruje 30.09.23 r. wernisaż wystawy, podczas którego „The Grand Buffet” Grasmann będzie można odkryć nie tylko wizualnie, ale i kulinarnie. Bilety na wernisaż można zakupić juz teraz w sklepie internetowym Fundacji Domu Schminke: www.stiftung-hausschminke.eu/pl/Sprzedaz

Seria autorstwa monachijskiej artystki Aliny Grasmann powstała po pobycie malarki w Domu Schminke i jest wyrazem jej osobistego podejścia do architektury i historii domu. W tym procesie artystka otwiera się na nowe przestrzenie i scenariusze, przeplata istniejące elementy architektoniczne z cytatami z historii sztuki i kultury, robi wycieczki do filmu z lat 70. i w zabawny sposób buduje nowe motywy. Jej prace bawią się zjawiskiem, w którym obecność i nieobecność jednocześnie przeplatają się ze sobą, co umożliwia widzowi znalezienie własnego połączenia – zarówno z domem, jak i obrazami.

W swojej pracy „Dla Aliny“ Daniel Neumann wchodzi w bezpośredni dialog z dziełami Grasmann i realną przestrzenią, w której gra. Artysta w sposób niewidoczny, za to wszechobecny, aranżuje syntetycznie generowane dźwięki rezonansowe i nagrania pomieszczeń tworząc "subtelne echa". Wypełniają one całą przestrzeń, a nawet wprowadzają do niej dodatkową warstwę. Instalacja Neumanna jest zatem nie tylko ścieżką dźwiękową wystawy, ale i akustycznym pośrednikiem między przestrzenią, sztuką i zwiedzającymi.

Osobom zainteresowanym, które jeszcze nie były w Domu Schminke, prace artystów ułatwią pierwszy kontakt z architekturą budynku. Także ci, którzy obiekt już znają, będą mogli poznać go zupełnie na nowo. Każdy z pewnością odkryje tu dla siebie coś ciekawego.

Dom Schminke to pionierska architektura na skalę międzynarodową Obok Willi Savoye autorstwa Le Corbusiera, Willi Tugendhatów, zaprojektowanej przez Ludwiga Miesa van der Rohe i Domu Fallingwater według projektu Franka Lloyda Wrighta, Dom Schminke jest uważany za jeden z najważniejszych budynków mieszkalnych klasycznego modernizmu na świecie. Już w czasach, gdy żyła w nim rodzina Schminke, wypełniony był sztuką współczesną. Jako dom rodzinny służył jednak tylko do 1951 roku. W kolejnych latach pełnił funkcję domu klubowego Wolnej Młodzieży Niemieckiej i Okręgowego Domu Pionierów „Oswalt Richter“.

Projekty architekta Hansa Scharouna są nadal uważane za przełomowe dla „architektury organicznej“, która jest skierowana przede wszystkim na potrzeby człowieka. Jednak fragmenty żywego i kolorowego wystroju wnętrz zachowały się w Löbau tylko częściowo. Dziś Dom Schminke jest przede wszystkim miejscem nauczania architektury, a oferta edukacyjna skierowana jest do szerokiej grupy odbiorców. Dla dzieci i młodzieży, a także wszystkich innych osób, na co dzień nie zajmujących się architekturą, wizyta w Domu Schminke to fascynująca przygoda. W trakcie zwiedzania można poznać wyjątkową historię budynku i jego użytkowania, otrzymując jednocześnie wgląd w ciekawą historię architektury XX wieku.

Z okazji jubileuszu fan(k)i sztuki mogą nabyć limitowaną edycję specjalną wystawy Aliny Grasmann w formie wydruku. Poszczególne upominki można również połączyć w pięć limitowanych pakietów sztuki, składających się z wysokiej jakości oprawionego egzemplarza edycji specjalnej (format 20,2x14,8 cm), biletu na wernisaż i butelki brandy, produkowanej z jabłek z sadu rodziny Schminke. Edycja specjalna wystawy oraz limitowane pakiety sztuki są już dostępne w sklepiku online Fundacji: www.stiftung-hausschminke.eu/pl/Sprzedaz

Godziny otwarcia w tygodniu jubileuszowym: sobota, 30 września 2023 roku, od 19 do 22 wernisaż z „Grand Buffet“ - wstęp tylko z biletem

niedziela 1 października - piątek 6 października 2023 roku, od 12 do 17, oprowadzania po wystawie w języku niemieckim codziennie o godz. 15. (max. 20 osób) - wstęp wolny

Dom Schminke można też zwiedzać z audioprzewodnikiem w języku polskim, czeskim i angielskim.

Serdecznie zapraszamy do udziału w wydarzeniach tygodnia jubileuszowego. Aby umożliwić uczestnictwo w wydarzeniach dużej publiczności, przyjaciele i sympatycy mają możliwość podarowania “bezpłatnego wstępu dla wszystkich“. Niewielka darowizna przyczyni się bezpośrednio do organizacji tygodnia jubileuszowego, a w dłuższej perspektywie do zabezpieczenia finansowego domu. Wszystkie informacje na stronie: stiftung-hausschminke.eu - Terminy

Dojazd Dom Schminke leży w Löbau. Ze stacji kolejowej można dojść w 15 minut spacerem. Pociągiem jedziemy do stacji Zgorzelec lub Görlitz i tam przesiadamy się w pociąg w kierunku Bischofwerda lub Dresden HBf. Po niemieckiej stronie można skorzystać z całodniowego biletu EuroNysa w cenie 40 zł, po polskiej stronie bilet obowiązuje w pociągach od Bolesławca i Jeleniej Góry do granicy. Szczegóły: www.zvon.de/de/liniennetz-euro-neisse-region

[materiał we współpracy z Fundacja Domu Schminke w Löbau]

[dancuny]

Minolta Six Camera

It seems like I purchase items from camera auctions in "lots," and there is always a treasure hidden in the background that you either didn't notice at first, is hidden within all the photos of the items, or, in this case, the camera wasn't taken out of the case, and the case was obscured, so there was no visual evidence that the camera was.

 As I unwrapped the cameras won from the auction, one brown case caught my eye. It bore a striking resemblance to the Mamiya Six in my collection. But upon closer inspection, the name 'Minolta Six' was revealed. I initially thought it might be similar to the Mamiya Six, but the truth was far more exciting, as I'll reveal when I introduce the camera.

History:

In an earlier post, I did on the Minoltaflex CDS, I did a brief history of the company, which read, 

Kazuo Tashima founded Minolta in Osaka, Japan, in 1928 as Nichi-Doku Shashinki Shōten, which means Japanese-German Camera Shop. In 1931, the company updated its name to Minolta, which stands for Mechanism, Instruments, Optics, and Lenses by Tashima. In 1937, the company was reorganized as Chiyoda Kogaku Seikō, K.K. They are now introducing their first Twin Lens Reflex (TLR) camera, the MinoltaFlex, based on the German Rolleiflex cameras. The MinoltaFlex was only the second TLR introduced from Japan after the Prince Flex by Neumann & Heilemann. In 1947, Minolta introduced rangefinder cameras like the Minolta-35, and in 1959, the Single Lens Reflex (SLR) SR-1 camera. In later years, they signed agreements with Leica and came out with the first autofocus SLR, The Minolta Maxxum 7000, which carried on to several in their autofocus system.

 To expand slightly from the above text, in the early years, there was a big German influence on the Minolta company, which was known as Nichidoku Shashinki Shōten, which means Japanese, German camera shop. In the early years, the company received help from camera technicians Billy Neumann and Willy Heilemann, and the shutters and lenses were supplied from Germany. Their first camera was the Nicarette, which was released in 1929.

In 1931, the company was transformed into a stock corporation named Molta Gōshi-gaisha. Molta is an abbreviation of Mechanism, Optics, and Lenses by Tashima. Neumann and Heilemann left the company in 1932, returning to Germany to start their own company, and the German influence left with them. In 1933, the name Minolta was adopted. In 1937, the company became Chiyoda Kōgaku Seikō K.K and expanded the production of cameras into TLR and press cameras similar to the Plaubel Makina. 

 In 1940, the famous Minolta Rokkor lens was produced, but it was only used for the military. Consumer camera production ended in 1943 to concentrate on the war effort. Three of its four plants were destroyed by Allied forces during WWII. Soon after the war, Minolta released the Semi Minolta III, and throughout the 1950s, Minolta expanded its line of cameras to include folding cameras, TLRs, SLRs, and rangefinder cameras.

 In 1958, the SR-2 was released, and it was Minolta's first system camera. This reign of SLR system cameras included partnerships with Leitz in the 1970s, which helped produce CLE cameras. Minolta had a full line of autofocus cameras, the Maxxum line of bodies and lenses, and Minoltas final SLR camera ended in 1995 with their X-370.

 Minolta produced many different 35mm, APS, and DISC cameras and partnered with Konica in 2003, but by 2006, the camera company had discontinued camera production and relied heavily on the copier business.

My Camera:

Opening the case and looking at the camera for the first time, I was surprised by the Minolta logo and text on top. Since it was made in 1936, it has a genuine Art Deco design in the look and feel of the camera. My biggest surprise was when I initially pulled the lens out from the body and found the camera didn't have a cloth bellows. Instead, it has a series of stacking cubes that pull away from the camera body, AND these boxes are reinforced with another Art Deco element, metal brackets that resemble an "M" when the camera is laid on its back with the lens pointing up. WOW, Just a fantastic design.

The Minolta Six camera measures 6 inches in width, 4.75 inches in height with the finder up, 3.75 inches with the finder closed, and 4 inches in depth with the lens out, or 2.25 inches with the lens closed. It weighs 1 lb. 5.7oz. without the case or loaded with film. The camera's body is made from a bakelite or plastic material, covered in a high-quality leatherette.

 To pull the lens out to take photos, there are two grips, one on either side of the lens, that you grab onto to pull the lens out and away from the body. You need to expose three stacking cubes before the camera is ready to take the photos. Under the lens are two curved chrome bars you can slide down to prop the camera up so that when the lens is out, it doesn't tip forward and keeps the lens level.

Around the top of the lens is Patents-Nippon, and below is Crown, which is the shutter on the camera. The actual lens is an 80mm f5.6 Coronar Anastigmat Nippon lens. Around the lens is a manual focus ring that focuses from under 1 meter to infinity. The focus line to judge distance is a protruding tab with a line at approximately 10 O'Clock on the lens face. The lens also has a stopping screw that prevents the lens from rotating past the infinity mark on the tab.

 My camera has only four shutter speeds: 1/150, 1/100, 1/50, and 1/25, along with "b" and "T" for timed exposures. On the top of the camera is a pop-up viewfinder with etched or lined crosshairs to line up horizontal or vertical subjects as needed. The back of my camera sports three red windows with different numbers, which are used to line up with the number on the paper backing to get to the proper frame number. In later cameras, they went to a single window system, which is more common with current 6x6 format cameras using 120 film.

 To open the back of the camera, there is a latch behind the strap on the left side with an arrow pointing down. Slide the button down, and the camera's back opens. The chrome winding lever was used on the older models. Later they went to a plastic or bakelite knob in the later models. My first thought when I looked at the back of the camera was that it was not a full-frame 6x6 camera, but that was because I was looking at the retracted plastic cubes from the bellows. It is indeed a full 6x6 format camera. Load the film on the right side and bring the leader to the left to take up the spool. The knobs on the bottom of the camera pull out so you can put in the film and take up the reel easily.

 The case for my camera is in great condition. There's a pretty cool instruction tab on the inside of the case, which was made for the three window cameras.

 The crown shutter doesn't have a cocking mechanism. There's just the shutter release to take the photos. I loaded the film. I pulled out the cube below and started to take pictures of the neighborhood with my trusty light meter. Once I reached the end, I unloaded the film and processed the negatives.

My Results:

Here are some of the photos taken with the Minolta Six camera. The photos were a bit flat in exposure and contrast.

Conclusion:

I enjoyed shooting with the camera, but I am still primarily impressed with the innovative and beautiful bellows system in the camera. Not only is it functional, but it is very light and tight and only wears out slowly compared to the style bellows. The flip side is, if something happens to this bellows, the replacement is hard to replace due to the material. I wished there were faster shutter speeds, but I was using 125 iso film, and with the aperture range of the lens, I didn't have an issue.

 I have a great and fun camera for next week's blog post, so I hope you'll stick around to read that one, too. Thank you for your time, and please be safe until then.

[there-are-4-lights]

I voted left because my main issues are the environment, anti-surrogacy and data protection. And it feels better than last time when Malin Björk was their main candidate (she was doing a lot of "inclusive lesbian" stuff).

The Swedish Women's lobby did this compilation, which strengthened my stance (especially when it comes to data privacy, because I disagree with them):

Regardless of the result we will have to be loud about things like the hate crime legislation:

That issue is lowkey making me miss Piratpartiet (as much as they are annoying liberal sex-work-is-work types, they were good at calling out how clueless a lot of politicians are about digital surveillance stuff. Looking at you Ylva Johansson.)

(sidenote: as much as I dislike a valkompass I found out through one of them that Willy Neumann on the V list seems skeptical of self-id, so if you just want to X a leftwing self-id skeptic then there u go)

highly frustrating to look at the politics for the swedish EU election. LGBTQIA rights glued to women's rights every time. The goddamn T in there is gonna overpower women's rights to many times, I wish these issues were somewhat... separated?? why can one not vote for women without also voting for people who violate women. or, say, vote for gay people without voting for people who violate gay people. we've been surgically connected to the people who will take our rights like a parasitic twin...

it's incredibly frustrating. at this point i would vote for literally any party on the left which is willing to put at least one politician who speaks up for women and lgb people on their lists. i hate having to hold my nose and vote for people who will vote against our interests just because the other side is worse.

[screamscenepodcast]

How many tropes and plot-pivots can you throw in to an hour-long horror movie? Director William Beaudine gives his best shot with 1946's THE FACE OF MARBLE starring John Carradine, Claudia Drake, Robert Shayne and Maris Wrixon.

We have voodoo, ghosts, vampires, mad scientists, white faces of marble, and more!

Context setting 00:00; Synopsis 10:31; Discussion 34:03; Ranking 48:48

[bitter69uk]

Recently watched: Carnival Story (1954). Tagline: “The story of a woman’s shame!” I’m using this period of enforced social isolation to explore the weirder corners of YouTube for long forgotten and obscure movies. (My boyfriend is accompanying me only semi-willingly). 

A traveling American carnival is touring through post-war Germany. In Munich, the carnival barker Joe Hammond (Steve Cochran) encounters desperate local woman-on-the-skids Willi (Anne Baxter) when she pickpockets him. (Baxter instills Willi with an almost Joan Crawford-level lip-twisting intensity, but her German accent falters). Perversely, when Joe catches her, the attraction between them is immediate. Willi’s criminal act charms Joe (“You feel sorry for everything that wears skirts!” another character spits) - probably because Joe is an amoral conman, and he assumes Willi is a soulmate. He impulsively hires the guttersnipe to scrub dishes in the cook tent. Within no time, the circus’ new female arrival catches the eye of dashing high-diving artist Frank Collini (Lyle Bettger), who recruits Willi as his assistant, training her in the death-defying art of high-diving. Soon, Willi has swapped toiling in the cook tent to performing under the big top in a glamorous sequined leotard with the carnival’s headline act. The besotted Frank asks Willi to marry him. He’s thoroughly decent as well as handsome (Lyle Bettger’s butt and thighs look sensational in tights), but Willi is conflicted: the suavely duplicitous Joe still exerts a powerful sexual hold over her. And it’s tinged with sadomasochism: Joe alternates between slapping Willi around and hungrily kissing her – which to be fair, seems to excite her. “Until I met you, I never knew how rotten I was!” Willi pants. “We belong together,” Joe growls back. “We’re two of a kind!” Willi is horrified, though, when Joe assures her, “We’re not going to let a little thing like you being married come between us!” With hideous inevitability, things soon spiral into jealousy, violence and tragedy … 

Filmed on location in Germany and set in the tattered milieu of itinerant carnie folk, Carnival Story is an overwrought, amusingly sordid melodrama via RKO Radio Pictures. (We see titillating glimpses of the sideshow acts, including Siamese twins, a bearded woman, a snake handler and a sword swallower – very Diane Arbus. Note Groppo the hulking mute strongman, who observes everything silently and gradually emerges as a significant figure. As Groppo, Ady Berber presages Ed Wood stalwart Tor Johnson from Plan 9 from Outer Space). Kurt Neumann’s direction is creakily old-fashioned (rapturous music crashes and swells on the soundtrack when characters embrace or erupt into fistfights). But with the depravity, homoeroticism and emotional cruelty cranked-up a few more notches, it’s weirdly easy to imagine R W Fassbinder remaking Carnival Story. (The early scenes of Fassbinder’s Fox and His Friends (1975) unfold in a low-rent German carnival). And you’ve got to love a film with dialogue this pungent: "If you were starving to death, howling for food, I wouldn't throw you a rotten bone!" “You love to wallow in the mud!” “If you touch me again – I’ll kill you!” “We’re both bad, baby … that’s why we’re good for each other!” 

Many of these lines are snarled by mid-century cinema’s supremely sexy bad boy, Steve Cochran. Carnival Story succeeds best as a “star vehicle” for the alluring Cochran, who specialized in depicting amoral anti-heroes, heels and tough guys you-love-to-hate with surprising complexity, even delicacy. A swarthy charmer with pomaded hair and an impressively lustrous chest pelt, Cochran effortlessly radiates testosterone and animal magnetism. Just try to tear your eyes off him when he’s onscreen. If you keep your expectations low, Carnival Story is the tawdriest of circus-set thrillers until a sixty-something Joan Crawford donned hot pants and top hat to play a ringmistress in Berserk (1967). Note that Carnival Story was filmed in a process called “Agfacolour”. The faded public domain print circulating online looks like it’s been overlaid with a retro Instagram filter. YouTube link. 

[hesbuckcompton-baby]

anyway does @latibvles and their ocs ever make you absolutely feral and insane

willie and brady you will always be famous

[josh0555]

This is the Summer Station ID of ABS-CBN in 2007. The Summer Station ID was themed “Piliin Mo Ang Pilipinas”.

The Summer Station ID theme song was performed by Filipina OPM singer and songwriter Regine Velasquez featuring Filipino singer, songwriter, rapper, dancer, television host, actor and comedian Ogie Alcasid who is Regine Velasquez's husband when they got married in December 30, 2005 which was 1 day before Ogie Alcasid's birthday. Somehow, They had their first child who was born in May 1, 2007. Also starting in June 1, 2007, The theme “Piliin Mo Ang Pilipinas” can be heard on DZMM Radyo 630 and various radio stations nationwide.

The Summer Station ID features Ritz Azul, Alice Dixson, Arcee Muñoz, Tuesday Vargas, Eula Caballero, Roxanne Guinoo, Valerie Concepcion, AiAi delas Alas, Cherry Pie Picache, Carmina Villaroel, Eugene Domingo, Nora Aunor, Lucho Ayala, Gil Cuerva, Rainier Castillo, Raymond Bagatsing, Bayani Agbayani, JC de Vera, Martin Escudero, Gerald Anderson, Sef Cadayona, Edgar Allan Guzman, Cherie Mercado, Kara David, The Tulfo Brothers, Bernadette Sembrano, Mariz Umali, Kim Atienza, Jiggy Manicad, Ted Failon, Arnold Clavio, “Kabayan” Noli de Castro, Marc Logan, Vicky Morales, DingDong Dantes, Marian Rivera, Andi Eigenmann, Dominic Roco, Felix Roco, Bong Revilla, Emman Abelda, Joshua Dionisio, RJ Padilla, Tito Sotto, Vic Sotto, Joey de Leon, Heart Evangelista, Erich Gonzales, Dimples Romana, Robin Padilla, Paolo Ballesteros, Oyo Boy Sotto, McCoy de Leon, Jhong Hilario, Claudine Barretto, Judy Ann Santos, Jodi Sta. Maria, Arjo Atayde, AJ Perez, JM de Guzman, Jeric Gonzales, Jayson Gainza, Zanjoe Marudo, RR Enriquez, Princess Ryan, Dianne Medina, Sunshine Cruz, Kylie Padilla, Bela Padilla, Maine Mendoza, Catherine Bernardo, Edu Manzano, Jericho Rosales, Daniel Padilla, Alwyn Uytingco, Renz Fernandez, Coco Martin, Derek Ramsay, Patrick Garcia, Carlos Agassi, Eric Fructuoso, Long Mejia, Julia Montes, Angel Locsin, Coleen Garcia, Shaina Magdayao, Ellen Adarna, Louise de los Reyes, Jessie Mendiola, Ivana Alawi, Maja Salvador, Vhong Navarro, Billy Crawford, Teddy Corpuz, Drew Arellano, Aga Muhlach, Sid Lucero, Onemig Bondoc, Diether Ocampo, John Prats, Joem Bascon, Arra San Agustin, Rufa Mae Quinto, James Reid, Rico Barrero, Tom Rodriguez, Hayden Kho, Carl Cervantes, Albie Casiño, Chad Kinis, EJ Falcon, Jake Cuenca, Nadine Lustre, Carla Abellana, Bianca Umali, Mariel Rodriguez, Krystal Reyes, Toni Gonzaga, Camille Prats, Jennylyn Mercado, Luis Manzano, Matteo Guidicelli, Carlo Aquino, Enchong Dee, Rocco Nacino, Dennis Trillo, Ken Chan, Adrian Alandy, John Lloyd Cruz, Benjamin Alves, IC Mendoza, Jerald Napoles, Enrique Gil, Ryan Agoncillo, including DJ Willie Revillame and Regine Velasquez with her husband Ogie Alcasid after they got married in December 30, 2005.

The Summer Station ID contains the supergroup Bravo All-Stars, the Sexbomb dancers like Shalani Soledad, Iya Villania and Niña Jose and the Goin Bulilit original cast members from TV5 like child actors Angelica Panganiban, Alex Gonzaga, Cristine Reyes, Nash Aguas, Valeen Montenegro, David Licauco, Andrea Torres, Vince Gamad, Lianne Valentin, Barbie Forteza, Vin Abrenica, Sophie Albert, Mark Neumann, Shaira Mae Diaz, Akihiro Blanco and Chanel Morales. The Summer Station ID also features British boy band One Direction in their pre-debut and Australian born American actor, producer and comedian Will Smith who portrayed Jack Frost in the 2002 movie Frozen as a special guest. Red, Green, Blue and Black Balloons will also be scattered around the world to literally bring forth the summer fun.

The Summer Station ID was filmed in Hollywood, Singapore, Germany, Italy, France, London, Jamaica, Australia, Kenya, Japan, Quezon City, Boracay and New York in June 2006 whenever the ABS-CBN, GMA and TV5 crew members are having a hot summer day into a big summer party.

The Summer Station ID clips will be re-used in the 2013 Summer Station ID of TV5 which is “Bida Best sa Tag-Araw”, The 2014 Summer Station ID of TV5 which is “Pinoy Summer, Da Best 4 Eva!” and the I Gotta Feeling music video from the future movie Ready Player One which will be releasing in March 21, 2013 from Walt Disney Pictures, Walt Disney Animation Studios and Pixar Animation Studios. However, The Summer Station ID reuses the clips of the music videos from those deleted songs Without Me and The Real Slim Shady by Vanilla Ice from the movie Frozen where Will Smith as Jack Frost, Luis Manzano, Xian Lim, Enchong Dee, Matteo Guidicelli and DingDong Dantes as “The Backstreet Boys” were seen including Little Bo Peep from Toy Story and Gelli de Belen as “The Beauty Queen” who also make a cameo at the near end.

But somehow, This is the only Summer Station ID to feature the crew of ABS-CBN, GMA and TV5.

[alexar60]

Tous les enfants perdus

Noel se préparait doucement avec ses décorations sur les maisons et ses guirlandes sur les arbres publics. Je venais d’acheter ma première voiture et avec ma copine, nous décidâmes de partir à Amiens visiter le marché de Noel. Il n’avait rien de spécial, c’était juste pour le plaisir de conduire et de voir la ville, sa cathédrale, son quartier Saint Leu ainsi que ses hortillonnages s’il ne faisait pas trop froid. Mais nous doutâmes de le faire car même s’il ne neigeait pas ce matin-là, il faisait un terrible froid de canard. Mon amie apprécia le chauffage dans le véhicule d’occasion. Il fonctionnait bien, le moteur ronronnait normalement, il n’y avait aucun problème là-dessus.

Il n’y avait pas grand monde sur la route pourtant habituellement très fréquentée. Nous traversâmes plusieurs petites villes, il était plus facile de prendre la nationale que l’autoroute. De plus, nous profitâmes d’un joli paysage malgré son aspect triste : Des maisons en briques, des champs à perte de vue, des arbres morts sans leurs feuilles, quelques petites forêts perdues. Toutefois le soleil d’hiver était au rendez-vous nous accompagnant vers la capitale picarde.

C’est après Breteuil que nous vîmes trois loustics marcher sur le bord de route. Les enfants étaient encapuchonnés sous une cape démodée. Leurs habits trop grands apportaient à leur physique une apparence plus vielle. D’ailleurs, je crus qu’ils s’agissaient de nains. En fait, deux garçons et une fille nous regardèrent la bouche grande ouverte comme s’ils venaient de voir une voiture pour la première fois de leur vie. Mon amie me posa simplement deux questions qui me décidèrent de stopper peu après les avoir dépassés : « Que font trois gamins en pleine campagne à dix heures du matin ? On est mardi, il y a bien école, aujourd’hui ? »

Les petits observèrent la voiture faire marche-arrière jusqu’à leur hauteur. Je baissai la vitre en tournant la manivelle et leur demandai s’ils avaient besoin d’aide. Les deux plus jeunes regardèrent la fille plus grande et apparemment l’ainée. Ils ne répondirent pas, continuant à nous regarder avec de gros yeux ronds. Ma compagne demanda où ils allaient et de quel endroit il venait car aucune demeure n’était visible. Une seconde fois, ils se regardèrent, étonnés. La grande murmura quelque-chose et le petit groupe repartit.

« Il faut les arrêter, me dit mon amie. Cette route est dangereuse, tu imagines s’ils rencontrent une voiture en excès de vitesse ou dans un virage ? ». Je reculai encore ma petite FIAT pour rejoindre les enfants. Ils s’arrêtèrent encore pour écouter nos questions : « Ou allez-vous ? On peut vous emmener ? Qui êtes-vous ? Ou habitez-vous ? On peut vous aider ? » Mais nous n’obtînmes aucune réponse. Cependant, alors qu’ils discutaient entre eux, mon amie entendit ce que je discernai aussi. Ils s’exprimaient en allemand.

Dès lors, nous prononçâmes les mêmes questions avec un grossier accent français en fonction de nos connaissances de cette langue. « Können wir dir helfen ? Wohin gehen sie? » En entendant nos mots familiers, les trois enfants sourirent. Ils se sentirent soudainement rassurés et se mirent à parler en même temps si bien que nous ne comprimes rien de leurs explications. Mon amie calma les enfants, proposa à la fille de parler au nom des trois. Seulement, son langage étant trop sophistiqué, il était difficile de comprendre quoi que ce soit. Nous parvînmes à les convaincre de nous accompagner.

Ils ne parlaient qu’entre eux dans la voiture. Un des garçons caressait le siège en cuir. Il tapotait aussi sur le carreau de la vitre arrière. Lorsque nous arrivâmes à la gendarmerie la plus proche, nous fûmes surpris de voir trois autres enfants accompagnant un couple se dirigeant dans le bâtiment. En effet, Après avoir franchi la porte, j’aperçus le mari en train d’expliquer qu’il venait de trouver ces trois garçons sur le bord d’une autre route. Le gendarme de l’accueil appela de l’aide car six enfants trouvés par hasard et qui semblent parler une langue étrangère, ce n’est pas courant.

A cette époque, le service militaire était obligatoire et il ne fut pas difficile de trouver un futur enseignant pratiquant facilement les langues. Après quelques échanges, le jeune troufion annonça que ce n’était pas de l’allemand mais une sorte de cousin. Quelques mots comme ’Helfen, ‘tag’ ou les sujets étaient proches. Seulement, le gendarme n’arrivait pas à comprendre clairement leurs propos. Les six enfants appréciaient un chocolat chaud lorsque la porte s’ouvrit. Une femme d’une cinquantaine d’année entra avec trois nouveaux enfants habillés de la même façon avec une capuche et des vêtements trop grands. Les deux filles et le garçon qui semblait être le plus jeune de tous, saluèrent leurs amis. La jeune fille que nous avions transportée parla tout-à-coup avec une extrême vitesse auprès de ses copines qui répondirent dans la même euphorie. L’affaire prit une autre tournure quand un message radio annonça la découverte de nouveaux enfants par une patrouille de gendarmerie.

Nous étions toujours à attendre qu’on prenne notre témoignage au moment où des assistantes sociales arrivèrent. L’une d’elle, interprète, ne comprit pas grand-chose aux explications données. Pendant ce temps, les trente-six enfants perdus attendaient gentiment au milieu de la cours du poste. Une gendarme les surveillait tout en essayant de parler avec eux. Ils se ressemblaient tous dans leur manteau en forme de capeline. Certains étaient plus grand, plus âgés, d’autres plus petits. Déjà, ils avaient réussi à recomposer quelques fratries. Des noms, des prénoms furent récupérés, tous à consonance germanique. Mais il ne s’agissait pas de prénom et nom courants comme Muller, Maier ou Neumann. Enfin, un agent nous reçut. Il tapa difficilement notre témoignage sur une machine à écrire, puis après avoir signés, nous quittâmes la gendarmerie transformée en succursale d’école primaire.

Au moment d’entrer dans la voiture, une panique monstrueuse envahit le bâtiment de police. Les cris stridents des enfants résonnèrent jusqu’à nos oreilles, inquiétant les passants sur le trottoir. Les gendarmes devant le poste entrèrent après un sursaut d’étonnement. Puis, ils sortirent reprenant leurs occupations, l’un d’eux dit à son collègue avec soulagement: « Maintenant, on peut être sûr qu’ils ont tous peur des souris.». Juste après, trois nouveaux mômes traversèrent la rue en compagnie d’un facteur.

Les actualités parlèrent de cent trente enfants perdus dans la campagne de l’Oise, faisant de Breteuil, un important épicentre de phénomène paranormal. On rechercha activement un bus scolaire ou de voyage égaré quelque-part. Les polices allemandes et autrichiennes ne signalèrent aucun cas de disparition massive. Même l’Allemagne de l’est, qui était encore indépendante, s’émut de cette situation étrange. Petit-à-petit, quelques mots furent compris. Ils disaient tous venir d’une grotte au milieu d’un bois à quelques kilomètres au nord. Seulement, la grotte ne fut jamais retrouvée. Sans identité officielle, sans pays de naissance, les enfants vécurent ensemble dans un foyer avant d’être recueillis ou adoptées.

Par la suite, ils apprirent le français, et s’adaptèrent à leur nouveau cadre de vie. Leur récit interrogea beaucoup de personnes. Ils racontèrent tous la même histoire. Celle d’avoir été réveillé en pleine nuit par une jolie musique. Elle était si belle, si attractive qu’ils s’habillèrent et sortirent pour voir le joueur de flute. Celui-ci les envouta au point de les emmener dans une grotte dont l’entrée se referma derrière eux. Le joueur de flute disparut brusquement, les abandonnant dans le noir après leur avoir dit de marcher tout droit. Ils traversèrent la grotte et virent une lumière leur permettant de sortir. Mais sans savoir pourquoi, ils furent séparés en petits groupes. En faisant des enquêtes à Hamelin sur d’éventuelles disparitions liées à la légende du joueur de flute, aucun nom ne correspondait avec la généalogie historique de la ville. De plus, les enfants connaissaient les voitures mais différentes des nôtres. Ils connaissaient la France comme un pays de légende. Ils n’avaient jamais entendu parler de l’Allemagne ni de la Germanie. Ils disaient venir d’un pays appelé Weropa. Dans la campagne, quelques-uns avouèrent ne pas se sentir perdu et étaient persuadés qu’ils étaient sur le bon chemin pour rentrer chez eux. Par ailleurs, la plupart développèrent très tôt des maladies infantiles comme s’ils n’étaient pas immunisés.

Tout cela parut étrange. Surtout que dans la semaine qui suivit leur arrivée. On entendit quelqu’un jouer de la flute dans les rues d’une petite ville du nord de l’Italie et de nombreux enfants disparurent subitement après son passage.

Alex@r60 – août 2020

Photo de Willy Ronis – Lorraine, 1954

[ein-bleistift-und-radiergummi]

James Lesesne Wells Woodcut ‘Oh! Oh! Don't Racine!’ ca.1930s.

(James Lesesne Wells was a leading graphic artist and art teacher, whose work reflected the vitality of the Harlem Renaissance. He was born in Atlanta, Georgia on November 2, 1902. His father was a Baptist minister and his mother a teacher. At an early age, he moved to Florida with his family. His first experience as an artist was through his mother, who encouraged him to help out with art instruction in her kindergarten classes. At the age of thirteen, he won first prize in painting and a second prize in woodworking at the Florida State Fair.

Wells studied at Lincoln University in Pennsylvania for a year before transferring to Columbia University in New York, where he majored in art. His exposure to an exhibition of African sculpture at the Brooklyn Museum of Art was an inspiration to him. He was also greatly influenced by the woodcuts of Albrecht Durer and the German Expressionists — Ernst Kirchner, Karl Schmidt-Rottluff, Otto Muller, and Emile Nolde. Unlike most of his contemporaries, he saw prints as a major art form.

After graduation, Wells created block prints to illustrate articles and publications such as Willis Richardson’s Plays and Pageants of Negro Life. His work was included in an exhibition of "International Modernists" in April 1929 at the New Art Circle Gallery owned by J.B. Neumann.Later in 1929, he was invited to join the faculty at Howard University as a crafts teacher. He taught clay modeling, ceramics, sculpture, metal and blockprinting. It took him two years to convince the school that he and linoleum cutting belonged in the College of Fine Arts.

In 1931, he won the Harmon Gold Medal for his expressionistic painting Flight Into Egypt. Neumann continued to exhibit Wells’s work along with those of the German expressionists and American Arthur Dove. Art dealers Curt Valentin and Andrew Weyhe also showed his work. During the Depression, Wells served as the director of a summer art workshop in an old Harlem nightclub. His assistants included such famous artists as Charles Alston, Jacob Lawrence, Palmer Hayden and Georgette Seabrooke.

The fine arts serigraph was developed during the Depression by the Works Project Administration to make art more accessible to the masses. Prints were also seen as a way of communicating African-American history and concerns. Therefore, between 1933-1934 Wells decided to devote himself almost exclusively to printmaking. He said: "Becoming aware of the social and economic conditions of the time and the awakening of the 'New Negro,' I felt that the graphic arts would lend itself readily to the projection of ideas about these issues."

One of Wells’s strongest supporters was Alain Locke, author of The New Negro and Negro Art: Past and Present. When Wells’s The Entry in Jerusalem and The Ox-Cart were purchased by the Phillips Collection in Washington, D.C., Locke wrote that "his inclusion in one of the most authoratively chosen collections of modernist art in the country ranks Wells as an ultra-modernist and a successful one."Wells was an innovator in the field of printmaking. After World War II, he spent a sabbatical year working in Stanley Hayter’s Atelier 17, the most innovative center for etching and printmaking in the country. During the 1950s and 1960s, he continued to teach and won many art prizes.

Wells joined his brother-in-law, Eugene Davidson, president of the local NAACP chapter, in protesting segregation in lunch counters, stores, and the nearly all white police department and as a result, was often harassed. This persecution probably accounted for some of the religious themes in his work.)

(via eBay)

[justbwaythings-blog]

I *~finally ~* got all of my audios together 💀

If you’re interested in trading dm me your list!

Beetlejuice 9-22-19 (Audio)

Alex Brightman (Beetlejuice) Sophia Anne Caruso (Lydia) Adam Dannheisser (Charles) Rob McClure (Adam) Kerry Butler (Barbara) Leslie Kritzer (Delia/Miss Argentina) Kelvin Moon Loh (Otho) Dana Steingold (Girl Scout)

Notes: Rob’s last show!

Beetlejuice 9-25/26?-19 (Audio)

Alex Brightman (Beetlejuice) Dana Steingold (u/s Lydia) Adam Dannheisser (Charles) David Josefsberg (Adam) Kerry Butler (Barbara) Leslie Kritzer (Delia/Miss Argentina) Kelvin Moon Loh (Otho) Presley Ryan (u/s Girl Scout)

Beetlejuice 10-15-19 (Audio)

Will Blum (u/s Beetlejuice) Sophia Anne Caruso (Lydia) Adam Dannheisser (Charles) Rob McClure (Adam) Kerry Butler (Barbara) Leslie Kritzer (Delia/Miss Argentina) Kelvin Moon Loh (Otho) Dana Steingold (Girl Scout)

Beetlejuice Pre Broadway (Audio)

Alex Brightman (Beetlejuice) Sophia Anne Caruso (Lydia) Adam Dannheisser (Charles) Rob McClure (Adam) Kerry Butler (Barbara) Leslie Kritzer (Delia/Miss Argentina) Kelvin Moon Loh (Otho) Dana Steingold (Girl Scout)

Charlie and The Chocolate Factory 1st National Tour Philadelphia 11-15-18 (Audio)

Noah Weisberg (Willy Wonka) Collin Jeffery (Charlie Bucket) Daniel Quadrino (Mike TeeVee) Madeleine Doherty (Mrs TeeVee) Matt Wood (Augustus Gloop) Kathy Fitzgerald (Mrs Gloop) Brynn Williams (Violet Beauregarde) David Samuel (Mr Beauregarde) Jessica Cohen (Veruca Salt) Nathaniel Hackman (Mr Salt) Amanda Rose (Mrs Bucket) James Young (Grandpa Joe) Clyde Voce, Jennifer Jill Malenke, Claire Neumann, Joel Newsome