... track 6 ted kord ewen bremer... track 6 ted kord ewen bremer... of Hans Zimmer's Oscar-winning soundtrack for the movie "Dune"... track 6 ted kord ewen bremer... is the official, quintessential, ultra-charismatic music of... Who is Jack Cole's Zelda (1907)......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder monica bellucci angelina jolie.. stochastic disturbance terms.. $3..

.. track 5 black orchid.. track 5 black orchid.. of Hans Zimmer's Oscar-winning soundtrack for the movie "Dune".. track 5 black orchid.. is the official, quintessential, sad-so-very-sad-and-despairing-somber music of.. Gail Simone is Zelda Sinclaire-Voight... in exactly the same sense as Jean Grey is Karen Grant, Gail Simone is Zelda Sinclaire-Voight.. $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder monica bellucci angelina jolie.... stochastic disturbance terms.... $3..

.. Gal Godot is playing 'Vera Zasulich"... in as many as fifty-nine 'Gotham' movies co-directed by Tim Burton, Geoffrey Wright, Bernard Rose, Jacques Rivette, Marty Scorcese... and Chris Nolan... but in these selfsame fifty-nine movies.. I'm really not sure who should or who would volunteer to play 'Trepov'... the Russian Prison Guard shot but not killed by Vera Zasulich (Gal Godot)... Vera Zasulich (Gal Godot) is so horrified by this truly satanic, horrific shooting of the Russian prison guard named 'Trepov' that she's suicidal... in the fifty-nine 'Gotham' movies.. co-directed by Tim Burton, Geoffrey Wright, Bernard Rose, Jacques Rivette, Marty Scorcese and Chris Nolan......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

... Roger Ebert: ...."... 'Spider-,man 4', directed by Sam Raim, Ron Howard, Sophia Coppola and Mr. Scorcese... and I'm calling him Mr. Scorcese.... 'Spider man 4' is the most painful movie ever made... I feel so sorry for Nancy Allen and Peter Weller in this movie playing two police officers... the Spanish Inquisition against police officers has to stop... that is one of the main messages of this movie... of 'Spider man 4'... Grant Morrison... I think Grant Morrison is playing himself in this movie.. he does such heart-rending, nuanced, beautiful work as a man fighting for the human-rights of cops... I just called it the human-rights of cops... I used the word human-rights... because there is a word for police officers that Yyves Montand is so horrified by... sorry... how should I phrase that... I think there is something going on with Ned Leeds where he may have once used that word about police officers but Ned Leeds, played by Hanno Raudsepp is older now and he realizes that a bad encounter with police officers is far from being the worst thing that can happen to you... far, far, far from being the worst thing... he realizes... I think there is something-... I can't talk about the holy spirit beautiful soul hyacinth in this movie... she's beautiful, she's sacred as Mata Hari... Winona Ryder plays her... her name is Sonia just like Sonia in 'Crime and Punishment'... I'm not even going to tell you the real surprise of who played Kraven the Hunter...."... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 8... track 8... track 8... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 8... is the official, quintessential music of... The Brood are the Simpsons... The Brood are the Simpsons... for Scorcese... for Scorcese... The Brood are the Simpsons..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult kate moss robot jocasta megan d. iseult 9-year old janet van dyne 3-year old janet van dyne 3-year old megan d. iseult.. stochastic disturbance terms.. $3.... ...

... copy-and-pasted from... from... from... from... from... from.... an internet website called.. called.. "Live Science"... the partial URL of this website is... www.msn.com/en-ca/news/technology/ ... at least... I think-.. think-.. think that's the accurate partial URL.. of this website... I always slip up on.. "/news/technology" ...

Live Science Live Science Ultraprecise atomic optical clocks may redefine the length of a second Tia Ghose - Yesterday 3:00 a.m. Follow View Profile Comments | 3 © Provided by Live Science The definition of a second, the most fundamental unit of time in our current measurement system, hasn't been updated in more than 70 years (give or take some billionths of a second). But in the next decade or so, that could change: Ultraprecise atomic optical clocks that rely on visible light are on track to set the new definition of a second. 2% Cash Back on Groceries* - RBC® Cash Back Mastercard - Cash Back Credit Card Ad Ad www.rbcroyalbank.com/Credit_Cards/Cash_Back 2% Cash Back on Groceries* - RBC® Cash Back Mastercard - Cash Back Credit Card These newer versions of the atomic clock are, in theory at least, much more precise than the gold-standard cesium clock, which measures a second based on the oscillation of cesium atoms when exposed to microwaves. "You can think of it as equivalent to having a ruler with tick marks every millimeter, as opposed to a stick that measures just 1 meter," Jeffrey Sherman, a researcher with the National Institute of Standards and Technology's Time and Frequency Division in Boulder, Colorado, told Live Science. In June, the International Bureau of Weights and Measures may release the criteria needed for any future definition of the second, The New York Times reported. So far, no single optical clock is quite ready for prime time. But a new definition could be formally approved as soon as 2030, Sherman said. The new type of optical clock could help unmask dark matter, the invisible substance that exerts gravitational pull; or find remnants of the Big Bang called gravitational waves, the ripples in space-time predicted by Einstein's theory of relativity. Fundamental unit of measure The current standard second is based on a 1957 experiment with an isotope, or variant, of cesium. When pulsed with a specific wavelength of microwave energy, the cesium atoms are at their most "excited" and release the largest possible number of photons, or units of light. That wavelength, dubbed the natural resonance frequency of cesium, causes the cesium atoms to "tick" 9,192,631,770 times every second. That initial definition of a second was tied to the length of a day in 1957 — and that, in turn, was linked to variable things, such as the rotation of Earth and the position of other celestial objects at that time, according to The New York Times. In contrast, optical atomic clocks measure the oscillation of atoms that "tick" much faster than cesium atoms when pulsed with light in the visible range of the electromagnetic spectrum. Because they can tick much faster, they can, in theory, define a second with much finer resolution. There are multiple contenders to supplant cesium as the reigning timekeeper, including strontium, ytterbium and aluminum. Each has its pluses and minuses, Sherman said. To achieve such clocks, researchers must suspend and then chill atoms to within a hair's breadth of absolute zero, then pulse them with the precisely tuned color of visible light needed to maximally excite the atoms. One part of the system shines the light on the atoms, and the other counts up the oscillations. But some of the biggest challenges come from making sure the laser is emitting the exact right color of light — say, a certain shade of blue or red — needed to kick the atoms into their resonant frequency, Sherman said. The second step — to count the oscillations — requires a so-called femtosecond laser frequency comb, which sends pulses of light spaced at tiny intervals, Sherman said. Both elements are incredibly complicated feats of engineering and can take up an entire lab room on their own, Sherman said. Uses of optical clocks So why do scientists want ever-more-precise atomic clocks to measure the second? It's not just an academic exercise. Time does not simply march to its own drum; Einstein's theory of relativity says it is warped by mass and gravity. As a result, time may tick infinitesimally more slowly at sea level, where Earth's gravitational field is stronger, than at the top of Mount Everest, where it is ever-so-slightly weaker. Detecting these minute changes in the flow of time could also reveal evidence of new physics. For instance, dark matter's influence has so far been detected only in the distant dance of galaxies circling one another, from the bending of light around planets and stars, and from the leftover light from the Big Bang. But if clumps of dark matter lurk closer to home, then ultraprecise clocks that detect the tiny slowing of time could find them. Similarly, as gravitational waves rock the fabric of space-time, they squish and stretch time. Some of the biggest gravitational waves are detected by the Laser Interferometer Gravitational-Wave Observatory, a several-thousand-mile relay race for light that measures blips in space-time created by cataclysmic events such as black hole collisions. But a battalion of atomic clocks in space could detect these time dilation effects for much slower gravitational waves, such as those from the cosmic microwave background. "They're so-called primordial gravitational waves that might be leftover remnants from the Big Bang," Sherman said. Originally published on Live Science

... track 7... track 7... track 7... of Hans Zimmer's Oscar-winning sountrack for "Dune"... track 7... is the official, quintessential music of... actor Marlon Brando: ..."... and what if the Kingpin of Crime is not a good man... but he loves his wife... he loves his wife with such deep, passionate, infinitely self-sacrificing love... but he's not a good man... he's a bad man who loves his wife with such an authentic Bermuda Triangle Nietzche's Abyss- depth of love that he would die the most horrific, satanic, sadistic, Creatures-of-Arcadia of deaths to rescue her from danger... but he's not a good man... he's a bad man... who so passionately with such abject passion... loves his wife...."... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 6... track 6... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 6... is the official, quintessential music of... Ben Urich (Fred Ward) with noble desperation... with obsessive spiritual, courageous moral passion... attempts to rescue.. retrieve... the cinders and embers in the fireplace... the cinders and embers in the fireplace of the true medieval Cinderalla soul of.... the Earth-295 Jean Grey (Vivien Kiik)... her very soul itself.. her very incinerated soul itself... as if her soul is a soul Elton John would sing about as he sung his song about Marilyn Monroe and Princess Diana.... that is the third issue #823 soul who Elton John would sing his song 'Goodbye, Norma Jean' about... the very incinerated cinders and embers of the very soul.. of her very soul.. of the very soul of Earth-295 Jean Grey (Vivien Kiik)... a true medieval fairy tale Cinderalla soul Earth 295- Jean Grey... hyacinth: ...."... sob sob sob sob sob sob sob sob sob sob sob..".... and... Ben Urich (Fred Ward)... has these cast-iron metal cannisters with arcane plant-microbe semiconductor LIFE inside them of Kluwer Academic Publishers Volume 3. of "Plant-microbe interactions".... 3-year old megan d. iseul rachel summers and 3-year old kate moss jocasta robot jocasta in holy spirit unison: ...."... please... please... please... please... let Fred Ward play Ben Urich in Lars von Trier... Scorcese... and Sophia Coppola... Sophia Coppola... all three.. people... they're 'The Mighty Thor' movies... please... please... please... let Fred Ward play Ben Urich in those 'The Mighty Thor' movies... sob sob sob... ESPECIALLY for Scorcese.... ESPECIALLY for Mr. Scorcese....."... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder monica bellucci angelina jolie.. stochastic disturbance terms.. $3..

... copy-and-pasted from.... the National Post... on the internet... I think the partial URL is... www.msn.com/en-ca/news/travel/ ... 3-year old megan d. iseult: .." - bail?" ...

National Post National Post In 'shocking move,' Dominican prosecutors appeal bail decision for Canadians from cocaine-carrying plane Tom Blackwell - Yesterday 11:17 p.m. Follow View Profile | 61 Prosecutors in the Dominican Republic have appealed a decision to free on bail the crew and passengers of a Canadian charter airliner where a 210-kilogram stash of cocaine was found, a legal move the plane’s owner calls “shocking.” The Pivot Airlines plane sits at the Dominican Republic airport after 210 kilograms of cocaine were found stashed on board. © Provided by National Post The Pivot Airlines plane sits at the Dominican Republic airport after 210 kilograms of cocaine were found stashed on board. Pivot Airlines said in a statement Friday it is “deeply concerned” for its employees’ safety and that the federal government must do more to try to secure their safe return. "Move Your Money by Summer” PhD Economist Warns Ad Ad VisionaryProfit "Move Your Money by Summer” PhD Economist Warns The five Pivot crew members and seven passengers were ordered released from jail earlier this month on $23,000 bail and a requirement that they stay in the country until the investigation of the drug find is completed. The airline has complained about that stipulation preventing the Canadians from leaving the Dominican Republic, noting that it was members of the crew who discovered the contraband secreted in the plane’s “aviation bay” and then reported it to authorities. Canadian pilots jailed in Dominican Republic after reporting huge cocaine stash on plane Canadian airliner was drug-smuggling front, Dominican prosecutors allege despite lack of evidence The judge who ordered them released noted that prosecutors had presented no evidence tying the crew or passengers to the cocaine. They had already spent several days in jail by the time they won bail, some of them in communal cells alongside accused drug traffickers. Even after being released, they were subject to credible death threats, the airline said. “In a shocking move, the prosecutor has recently filed an appeal of the court’s decision to grant our crew bail, despite having no evidence tying them to a crime,” Pivot said in the statement. It’s now well known in the Dominican Republic that the crew stymied the attempted smuggling of drugs worth as much as $25 million on the street in Canada, the company says. If they’re sent back to prison alongside narcotics criminals, they will be in serious danger, without the protection of the private security they had on the outside, said Pivot. “It is entirely unacceptable that Canadian citizens could be arbitrarily detained for dutifully reporting criminal activity,” it said. “Together with international unions representing the crew, we are cautioning Canadian travellers and more than 70,000 airline employees to seriously consider the risks of travel to the Dominican Republic.” Related video: Video shows the 200kg of cocaine seized from a Canadian charter airline.mp4 (The Independent) Pause Ad 00:08 - Up Next "Video shows the 200kg of cocaine seized from a Canadian charter airline.mp4" Video shows the 200kg of cocaine seized from a Canadian charter airline.mp4 Unmute 0 “If reporting a crime in the Dominican Republic could result in arbitrary detention, the government must seriously consider issuing a similar travel advisory.” Pivot said it was grateful for what help the federal government has offered so far. It’s providing consular support and Maninder Sidhu, parliamentary secretary to Foreign Affairs Minister Melanie Joly, raised the issue on a pre-planned visit to the country last week, according to Joly’s press secretary. But “the simple fact is” that Ottawa has not done enough to get the Canadians back safely, said the statement. “They miss their families. They fear for the lives, as well their mental and physical well-being. And they want to come home.” Meanwhile, the family of one of the passengers, Brittney Wojcik-Harrison, has begun a GoFundMe campaign to raise money for her legal assistance, food and a possible flight home. “She’s either going to be trapped in a foreign country for a year, or she’s going to be trapped in a prison in a foreign country for a year and that makes me sick to my stomach,” Brandon Harrison, Wojcik-Harrison’s cousin, told the Calgary Herald Friday. The CRJ-100 regional jet landed in the Dominican Republic March 31, carrying potential investors and their companions being entertained by an Alberta company, says Pivot. They were supposed to leave April 5, but just before departing a mechanic travelling with the plane discovered a black bag inside the avionics bay, which holds electronic equipment. Pivot alerted authorities in Canada and the Dominican Republic. Police there then discovered another seven bags, all stuffed with cocaine. Prosecutors alleged at the bail hearing that the plane and its passengers were a “façade” designed to hide the flight’s true purpose — smuggling drugs into Canada. But they said they were not alleging any of the group placed the cocaine in the plane, only that an unnamed additional person accompanied the crew and boarded the aircraft the day before it left. Judge Francis Yojary Reyes Dilone said the fact the crew reported the contraband and that there was no evidence linking them or the passengers to the cocaine meant he had to impose less severe restrictions on the group than the prosecution had demanded. One of the passengers said at the bail hearing that she was the guest of another man, who was a potential investor in the unnamed company. “We were just invited to visit your beautiful country, to have fun,” she said, according to the decision. “We are totally horrified, we were here for vacation, we have no idea what is going on … We all have incredible professions at home, we have families, I am a real estate agent, I am also a teacher.” (Number of passengers corrected April 29 to seven.)

.... track 5 black orchid... track 5 black orchid... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 5 black orchid... is the official, quintessential, somber and despairing music of... Thomas Blake aka the Gail Simone Catman: ..."... but-... but Gunbunny has a soul... is that so bad... to say... to say... that Gunbunny has a soul... is that such a bad thing... to say... I don't think it's a wrong thing to say... I think it's a right thing to say... that Gunbunny has a soul... - Society Lex..?......."......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... too 22-year old Holly Madison... Havok will always be Jesus Christ... but Havok... to her... will always be the Jesus Christ of the Gospel of Saint Matthew.... perhaps-... perhaps-... perhaps-.... hamlet kenneth: ' is 't possible'.... Willem Defoe was the Jesus Christ of the Gospel of Saint Mark... for Albert Einstein was supposed to have said that the Gospel of Saint Mark qualified as 'real history'.... and Scorcese and Willem Defoe always intended for their story of the life of Christ to be as close and authentic to real history as conceivable... and Kvasir... the Norse God Kvasir.... is the Jesus Christ of the Gospel of Saint Luke... but Willem Defoe feels a deep religious passion deeper than anything he has ever felt before for himself... Willem Defoe... to play Kvasir in a 'The Mighty Thor' movie directed by Scorcese.. and-.. and by Mr. Scorcese... and by... sob sob sob.. Victoria brianne hill's and 37-year old Brianne's very, very bestest and most loyal friend in the whole wide world: Marty Scorcese.... and Willem Defoe may honestly and authentically have actually played the Jesus Christ of the Gospel of Saint Luke... especially... especially... both of Saint Mark and Saint Luke... both of Saint Mark and Saint Luke..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder monica bellucci angelina jolie.. stochastic disturbance terms.. $3..

... copy-and-pasted from... from... the website "Popular Mechanics" on the internet... I think.. I'm not sure if this is an accurate partial URL... www.msn.com/en-ca/news/technology... I'm not sure if this is an accurate partial URL...

Popular Mechanics Popular Mechanics Quantum ‘Teleportation’ Could Help Us Transmit Data Like Never Before Caroline Delbert - 3h ago Follow View Profile Comments | 2 It’s kind of like the television chocolate device from Willy Wonka & the Chocolate Factory. © David Wall - Getty Images It’s kind of like the television chocolate device from Willy Wonka & the Chocolate Factory. In new research, a device helps to correct data lost at the quantum level. The relay system catches errant photons and pushes them back into the stream. As data moves faster, the process amplifies the small amount of lost photons. One of the biggest questions of our modern age is how best to transmit enormous amounts of data over larger and larger spaces. Now, quantum theorists suggest that“teleportation”—something previously dreamed of by Star Trek and Willy Wonka—could be the quantum secret to unlock truly lossless data transmission. 📲 You love cutting-edge tech. So do we. Let’s explore the possibilities together. In new research, scientists from the National Institute of Standards and Technology (NIST) and quantum workgroups at Griffith University in Brisbane, Australia, suggest that quantum data transfer could blow our minds. Their research, which experiments with capturing and recovering stray photons during data transfers, appears in Nature Communications. The Best Men's Shoes for Walking and Standing All Day Ad Ad Hsweetgirl.com The Best Men's Shoes for Walking and Standing All Day We’ll set the scene by imagining some different data scenarios. Think about the simple telegraph set, where one wire carries a signal that is transmitted one zap or quiet space at a time. These zaps travel all the way back and forth as electrons are swapped on the molecular level. At its simplest level, that’s what electricity is. Now, imagine a computer network where files are passed back and forth to and from a server or among different workstations. The passage of these files appears to be lightning-fast, but in reality, different pieces are being passed back and forth one at a time. The algorithms that manage it even have “collision detection” to make sure that less data is lost when pieces collide in the cables. Both of these scenarios involve passing data. They seem very different in complexity, but both also represent a simple paradigm: continuous flow. In these situations, data pours in one direction or the other like water from a pitcher. Sometimes it alternates, but the flow is still continuous through the pipes. Here’s the other thing about continuous or linear flow of information: there is loss. Even in computer networks, packets of data do sometimes collide or drop, and get lost. And in a massive local fiber optic network, for example, the light bounces around inside the fiber—with some inevitable loss from the nature of light itself. “Loss-induced noise, e.g., from scattering and diffraction, is inevitable in long-distance information transfer,” the researchers write. Even with cutting-edge transfer of data, like in massive fiber optic trunks that connect entire cities or countries, bouncing light particles are what power the entire technology. These technologies shed photons, so finding ways to cut down on loss is a huge industry unto itself. The more data we send, the more the tiny losses add up to real amounts of data lost. To study loss, the scientists first set up an experiment where a non-important photon was bounced into a position where it would intentionally be lost in the interference noise. To control the loss, they first applied a device called a noiseless linear amplifier. When it works, this device seems to “catch” the errant photon, return it to the quantum state, and zoom it back into the healthy portion of the data. “A working long-distance quantum communication channel needs a mechanism to reduce this information loss, which is exactly what we did in our experiment,” researcher Sergei Slussarenko says in a statement. “Our work implements a so-called quantum relay, a key ingredient of this long-distance communication network.” Next, the researchers want to test this method for long-distance quantum cryptography. After that, they can start dreaming of a truly secure global quantum network.

... copy-and-pasted from... https://norse-mythology.org/kvasir/ ...

KVASIR The dead Kvasir (Franz Stassen, 1920) Kvasir (pronounced “KVAHSS-ir”) is a being who was created by the Aesir and Vanir gods and goddesses at the conclusion of the Aesir-Vanir War. The war had ended with a truce. In the tale of the Mead of Poetry, whose storyline picks up where that of the Aesir-Vanir War leaves off, the deities sealed their peace treaty by coming together to produce an alcoholic drink by an ancient, communal method: everyone in the group chewed berries and spat out the resulting mush into a single vat. This liquid was then fermented. In this particular instance, the fermented liquid became the god Kvasir, whose name is surely related to Norwegian kvase and Russian kvas, both of which mean “fermented berry juice.”[1] Kvasir was the wisest of all beings. There was no question for which he did not have a ready and satisfying answer. He took up the life of a wanderer, dispensing his wisdom to all whom he met along the road. When he came to the house of two dwarves, Fjalar (“Deceiver”[2]) and Galar (“Screamer”[3]), they killed him and drained his blood into three containers. They told the gods that Kvasir had suffocated from an excess of wisdom. The two dwarves then brewed mead by mixing Kvasir’s blood with honey – the Mead of Poetry.[4] The story of the Mead of Poetry comes from the medieval Icelandic historian Snorri Sturluson, whose works can’t necessarily be taken at face value. However, we have good reasons for accepting this story as authentic, at least in its general outline. In Old Norse poetry, “Kvasir’s blood” (Kvasis dreyra) was an established kenning for poetry. There’s also a mythological narrative from India that closely resembles Snorri’s account of the Mead of Poetry. Both stories probably grew out of a common, and much older, Indo-European myth.[5] However, in an excellent example of why it’s a bad idea to accept Snorri uncritically, Snorri contradicts this story in his description of the Aesir-Vanir War itself. There, he claims that Kvasir was a Vanir god who went to live with the Aesir when the two tribes exchanged hostages long before the peace treaty was established.[6] Of course, if Kvasir was only created after the war had ended, it would have been impossible for him to have been alive during the war. Since Snorri’s account of the Mead of Poetry is corroborated by outside evidence and his account of the Aesir-Vanir war is not, the most reasonable interpretation is that his account of the Aesir-Vanir War is wrong, at least on this point. There’s no evidence that there was ever a cult of Kvasir. He seems to have been solely a literary figure who epitomized the qualities of the Mead of Poetry. Since the Mead of Poetry became the exclusive property of Odin shortly after its production, it should come as no surprise that the defining characteristics of Kvasir’s personality are all attributes that are more commonly and more powerfully associated with Odin himself. Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I’ve also written a popular list of The 10 Best Norse Mythology Books, which you’ll probably find helpful in your pursuit. The Viking Spirit Daniel McCoy References: [1] Simek, Rudolf. 1993. Dictionary of Northern Mythology. Translated by Angela Hall. p. 184-185. [2] Ibid. p. 84. [3] Ibid. p. 97. [4] Snorri Sturluson. The Prose Edda. Skáldskaparmál. [5] Simek, Rudolf. 1993. Dictionary of Northern Mythology. Translated by Angela Hall. p. 184-185. [6] Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.

... copy-and-pasted from-.... from... here is the partial URL... www.piratejewellery.com/norse-mythology/ ...

Kvasir norse god facts and symbol meaning Norse Mythology / By piratesir / December 18, 2021 Norse mythology features a set of religious stories that give meaning to why the Norse people and Vikings interacted with highly complex characterS and how they lived their lives. It defines the different races beings in Norse mythology, such as giants, elves, fairies, gods, and goddesses, among others. One of the most popular beings was the Kvasir, who were greatly venerated. Read on to learn more about them. Kvasir God Contents hide 1. Kvasir God 2. Kvasir Mythology 3. Poetic Edda 4. Facts about Kvasir Kvasir God According to Norse mythology, Kvasir is regarded as a wise god and the god of inspiration. Additionally, Norse mythology describes that the gift of poetry came into the world through Kvasir, who was considered the wisest and cleverest of all beings. He was born when the Aesir and Vanir came to a truce and spat into a cauldron. There are Icelandic literary sources that claim that Kvasir was one of the Vanir hostages that was sent to Asgard along with Njodr, Freya, and Freyr. He was very valuable to the Aesir as he brought with him important gifts of eloquence, wisdom, and diplomacy. He was popular for his intelligence and for how he spread spiritual teachings wherever he went. He played a significant role in helping the Aesir gods capture Loki after the trickster killed Baldr. He recreated a fishing net out of the ashes and recreated the same pattern of Loki’s fishing net from the giantess Rán. Unfortunately, Kvasir only spread his wisdom and intelligence for a short while before he was killed by two wicked dwarf brothers, Fjalar and Galar. The dwarves then mixed Kvasir’s blood with honey to make powerful and magical mead (Óðrerir) that inspired anyone who drank it to speak and act with wisdom and poetry. Odin drank all the mead to acquire knowledge and wisdom. Supposedly, he spilled some of the mead in Midgard, the world of the humans, which thereafter became the source of all bad artists and poets. Odin only gave the mead to those he felt were worthy of powerful traits, of which nearly all of them became great poets and artists. Kvasir Mythology Kvasir Mythology As mentioned earlier, Kvasir was killed by two dwarves, Fjalar and Galar, who then mixed his blood with honey to make the magical mead of poetry. The two wicked dwarves eventually had to trade the mead to Suttung, the frost giant, after viciously killing his parents. When Suttung realized that the mead of poetry was magical, he hid it in a deep chamber in a mountain in Jotuneheim and asked his daughter to watch over it. Suttung, however, couldn’t keep his ‘treasure’ a secret. He boasted about it to everyone and eventually Odin was able to hear about it. Odin then disguised himself as a farmer, went to Jotunheim, and offered his services to Baugi, Suttung’s brother. After harboring the fields for about a year and being a very loyal servant to Baugi, Odin then asked whether he could drink some of the sacred mead as payment for all the work he has done. However, Suttung wasn’t for the idea. So, Baugi drilled a hole on the side of the mountain so that the disguised Odin can sip some of the mead. Instead, Odin took the form of a snake and slithered through the hole, and met a giantess, who seemed lonely at the time. Gunnlod, Suttungs daughter, immediately fell in love with Odin and he managed to convince her to give him 3 sips of the Mead over their 3 days and nights together. Odin, however, drank all the mead and turned into an eagle so that he could escape and go back to Asgard. Odin then spat the mead into different containers held by the Aesir gods. Some of it spilled into Midgard, and supposedly, the color of beets came from the dark crimson color of the mead. Poetic Edda In Prose Edda, Kvasir appears in two specific books – Gylfaginning and Skáldskaparmál. He is mentioned once in chapter 50 of Gylfaginning, which talks about how Kvasir led to the successful capture of Loki after the death of Baldr, Frigg’s son. To hide from the gods, Loki took the form of a salmon by the day and swam in the Franangrsfors waterfall. He always thought of the type of devices the gods would use to capture him when he was in the water. One day, Odin spotted him from Hlidskjalf and Loki had to be smart about it to avoid being captured, so he made a net. He sat by the fire and when he saw the gods coming close to him, he threw the net into the water and jumped into it to escape. When the gods reached Loki’s house, Kvasir – who was the wisest of them all, was the first one to go through the door. Kvasir immediately noticed the shape of the net and told the gods about its purpose, which was to catch fish. The Aesir gods then used the same shape of the net to flush Loki out of the river. Kvasir is also mentioned severally in Skáldskaparmál, Chapter 4 talks about how Kvasir came into existence. Following the Aesir-Vanir war, the two groups of gods decided to call a truce by both sides spitting into a cauldron. They decided not to waste their spit, and decided to form a man named Kvasir. Kvasir was to be the wisest beings of all. Chapter 57 talks about the death of Kvasir, which led to the creation of the Mead of Poetry. Two wicked dwarf brothers, Fjalar and Galar, invited Kvasir to their home. When Kvasir arrived, they killed him and drained his blood into 2 vats and one pot. Afterward, they mixed the Kvasir’s blood with honey and made the mead of poetry, which gave wisdom and poetic inspiration to anyone who drank it. Facts about Kvasir Kvasir is considered the god of creative inspiration, diplomacy, and poetry. He played a crucial role in the ancient Norse as a god of mead production and peace-making. He is among the exalted dead, and his ancestral memory is often invoked in North pagan ceremonies. Poetry and metaphors are considered languages of the divine and are often used to describe the incomprehensible and immortal in human language. It is the main medium through which the spiritual teachings of Norse are often passed on. For this reason, Kvasir is an important part of Norse culture. Post navigation

... the URL for this video-clip.... this video-footage from the nude angelina jolie straight-to-videocassette movie 'Gia'... the URL to this nude angelina jolie footage is: ....https://www.xvideos.com/video21437049/angelina_jolie_-_gia_hallway_nude_

https://www.xvideos.com/video21437049/angelina_jolie_-_gia_hallway_nude_ /video21437049/ ... the number-code is for... "21" for the year 2021.. the year that Hanno Raudsepp was bestest friends with 9-year old angelica jones 9-year old megan d. iseult and hanno raudsepp was bestest friends with 3-year old rachel summers 3-year old megan d. iseult in this year of the year 2021... so- '21'... then "43" for issue #43 of Justice League, written by Geoff Johns and also for issue #43 of "Batman", written by Scott Snyder... so... '21' - '43' .. then '70' for the year 1970 the year that fully nude Sally Kellerman was lying flat front-first on the wooden floor screaming "RUSSSTTYYYY!!!!!"..... in the movie "M*A*S*H"... '70'.... for the year 1970... and '49' for issue #49 of "Wonder Woman", written by Meredith Finch aka one of the best comic book issues ever written ever in the whole history of comics ever since 'The Yellow Kid' and 'Hogan's Alley'... issue #49 one of the best comic book issues ever written in the whole history of human civilization and far, far, far before.. written by Meredith Finch.. issue #49 of "Wonder Woman".... which features the debut of a character for Nikita Bellucci... wait... this character is a famous female goddess-figure with blue-purple skin but I honestly cannot remember the name of this astounding, spectacular female character for actress Nikita Bellucci in issue #49 of "Wonder Woman", written by Meredith Finch... so... '21' for '2021'... '43'.. for issue #43... '70' for the year 1970... '49' for issue #49... aka.. /video21437049/ ..... in this video-clip internet film footage from the nude angelina jolie straight-to-videocassette movie "Gia"... angelina jolie is fully nude and unashamed talking to a fully clothed female friend of hers a female friend in long sleeves, long pants, socks, shoes... and they are talking in front of a doorway in nude angelina jolie's hallway of her large house... nude angelina jolie in this scene is pure passionate love of her selfsame self doing glorious nude scenes like this in a straight-to-videocassette movie: "Gia"... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder 'baroness of cobra'- hyacinth ryder 'adrianna anderson'- hyacinth ryder 'madeleine herzog'- winona ryder uma thurman nicole kidman 'billy bathgate'- nicole kidman 'eyes wide shut'- nicole kidman "ultra-film-noir"- fully nude scarlett johansson.. stochastic disturbance terms.. $3... ....

... track 8 nude queen hippolyta nude monica bellucci... of disc four... of four discs... track 8 nude queen hippolyta nude monica bellucci... of disc four... of four discs... track 8... of disc four... of four discs... track 8... of disc four... of four discs... of 'simply soundtracks'.. Union Square Ltd. ... a BMG company ... track 8 nude queen hippolyta nude monica bellucci... of disc four... of four discs.... is the 'opening theme - opening credits music' of a television show called 'Earth-295'.. this is a television show about 1950's Hollywood, California... it is the most horrific show about Hollywood, California that could ever conceivably exist on television... it is far more horrific than any movie about Hollywood, California ever could be... ever will be... ever... ever... ever... a trillion years into the future... ever... ever... ever.... this television show about 1950's Hollywood, California titled 'Earth-295' stars Angelique Soros (aka actress Angelina Jolie) as the main character... as the show's female lead......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 15 nocturna monica bellucci... track 15 nocturna monica bellucci... track 15... of Hans Zimmer's Oscar-winning soundtrack for "Dune"... track 15... track 15 nocturna monica bellucci... is the official, quintessential music of... ever since early-mid March in the year 2021... every single hour.. every single day.. since then.. until early May in the year 2022... Hanno Ridal Raudsepp aka Hanno Raudsepp in the role of Havok... has been filming a scene from a Scott Lobdell-written 'The X-men' comic or it may be a scene from a Scott Lobdell-written 'The Uncanny X-men' comic... a scene... to the music of track 15 nocturna monica bellucci.. track 15.. track 15.. a Scott Lobdell-written scene where Valeria Cooper (Uma Thurman) reveals... that the Government has been building Sentinels... and that the Sentinels are virtually finished... and Havok (Hanno Raudsepp) is with her and he sees the Sentinels with his X-men team... the Sentinels inside a leviathan... dome...?-... almost like a wharehouse military setting... a military-wharehouse... is it respectful to the Sentinels to say that they may be build, constructed... and-.. and-.. and kept inside what would be called a military-wharehouse... is the term.. 'military wharehouse' respectful... to the Sentinels.... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.. stochastic disturbance terms.. $3..

... track 14... track 14... of Hans Zimmer's Oscar-winning soundtrack for "Dune"... track 14... is the official, quintessential music of... Ms. Marvel (Holly Madison): - standing in the middle of the Golden Gate Bridge, across from... facing Rogue (Savanna Samson) -.. : ...".. End of the road.."......... for film director Mr. Scorcese........... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... Earth-295 Jean Grey (Vivien Kiik): ...."... Havok (Hanno Ridal Raudsepp).... you may be so abysmally behind with your medications... with your pills.... in the summer early autumn of last year... last year in 2021... in summer early autumn of last year 2021... you did 'Me off meds' for weeks.... WEEKS... and then you kept on going back to doing me off meds in the first several months of the year 2022 for significant single, singular days of not taking pills on particular days... and.... I mean... Havok (Hanno Ridal Raudsepp).... you may be SO behind with your medications... months.... months behind... months behind.... I mean there is always or usually some kind of instantaneous effect with taking these pills... clonazepam and escitalopram.... or maybe an effect of taking these pills that surfaces later on that same day.... but these medications... clonazepam and escitalopram.... take at least a full year to come into effect in actual actuality... to fully realize their effect in your systerm.... Havok (Hanno Ridal Raudsepp)... they need at least a year of CONSTANTLY taking them every single day of a full year at least.. of at least a full year.... Havok (Hanno Ridal Raudsepp)..."....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

.... Hanno Raudsepp: ...".... if Daniel Day Lewis ever returns to movie acting from his retirement... if he ever cancels his retirement from acting and returns to screen-acting.... then he... Daniel Day Lewis.... his only option is to play himself... is to actually play Daniel Day Lewis.... himself... where his role is the role of Daniel Day Lewis.... of the person... the man who actually is Daniel Day Lewis.... himself... playing himself.... and only himself... Daniel Day Lewis.... in many, many, many movies before he can ever play a character in a movie who is not actually... himself.... Daniel Day Lewis... he has no choice.... he has to explain why not soon before his retirement from acting... he insisted that actors do not become the people they play.... in Entertainment Weekly on the internet..."......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 9 Giganta Sascha Renzscha.... track 9 Giganta Sascha Renzscha... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 9... track 9 Giganta Sascha Renzscha... is the official, quintessential music of... Hanno Raudsepp: ...".... there is only one Martin... Martin Luther.... you can never name your child Martin... you can never name your son after Martin Luther.... you can name your son Moses.... you can name your son Jesus... but you can NEVER name your son Martin.... you can NEVER name your child Martin... there is only and only will ever be one Martin.... Martin Luther..."......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 8 nude queen hippolyta nude monica bellucci... track 8 nude queen hippolyta nude monica bellucci... track 8... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 8 nude queen hippolyta nude monica bellucci... is the official, quintessential music of... Hanno Raudsepp: ...".... someday I will cut off the testicles of all the martingale lawyers... for their braggart, arrogant nature and because they prosecuted enron and worldcom...."....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... copy-and-pasted from... I think the name of this URL is-.... www.esquire.com/news-article/a1773/angelina-jolie-torture-fame-0200/ ... - I think I made a mistake where the phrase 'news-article' is the inaccuracy... with the URL ...

Angelina Jolie and the Torture of Fame "Everybody wants a piece of you," she said (and then fell to pieces). By John H. Richardson Jan 29, 2007 Head, Ear, Lip, Hairstyle, Skin, Chin, Forehead, Eyelash, Eyebrow, Style, ESQUIRE STAFF SHE'S FIFTY MINUTES LATE and I'm starting to walk toward the door when I see her. She's smaller and thinner and sadder than I expected from that hieratic movie-star face and the wild bad-girl spirit she projects onscreen--the best bad girl in movies today. She looks beaten and dogged. I think about keeping on going because I'm pissed off and of course she doesn't recognize unfamous me but then something in her beaten face stops me and I say, "Angelina" and she looks at me, hesitates, remembers that she shouldn't stop because I might be a wacko and starts to keep going and by the time I say, "It's me, John, I'm supposed to meet you," she's already figured it out and stopped in her tracks, defeated by all the little hesitations and revisions of decency and expediency. I don't remember what we say first but a minute later she's saying she is sorry, really sorry, we should just give this up and I say, No, it's okay and she says, No, it's not okay, that's what everybody always tells me, it's okay and it doesn't matter and it does matter, nobody should be kept waiting for fifty minutes. Why would you want to talk to me now? She's sorry but she also seems to be on the edge of flashing anger because I won't accept her being sorry and it's so quick and mercurial I feel very much like I'm dealing with a crazy person. Half of what she says I can't follow, it's in some private language about things that happened to her recently and she's so jittery and raw I say, Don't be sorry, I would have been mad before but I can see you're a suffering human being and it's not that big a deal. At some point she starts to cry--a tear wells in her eye and leaks down her cheek. We're standing here in the lobby of the Museum of Modern Art behind the ticket booth by the escalator and I suggest we sit down in the sculpture garden but she's too jittery and convinced it's ruined and all her fault. She's very skinny and pale and is wearing no makeup, a few blotches on her face, and I get glimpses of her arms, which are marked with black tattoos and it's not two minutes in her presence that I check those long arms for tracks. Don't see any, but every time I step closer to her so I can get into normal human speaking range, she steps back six inches or a foot more than normal. Did she just smoke a joint? Should I tell her I've smoked more joints than she's had hot meals? Minutes go by and we're still talking and I'm trying to soothe her, changed in a flash from my usual persona as the craziest person in the room to Mr. Zen. Repeat after me, Angelina: Only be master of yourself and every place is the right place. She's wearing black leather pants and a black T-shirt with white sweater fuzz all over it and I catch myself starting to say, I really loved your performances in Gia and Girl, Interrupted (the film she's supposed to be promoting) but I stop myself because I hate that kind of gushing on principle and it seems particularly wrong right now, completely inadequate. She says she hasn't eaten all day and just got through with two interviews and I ask a couple more times if she wants to get something to eat or sit down and she clearly just wants to crawl out of her skin and her dad's been in his hotel for two days and she hasn't even had time to call him and finally I ask her to go with me to get my bag because I have something for her. As we walk to the coat check, I start telling her my now clearly useless idea for an interview based on the brilliant article in The Atlantic Monthly by Sue Erikson Bloland about being the daughter of a famous person and the associated distortions and how weird it was when her dad became the world's most famous child psychologist and successful, accomplished people would get strangely childlike in his company and I've got her attention now, she's calming down just listening to my voice, and I say, I thought maybe we could talk about that and she says, We're already talking about it and I feel the nervous antennae of her attention reaching out and twitching back and reaching out again and suddenly it just hits me that this whole thing is wrong and I find myself saying, Maybe you shouldn't be doing this. You don't need to be on magazine covers. You have a career on the merits and publicity isn't for everybody and maybe you should just not do this interview or any interview ever again. But that seems to set her on the edge of tears again and she tells me, No, it's all about communication--movies, magazines, it's all communication and that's important to her and she's almost pleading with me and so I segue back to the soothing voice and Bloland's feeling of being a perfect fake daughter with her perfect fake father and Angelina says she and her dad have talked about that--should they tell the truth about their troubles and have people put an ugly cast on it or just say everything is fine and smileyface?--and it's so weird because even at the premiere last night, the premiere for The Bone Collector, the photographers told her brother to move out of the shot so they could get one of just famous her and her famous dad and it's obvious that even the memory gives her pain--she's all nerves and anything that touches the wrong spot stings. And I suggest again that maybe we should go have a bite or something and she rubs her arms and looks this way and that and finally I just give her my card and say, That's my home num-ber and you can call me or not call me, whatever, it's all good, and she's twisting and twisting my card into lint and saying how she's thinking maybe she doesn't even need acting, maybe she should just move to the country and have a kid and I think, For God's sake don't do that--thinking of the kid. And some instinct tells me that firmness and authority is the ticket so I say, This is the deal, you're getting back from L. A. on Thursday and that's when my wife leaves on vacation and I have to take care of the kids--she smiles at that--so if you decide to call, you have to give me some notice so I can get someone to baby-sit. And she says, What do you have and I say, Girls and she asks ages and I tell her and the human moment seems to relax her and so I say, Hey, if you want, come up to my house and hang out with us and then she really smiles and says she'd like that a lot. So we talk about where I live and how close it is to where she's buying her farmhouse where she wants to put her friends in rooms and put on shows and build tree houses and I get the feeling that even though she won't commit to a meal or a seat somewhere all I have to do is keep talking and she'll keep standing here forever. But people are streaming around us and I can't even use my tape recorder and frankly the whole thing is getting a little wearying, so finally I usher her to the door and outside she perks right up, spots a pretzel stand and gets one and we start walking. The food seems to steady her. The fresh air seems to steady her. The freedom of movement seems to steady her. She says a friend said something about fuck you or she said fuck you to the friend and I can't follow her and she's upset because they keep moving the star trailers closer to the set, a hundred feet to forty feet and it's so ridiculous the way they treat the "talent" and I find her pretty hard to follow--some of it's coherent and some of it isn't even a little bit. We go up a few blocks and she says, Are you walking me somewhere or am I walking you somewhere? ADVERTISEMENT - CONTINUE READING BELOW My office is two blocks back so I say, I'll walk you to the corner, and then when we get there I point in different directions and say--aware by now of how definite statements soothe her--You're going that way and I'm going that way, and she smiles and I lean in to kiss her on the cheek because I really do like her now and feel sorry for her and hope it all works out, and her return kiss catches me on the side of the mouth and then she flashes me the most beautiful smile I have ever seen--she's so grateful to be set free. SHE DOESN'T CALL, OF COURSE, but when I finally check in with her manager, the office person says she told them to give me her home number. Which is pleasing. But I don't know, I've been reading about female movie stars and this line of Marilyn Monroe's is stuck in my brain: "Everybody wants a piece of you," she said (and then fell to pieces). And James Mason said at Judy Garland's funeral that she gave so much so completely that "she needed to be repaid, needed devotion and love beyond the resources of any of us." And it makes me feel kind of sick because I know I wanted my little piece of the beautiful Angelina. And wasn't I shocked and a little thrilled when she came apart in my hands? And if she did a Garland or a Monroe, which seems all too possible on the evidence so far, wouldn't I end up owning a pretty little piece of that? But what the hell, we all have a job to do. So I call the beautiful young movie star at home. She sounds sleepy but glad enough to chat and after a while I say, "So, what about us? Do you want to do this thing?" She says she's going to be near my neighborhood on Saturday with her dad and brother, checking out that farmhouse. She'll drop by around one, if that's all right. Saturday morning, I clean up. But not too much. Five minutes before one, she calls. I give directions to her driver and thirty minutes later a black stretch limo pulls into my driveway. I go down and shake hands and Angelina's dad introduces me to his son and the limo driver and then they follow me up the garden path. Inside, Angelina's dad notices our dining-table chairs, which are sort of out there in the middle of the room, and he smiles and asks who painted them. The kids answer--Rachel (who is nine) painted the ones with the pig and the moth, and Julia (who is twelve) painted the one with the ladybug and the one with lots of drippy blue dots. Angelina's dad examines the kitchen cabinets my wife painted to cover up the thirty-year-old stains and says he always wished he had the nerve to do something like that and I tell him poverty was the mother of that invention and I'm thinking what a sweet and almost childlike quality he has and how unusual it is in a movie star, yet how consistent with the characters he used to play. I'm also very aware that he's checking me out. He must be worried about this whole weird thing of his daughter visiting the media beast in its lair at this obviously sensitive stage in her life. Some of this I process only later. Because he is, after all, Jon Voight. And it's a bit of a job trying not to be distracted from my normal-guy routine by his undeniable Jon Voightness. Then Angelina asks the kids to show her their room and the three of them run down the stairs and disappear. Her dad and her brother go out for a walk. It's almost two and the kids haven't eaten. I make some ramen and dish out the Greek salad and when Angelina comes back upstairs she sits down and picks at her food--she says her dad was trying to force-feed her in the car and I can believe it, she's so skinny, file the statement away in the part of my brain where I'm storing the Jon-Voight-is-worried-about-his-daughter material. Then I ask her if she wants some coffee or tea and she goes into a completely incomprehensible story about her marriage and tea and how that was a sign of what was wrong because her ex-husband liked teapots with a whistle and she couldn't stand the whistle and so they always forgot that the tea was boiling and for some reason this meant that they ended up crawling into the kitchen to get the teapot off the stove. Was the kitchen too small? Did they think it was going to blow up? Was it hurling so much steam around? I never quite get it. And I try. I am a professional reporter and do my best to dig it out of her and each answer is more tangled than the original story--no, not tangled. The right word is vaporous. Her sentences are like sheets of mist that start to evaporate the second they hit the open air. Meanwhile she keeps picking at her salad in that distracted way, as if she isn't even aware she's eating. ADVERTISEMENT - CONTINUE READING BELOW Finally I take away the plates and Angelina says maybe we should get the tape recorder and do the interview thing--although she'd really rather play Nintendo with the kids. So I say maybe we should do that, play Nintendo, tape recorders being so alienating and all. What I don't say is that I'm afraid transcribing a tape of her talking will be like trying to unzip fog. But she insists, so I get the tape recorder and we wander downstairs and end up sitting on my daughter's bed. She's cross-legged, holding her heels in her hands under the Alanis Morissette poster and the fluorescent stars. "So, tell me. Did you read the article?" "Did I read the article?" "In The Atlantic. That I gave you." "Oh, no. My brother has it." I just say oh and let it slide, but she starts to explain that her brother got upset by the article and took it away from her so she wouldn't see it. Once again I have a lot of trouble following her. This is what she says: "That was very--how did he put it? I think he was upset. Yeah. Very upset. I don't know if he was--he had a weird reaction, I think. It's a weird reaction to see those things, 'cause they're pointed out. He didn't look at it till I came back. And we were both there when he pointed it out. I don't know why he took it--it meant something. Or if he got rid of it because it upset him. Or--there's a reason we didn't want to talk about it. So obviously it was quite a strong article." Like I said, I haven't got a clue what she's talking about. "Hmm. Interesting," I say. "Mysterious, but interesting." "It was just one of those things that was--I started to read it. And I can see why some of that stuff that's in the title sometimes can--and not even me. But it's like the two of us now and oh shit, you know." "I see. Like he's trying to protect you from that so--" "Well, he just thought that was something that was upsetting. Yeah. It became stronger because the two of us were in the house alone. You know?" "So that's like a thing that--" "Hovering. The whole parent thing, and--" "The parent-fame thing?" "Um, yeah, it is and it isn't. It is in a great way. Because, you know, we talk." And she goes on. Looking over the transcript now, after I've come to know her, it's very clear to me that it was all my fault, that I was suffering from a failure of imagination and trying to understand her as if she were normal when the only way to understand her is to crawl inside her language as if it were a complex modern poem and link up the elusive meanings and let go of the things you don't understand. I don't mean this in a patronizing way, because there are flashes of real poetry and insight and finally an almost absolute consistency in everything she says. But let's get there by steps. The next thing she talks about is her father and how she loves him yet feels his image hovering above her, because no matter how far you've gone it's always like you've had help, whether you got help or not. Then she jumps off that train and into the subject of yesterday's photo shoot, which seems to have become for her a symbol of all that is wrong with being a movie star in the modern world. She tried to explain that she didn't want to be in lingerie or anything of a clichéd sexpot nature and we did get the clothes and makeup and hair people and even the photographer she wanted, but even though they came out with slacks and jeans and leather pants, they threw in some lacy camisoles, "which to me is verging on lingerie," and because it is a men's magazine they probably were hoping to get a little bra showing or see-through and it was just generally a disappointment and she's always tried to be a good little celebrity but she's getting really tired of it and doesn't know if she can do it anymore. Gently, I suggest that when the boss talked to her, he didn't have a clue what she was talking about and suggest (gently) that maybe if it had been communicated more clearly we could have handled it better. And anyway, sex is a good thing and having seen a fair number of her previous photo spreads, they're not exactly lust-free zones. "Like the Rolling Stone cover--you were so glammed up." ADVERTISEMENT - CONTINUE READING BELOW "I wasn't all glammed up. The cover, I was totally red-faced from crying." "Really?" "Because I felt like a whore." That picture in the black lace camisole? With her eyes all postcoital and her fingertips stuck suggestively into the famous hornet-stung lips? She was crying? Talking about it, she gets upset all over again. "And I told him that. I told the photographer. And it's not Rolling Stone's fault, and it's not, you know, the wardrobe woman's fault or anything. It's--the photographer just had his idea of me being--and I talked to him before and I said, you know, if they wanted to get me free or wild, that--but, you know, they kept saying which--the same as yesterday. I kept saying to them, you know, that I just wanted to--whatever they--just to show me what they want." At this point, I realize that the teapot is probably boiling and since we don't have a whistle either, it'll just keep on boiling. But I don't say anything about it because I want to see if she'll remember and I'm trying to concentrate on figuring out the point she's trying to make. Hair, Head, Nose, Ear, Lip, Mouth, Hairstyle, Eye, Chin, Forehead, ESQUIRE STAFF "And they would kind of say, 'Well, we want you to be happy, we want to relate to you.' And you have to say, It's not me. I don't wear--it's a nice suit with shoulder pads and black leather pants, but I'm on a couch, looking like I'm just lounging or I've got smudgy eye makeup so it's more like I look slightly fucked up, and it's kind of the idea of, what are you getting across to people? Are you getting across to people that this is my idea of how a woman is sexual? Like, if it was me being sexy or sensual, you know, it would be some great knitted fabrics and cashmeres, like Sophia Loren. Or if I'm being an actor, you can put me in dress-up, then that's me. But it's the idea of just acting like you're just hanging out with some gorgeous gown on, just hangin' out--" ADVERTISEMENT - CONTINUE READING BELOW Finally I get it. And maybe it's because pushing through the word mists was so much work and maybe it's because she's so sensitive and lovely sitting here on my daughter's bed under the grrrl-queen posters and fluorescent stars, but getting it seems like a glorious miracle of modern hermeneutics. "It's like a phoniness," I say. She shakes her head. "It's just the idea of--what is it we're sharing with people, you know? You think, as an actor, or any kind of an artist, that you're kind of contributing something. And you don't always have to be doing that, but definitely not doing something where it's going the opposite direction. You know?" I nod but I'm lost again. It's not the phoniness? "And all women do have a different sense of sexuality, or sense of fun, or sense of like what's sexy or cool or tough or--you know, I like to be maybe cleaner. Maybe it would be nice for someone my age to not see someone in like some see-through tank top and jeans, but to see them in a cashmere sweater and slacks. Maybe that would be nice. Maybe they'd go in that direction more." Oh! Now I've got it. She's talking about social responsibility. Imagine that! This beautiful young movie star is sitting here in her black leather pants talking about social responsibility and telling the truth and how hard it is to refuse--I'm getting it, I'm getting it--to present some glamorized prefab image that further betrays our inner selves and leads the vast army of lost searchers out there to more loss of self and more commodification and more desperate efforts to buy or copy or otherwise consume all the pretty things we jam into the hole we used to call the soul here in the Supermarket of the Damned! Yeah! Go, baby! "And that's why we look at magazines, to see if we like different things, you know? So then you feel like--" "These are the options." "Really--this is your presentation of what I feel is sexy. This is what I feel is fun, this is what I feel is interesting, and this makes me feel angular and wild and--you know?" Yes! Angular and wild, exactly! "I see," I say. "I got it." Man, this feels good. If she'd set out to win me over, she couldn't possibly have picked a better tack than this peculiarly artless charm. It's not until much later that I get cynical enough to consider the possibility that her antennae picked that up somehow and that she might be playing to that. "The tea!" I say. And we both jump off the bed and run upstairs and while I get the mugs and stuff, she keeps talking about how the Rolling Stone guys were so disappointed because they thought she was so wild and free and I think of her in Gia, panthering around in the same black leather pants I just followed up the stairs and she says yeah, people seem to think that since she did a film about a bisexual junkie supermodel, that somehow translates into her stripping down to a G-string in magazines. "Do you want milk or sugar?" I ask. "Mmm. A little bit." I give her both. Then we sit back down at the dining table. "You were talking about how your dad and you have had these discussions about how real to be in interviews," I say. "How much truth to tell. And I'm not sure how much truth to tell either. I was reading about Marilyn Monroe the other night and she said, 'Everybody always wants a piece of you.' And I've always felt a little uncomfortable with that movie-star thing because that's what you do, you try to take a piece of them." She nods, but then she goes and disagrees with me. In fact, she says that it upsets her when actors talk that way because she gets so much from being an actor--she really does, corny as it may sound, so much. And it's not even giving yourself or allowing yourself to be taken so much as it is throwing yourself open. And if people accept that, then it lets you put the pieces together. And as she talks about this I realize that either she's getting more lucid or I'm starting to understand her private language better. ADVERTISEMENT - CONTINUE READING BELOW "But Jon and I do have this--we've talked about it before, 'cause I'm really outspoken and I think he's been worried about me." "Jon being your dad?" "Jon being my dad, yeah. 'Cause I've talked about, you know, everything. And just being really outspoken about my marriage and, you know, being with women, and they will take it and turn it into different things. So he's wanting me to kind of be quiet. A lot of people have wanted me to be quiet. A lot of people wanted me to be quiet during Gia, to not say if I'd ever done any drugs, or had ever slept with a woman, which to me was being totally hypocritical. If I had, and if I could identify with the story that much more, and really saw a beautiful thing in another woman--so I thought it was nice to share what I had experienced, 'cause I thought it was great--I didn't see why it was so bad. And especially 'cause that's the movie. And because it's--I don't know--it's honest." One thing she's learned along the way is that when people are cruel or arrogant or cold, the "missing elements" affect their work and when she watches them on film she sees them missing a beat here and there because they're not really listening to the other people because they don't really care about them and because "something doesn't break inside them," which a couple of hours ago I would have passed right over as just another incomprehensible moment and now seems like such an interesting and poetic and autobiographical way of putting it. "That's the reason for--that's the reason we kind of exist," she says. "It's like Our Job. To give to each other. And learn from each other. To capture moments of people. So it's like it's really strange to have somebody ignore the obvious human being right in front of them. It's very strange." Right around here is where I really start to feel a little flush of shame at the memory of my conversations just last week with friends who told me they'd seen her on Leno and Rosie and she was "not a good talker" or "wacky" or worse and knowing that's probably exactly what I would have said if I was judging her as a performance of a person instead of this actual human being sitting across the table from me, hypersensitive and confused and struggling to be human under the immense pressure of modern fame. And I say, "But you know, it's funny, when I first met you at the museum I--I really thought you were like--" "Losing my mind." I laugh. "Losing your mind, yeah." "I was disturbed," she says. "Just seeing you and seeing that you had kind of accepted it somehow, even though I could tell you were very angry, you were somehow like, 'That's the way it is.' " She laughs. "You know? Somehow you adjusted to it." She laughs again, maybe a little nervously this time. "You know? You don't have an ego about it or something. Which was so horrifying, to think that that would be okay." I'm feeling it now myself--she's making me feel it with her own decency and regret--the sadness of all the adjustments of pride and need and financial desperation and the long history of rejection and humiliation that turned me into the kind of guy who would cool his heels in a museum lobby for fifty minutes waiting for a semifamous beautiful girl. "Wow," I say. "You know?" "Yeah." "So." "Yeah." "So yeah." AFTER THE BLACK stretch limo pulls her out of my driveway, I'm so full of good energy. And I don't think it's just because she was beautiful and famous, although there's no way you can get around that--if she were a guy, an ugly guy, there's no way I would have even bothered to read her mists, much less get so smug about my fabulous mist-reading abilities. But that said and cynicism served, there was still something pure about her. And it felt like a gift. It felt as soft and innocent as one of my kids' butterfly kisses, that thing they do with their eyelashes against your cheek. And later when I watch Midnight Cowboy I realize that Angelina's dad had exactly the same pure spirit--there was so much hunger and tenderness and dumb love and joy just bursting out of him that it wasn't a performance at all but the voice that is great within us (as an old poetry anthology called it) just shining through. It reminds me of what Pauline Kael said about actors in movies, that when you get past the dialogue and the sets and the silly plots, it's almost always actors who are the most alive and fresh. Some more than others. And it's almost always the ones who have that wild innocent purity--the Marilyn Monroes, the Judy Garlands. The ones who "break." ADVERTISEMENT - CONTINUE READING BELOW And then it hits me--of course. I get my tape recorder and summon my girls. "I want to ask you something," I say. "When Angelina came, you guys went off with her and disappeared. What did you talk about? What'd she do?" Julia answers first. "Um, well first we went downstairs, and she said everything was really cool and like all colorful and like wild and stuff. And then we went to the laundry room, which was all messy, and she said, 'I love this. It's so messy.' " "If you can remember exactly what she said, that's good. Exact words are important." "Okay. And so then we took her to the other room? Our new room? She said it was going to be great. And then we went to Mom's office, and she was like shocked by the masks and said, 'Who did that?' And I said, 'I did.' And she was like, 'How did you do that?' And I said, 'With papier-mâché, and under it is chicken wire.' And she said, 'That's awesome.' And then we went to your office, and we turned on the picture of your brain and I said, 'That's Daddy's brain,' and she said, 'Eeew, gross.' And then we went into your bedroom." "Wait a second. Rachel, what is it?" "We went to your room before we went to the office." "Thank you. That's good. Accuracy is important." "And then we went into your room," Julia continues, "and she--she liked the red walls. She said, 'It's so cozy.' And she saw some more of our art and she said, 'You guys are so good. You must get that from your mom.' And we said, 'Well, I don't know. We probably do.' A-a-a-a-n-n-n-d, that's it." "Anything you remember, Rachel? I'm gonna put this in my magazine, so, you know, think." "Um. She also said she really liked Julia's poster. That Beck one? She said it was cool. And she likes him too." "So, what'd you think of her?" "I thought she was nice," Julia says. "Nice is not very descriptive. Tell me more. And don't necessarily be nice. Say what you really thought. She'll like that." "Well, she--she was like complimentative? Everything we did, she complimented us on it? And I thought that was, like, nice." "Did you have any negative feelings at all?" "No. Not really." "So you liked her?" "Well, I don't think she would, like, do anything bad. I don't know her a lot. I just met her. Like she's obviously going to be nice when she first meets us." "Of course. That's smart. You reserve judgment until you know somebody better. Anything else?" Julia answers. "When she said, 'Do you have a girlie thing?' And then we said, 'Well, there might be some in Mom's bathroom.' And she wasn't like embarrassed to say that?" I don't know why this pleases me so much but it does. "She almost did say 'shit' downstairs," Julia says, "but she said, 'Well, I can't say that around you.' " "Did you tell her that I cuss like a sailor around you?" "What's a sailor?" "It's a guy who cusses." Then Rachel rustles and squirms, and I can tell she wants to say something but wants me to ask her first. "What, Rachel?" "I don't know. She was nice. And she acted like a kid, in a good way." "What do you mean?" "She was fun." "Anything else?" "She had a limo." For more on selected feature stories, visit esquiremag.com. This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io Want more politics news and less politics noise? Our newsletter is your antidote. Email address Enter your email address. I'M IN. By signing up, I agree to Hearst Magazines’ Terms of Use (including the dispute resolution procedures); my information will be used as described in the Privacy Notice. This commenting section is created and maintained by a third party, and imported onto this page. You may be able to find more information on their web site.

... track 6... track 6... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 6.. is the official, quintessential, astounding, spectacular music of... did they cancel the Matthew Rosenberg 'The Uncanny X-men' comics... I don't even know what that could mean: to cancel comics that already came out in comic book stores... I don't even know what that could mean.. but if it's possibly.. untenably... inconceivably... to cancel comics that have already been released in comic book stores... which is an idea that seems in terms of classical, basic physics of reality to contradict itself... if-.. I mean... WERE the Matthew Rosenberg-written 'The Uncanny X-men' comic books- ... cancelled....?-... for one reason and for this reason alone and exclusively... Matthew Rosenberg's triumphant, magnificent portrayal of Wolverine.... and Uma Thurman really, really, really, really, REALLY, desperately wants to play the Matthew Rosenberg female character, 'Marrow'..... ......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 4 g. willow wilson doris zuel angelina gal godot... track 4 g. willow wilson doris zeul angelina gal godot... track 4... track 4... of Hans Zimmer's soundtrack composed for the movie "Dune".... track 4 g. willow wilson doris zeul angelina jolie gal godot... is the official, quintessential, cry-from-the-soul-of-oothoon-artemis music of... and cry-from-the-soul-of-enitharmon music of... (.. is her name spelled as 'enitharmon'... ?... or as... 'enitharman'...).... the official, quintessential, cry-of-ophelia music of... of hyacinth-ophelia music of... Hanno Raudsepp: ...."... the savannas angels from heaven in gotham... the megan d. iseults... the megan gales... the winona ryder... the hyacinth ryders... the monica belluccis... the scarlett johanssons... nicole kidman... uma thurman... the uma thurmans... - who else.. sorry real sorry... the nikita belluccis... I know I'm shamefully missing someone... willie tell archer-1... alisa ibiza-shore... willie tell archer-2... i know I'm shamefully leaving out... someone... it's 'The Empire Strikes Back', directed by Irvin Kershner.. or sorry.. Irwin Kershner... I'm real real sorry... I know I'm not spelling the name of the munificient, magnificent Stanley Kubrick-scale director of 'The Empire Strikes Back'... I know I'm not spelling his name... correctly... accurately... sorry real sorry my apologies to that munificent, astounding, unparallelable except by Stanley Kubrick and Peter Hyams director of 'The Empire Strikes Back'... (.. is the name of the director of '2010"... is his name Peter Hyams... sorry real sorry.. is that his name...)... and the screenplay for 'The Empire Strikes Back' written by Lawrence Kasdan and Leigh Brakkett.... sorry... I think I'm misspelling her last name... inaccurately... Leigh Brakket... Leigh Brakkett..-...?.... the movie 'The Empire Strikes Back'... I don't think any of you beautiful young women or beautiful young girls have actually... SEEN... that movie yet... 'The Empire Strikes Back'... and I want to warn you about that movie.. there are scenes of torture in that movie... the rebels are tortured in that movie in the final act of that movie... Han Solo... Chewbaca... C3-PO is dismembered.... horrifically... I want to talk about how terrifying the torture of Chewbacca actually is... I believe... for a Wookie... how horrrific the torture of Han Solo by electroshock.. by electricity.. actually is... I'm sorry... the carbonite... the carbonite.. the carbonite.. the carbonite... I'm sorry I'm not talking about that and Han Solo... I mean... Viewer Discretion is strongly advised for the movie 'The Empire Strikes Back' - episode 5 - black orchid episode 5 - The Empire Strikes Back..... "......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... Monica Bellucci... sob sob sob sob sob-.. still?-... still?-... still?-... maybe-.. maybe- now... if even owed to a very, very bad reason... what happened with Emma Frost in issue #3 of 'Devil's Reign - X-men', written by Gerry Duggan... no longer issue #19 emma frost 19-year old monica bellucci... now-... henceforth.. if even for an awful, very bad reason... owed to that awful reason... owed to that awful reason... now she is.. issue #4 Firestar Tom DeFalco Emma Frost- Monica Bellucci.... monica bellucci... also... 44-year old monica bellucci... eternity- 21 year old monica bellucci... and 59-year old Monica Bellucci Queen Hippolyta... Mark Hamill still looks very handsome.... today... this year... this year 2022... what about Mark Hamill as Bond... as the next James Bond... Monica Bellucci... there may be a resemblance between the faces of Daniel Craig and Mark Hamill... Mark Hamill means Mark Hamlet... means Mark Hamlet, prince of Denmark... denmark... denmark... poor, poor denmark..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

Mark Hamill claims he lost thousands of Twitter followers in hours after Elon Musk sale agreed Louis Chilton Tue, April 26, 2022, 6:06 a.m.·1 min read Mark Hamill has revealed he lost thousands of followers on Twitter in the space of a few hours yesterday (25 April). While the exact reason for the exodus has not been confirmed, his tweet came shortly after it was announced that Elon Musk is set to purchase the social media platform in a deal worth $44bn. Since the news broke, many users of the site (including Jameela Jamil) have announced their intention to delete their accounts, owing to Musk’s reputation as a politically controversial figure. It is believed this could be the reason for Hamill’s loss in followers. “Weird. I just lost more than 8,000 followers in the last couple of hours,” wrote Hamill. “Was it something I said?” He made the tweet in response to a similar tweet from Joe Biden’s senior advisor Neera Tanden, in which she remarked that 2,000 followers had just left her account. Shortly before his tweet, Hamill wrote explicitly about the Musk deal, announcing his intention to remain on the website in future. Weird. I just lost more than 8,000 followers in the last couple of hours. Was it something I said? https://t.co/TS3vwDephc — Mark Hamill (@MarkHamill) April 25, 2022 Wrote the Star Wars actor: “No matter who owns it, no matter who’s on it, I’m staying to engage with you, listen to diverse opinions & to keep fighting the good fight! (also, to keep posting the inane tweets I’m known for) #TwitterTenacity.” While many Twitter users speculated that Hamill’s drop-off in followers was related to Musk, the social media site does occasionally purge groups of inactive or “bot” accounts, which could offer another explanation. Follow latest updates on the Musk-Twitter deal here.

... copy-and-pasted from... I think the partial-name of this URL.. is... www.polygon.com/23044269/ ... I think... I'm pretty sure.. this is the accurate partial name of this URL.... for this article.... about the upcoming 'The Batman 2', written and directed by Matt Reeves... starring Robert Pattinsen....

FILED UNDER: MOVIES NEWS ENTERTAINMENT The Batman 2, with Robert Pattinson, confirmed by Warner Bros. 30 Matt Reeves will also return to write and direct By Oli Welsh@oliwelsh Apr 27, 2022, 5:07am EDT If you buy something from a Polygon link, Vox Media may earn a commission. See our ethics statement. Share this story Share this on Facebook (opens in new window) Share this on Twitter (opens in new window) SHARE All sharing options Robert Pattinson as Batman in The Batman. Lit by warm a warm interior lamp, behind him is a window covered in newsprint. The word LIES has been scrawled on the newsprint in a red substance. Photo: Jonathan Olley In further unsurprising sequel news from this week’s film industry convention CinemaCon, Warner Bros. has confirmed that it will make a sequel to The Batman. Star Robert Pattinson and director Matt Reeves will both return for the follow-up to the biggest film of 2021 so far. No release date was given. Reeves confirmed that he would write as well as direct The Batman 2, and said, “I’m excited to jump back into this world for the next chapter.” As noted by Variety and Deadline, The Batman marked Warner Bros.’ return to releasing movies exclusively in theaters after more than a year of simultaneous releases on its streaming service, HBO Max. The film made around $760 million at the worldwide box during a relatively short 45-day theatrical window, before its HBO Max debut last week brought in a bigger home audience than any of last year’s day-and-date films (which included Dune, Wonder Woman 1984, and The Matrix Resurrections) — proving that, when it comes to franchise entertainment at least, you can have your cake and eat it. Fans should be happy to see Pattinson return to the role. His moody and vulnerable take on the character was widely praised, with Polygon’s The Batman review calling him “a great Batman, surly and serious, but not impenetrable.” No plot details for the new film have been announced, although after Barry Keoghan’s monstrous Joker was unveiled in a deleted scene released a few weeks after the film’s opening, it seems more than likely that the character will at least make an appearance. If you, like Warner Bros., just can’t get enough Batman, then may we suggest you check out our completely faultless and inarguable Batman movie rankings, or this exclusive preview of the origin story of Batman as a dinosaur.

... copy-and-pasted from.... the URL is... the partial URL is... https://newrepublic.com/article/99652/ ... Stanley Kauffman's review of Scorcese's movie "The Age of Innocence"..... wait-... did Stanley Kauffman amend... change.. is original review of this movie... I don't honestly know... because... in this review... he says he likes that Winona Ryder... as a person... as who she is as a person... can only be unconvincing in respect to social superiority... and that that made him smile... made Stanley Kauffman smile..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder monica bellucci angelina jolie.. stochastic disturbance terms.. $3..

Stanley Kauffmann/January 13, 2012 TNR Film Classics: ‘The Age of Innocence’ (October 18, 1993) The basic trouble with Martin Scorsese’s The Age of Innocence (Columbia) is Edith Wharton’s novel. Looking back fifty years in 1920, Wharton conceived a tale of love versus honor set in New York high society of that past era, and she embodied it in a full-dress novel. But her material would have served only as a short story, at most a novella, for Tolstoy or Chekhov. What helps to sustain Wharton’s more extended treatment is the attractive prose in which she wraps her narrative. Her writing has so much wit and perception, such a taking blend of satire-cum-nostalgia, that the book holds us though the story is slender. (I still feel the ending shortchanges us. I want to know what Ellen Olenska said to Newland Archer’s son in her Paris apartment, what the youth thought when she ordered the shutters closed against his father, how he later reported the meeting to his father.) In the film, without its garment of text, the denuded story is thin. It’s worse than that—because the film tries to be the novel. Attempting to reproduce the text’s quality, very nearly page for page, Scorsese even uses considerable prose excerpts on the soundtrack (read flatly by Joanne Woodward). He and his co-adapter, Jay Cocks, have been zealously faithful to the original, but, ironically, all that this fidelity does is make the picture seem slow. Film can’t cloak, can’t justify, as Wharton’s prose does, the linearity of the story. It’s even worse—because (to close the novel’s trap) Scorsese and Cocks had no choice: the picture has to run as long as it does. The adapters understood that there was absolutely no point in the enterprise if the decorum of drawing room and dining room, the rustle of silk and the spruceness of boutonnières were slighted. Etiquette, at its most stately, is the theater of this drama. Among some critics, there was advance worry about this; could Scorsese, the director from Little Italy, cope with the Four Hundred? That worry always seemed unnecessary to me. A director of his gifts, flanked with brigades of various period experts, aided mightily by the camera of Michael Ballhaus, would delight in the nooks and crannies of the period—and he does. But it’s a bitter triumph. He had to include all the glitter and elegance; yet it doesn’t sustain the story as Wharton’s writing does. Introductory offer: 50% off fearless reporting. 1 year for $10. Subscribe Not for lack of cinematic imagination. Scorsese is one of the two or three best American directors now at work, and his talent is quickly evident in the way the camera searches out every wisp of possible action in a scene, the way that characters move up to and past the camera to suggest that the theater we are sitting in is part of the room on screen, the way the camera often nestles in to people as if to hear secrets. In a moment that might have been static for another director, when Newland Archer gets an important telegram from his fiancée May Welland, Scorsese has May speak it in front of an immense bank of flowers as the camera comes close, charging the moment with perfume and intimacy. When twenty-six years elapse, after Ellen takes herself out of Newland Archer’s life and returns to Europe, a time-lapse that Wharton can handle with a simple chapter break, Scorsese shuns the banality of fade-out on the young Archer and fade-in on the middle-aged man. He concentrates on Archer’s library "in which most of the real things of his life had happened." He circles the room slowly, showing us moments in the Archer family chronicle during those years. And music! The most Scorsesean touch in Wharton’s book is that it begins at the opera. (Remember Mascagni under the opening of Raging Bull.) Red meat to Scorsese, as it was to Visconti in Senso. Onward from this opening, Scorsese uses lively music to spank sequences into life—often, at balls and parties, with music that comes from within the scene or else with Elmer Bernstein’s felicitous score. But—a heavy but—Scorsese has made serious mistakes with his principal actors. The biggest disappointment is in the crucial part, Daniel Day-Lewis as Newland Archer. Archer is the protagonist, happily affianced to May Welland, who then falls in love with the newly arrived Ellen Olenska. The central drama is his. (Ellen’s agon is no less, but she isn’t placed at the center.) On the basis of Day-Lewis’s past work, forceful and graphic in A Room With a View, My Beautiful Laundrette and My Left Foot, he seemed very likely to inhabit the role, to vitalize it. He doesn’t. He merely moves through it. There’s never a spark to sting us: he leaves us cold, observant. Perhaps Scorsese was counting on his personality to grip us, a resident power such as Fredric March or James Mason had. Day-Lewis doesn’t have it. He needed to act (which Mason or March would have done, too!), but he doesn’t. He skates through. It’s surprising that Scorsese didn’t remedy this. Michelle Pfeiffer is a somewhat more complicated case. As Ellen Olenska, the American who returns to New York after a broken European marriage, Pfeiffer tries hard but fails. It’s sad. She is living as intelligent a life as is possible for an American film star these days: seeking variety, taking chances, addressing every role with all the resources she can command. She just doesn’t command enough—in fire or depth or resonance. The result in film after film is a somewhat washed-out version of the woman she is playing, like a painting that has faded. Her Ellen is perceptible but pallid. What helps Pieiffer most is the fact that though she is exceptionally pretty, she patently doesn’t rely on her prettiness: she wants to act. But, with her Ellen, though we know what she means from moment to moment, we simply don’t feel it. Winona Ryder is disastrously miscast as May Welland, Archer’s utterly conventional fiancée and eventual wife who turns out to have been more perceptive than her husband knew. Ryder is wrong, first, physically. Wharton describes May as being “tall, rotund-bosomed and willowy” with a “goddesslike-build,” and comments frequently on her features. Clearly Wharton means May’s physical being to help explain why Archerwanted her. Here Archer has chosen a moderately pleasant, quite unremarkable girl. As for Ryder’s acting, the one smile for me in this film—which is and must be socially hyperconscious—was when Ryder remarks to Archer that a man she has just met seems common. To put it gently, her social superiority is unconvincing. Robert Sean Leonard, who trivialized Claudio in the recent Much Ado About Nothing, has less chance here to do damage in the small role of Archer’s son. But most of the supporting actors in the lustrous New York social parade are neatly cast, and two of them do the best acting in the film. Alec McCowen, as Sillerton Jackson, the aging socialite, has the gravity of a man to whom protocol is his reason for being. Miriam Margolyes, as the obese and ultra-rich Mrs. Mingott, curls the surrounding air with dry disdain and hierarchical rigor. The Age of Innocence was dramatized on Broadway in 1928 and was filmed in Hollywood in 1924 and 1934. I don’t know any of those versions, and I wonder how (which means I doubt that) they avoided the snare that Wharton unwittingly set for her adapters, the snare that, for all his gifts, caught Scorsese. Stanley Kauffman was a film critic with The New Republic, beginning in 1958 and continuing until 2013. He was also a professor of English, Drama, and Film at City University of New York from 1973 to 1976, and taught at the Yale School of Drama.

... Hanno Ridal Raudsepp: ...."... Winona Ryder did actually give a better performance.... a much better performance... in the movie 'Boys' than she did in 'The Age of Innocence'...."....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 6 ted kord ewen bremer... track 6 ted kord ewen bremer... track 6... track 6... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 6... is the official, quintessential music of... Hanno Ridal Raudsepp: ...".... Stanley Kauffman is dead and will not be mourned... and what I hate... is owing him... is owing Stanley Kauffman his canny, unparalleled understanding of who Winona Ryder is as an actress..."......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 4 g. willow wilson doris zeul angelina jolie gal godot... track 4 g. willow wilson doris zeul angelina jolie gal godot... track 4... track 4... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 4... is the official, quintessential music of... 'stochastic disturbance' means 'random disturbance'... it means the fractals of Wandering Wanda (kate moss).... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 22.... track 22.... track 22... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune".... track 22... is the official, quintessential "end-titles" music of.... Havok (Hanno Ridal Raudsepp): ...".... before he was Richard Allen Davis... before his name became Richard Allen Davis.... his name was Xavier Roberts... he was Xavier Roberts before he was Richard Allen Davis.... the name of polly klaas is lorna dane... polly klaas is lorna dane...."......... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 20 lykaies apollo.... track 20 lykaies apollo... track 20.... track 20... of Hans Zimmer's soundtrack to the movie "Dune".... track 20 lykaies apollo... is the official, quintessential music of.... Hanno Ridal Raudsepp: ...".... Kiernon Gillen is not Kieran Culkin... there is no connection between the two people whatsoever.... who would say that they are the same person... who would think a thing like that.... only a true moron would think that Kiernon Gillen and Kieran Culkin are the same person... only the stupidest, most moronic of people would think that.... would believe that..."....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 18 nightingale-mist-apocalypse... track 18 nightingale-mist-apocalypse... track 18... of Hans Zimmer's soundtrack to the movie "Dune"... track 18 nightingale-mist-apocalypse... is the official, quintessential music of... it is very possible... extremely, severely possible... that on the long-term, multiple-episode state-of-the-arts-special-effects television show of 'The Uncanny X-men': executive produced by Scorcese... many, many, many episodes personally directed by him... by scorcese... it is very, very possible... severely possible that on this television show... Havok (Hanno Ridal Raudsepp) never likes his older brother Cyclops (James Marsden)... that he doesn't like him at all not on a... single... episode... of this multiple-episode 'The Uncanny X-men' television show: executive produced by scorcese... mr. scorcese... it is the reality and actuality of this television show... that Havok (Hanno Ridal Raudsepp) believes that his older brother Cyclops (James Marsden) is the one and only myron breckinridge... and that rusty was always female... and that rusty is Havok's (Hanno Ridal Raudsepp's) girlfriend, lorna dane (embeth davidtz)... that rusty was always lorna (embeth davidtz)... that rusty was always lorna (embeth davidtz)... that Havok (Hanno Ridal Raudsepp) always, unwaveringly believes this.... on the multiple-episode 'The Uncanny X-men' television show: executive produced by scorcese... mr. scorcese... many, many, many of the episodes of this television show personally directed by scorcese himself... by mr. scorcese... himself....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... copy-and-pasted from... from... comicvine.gamespot.... the bio of Henry Gyrich ...

Henry Gyrich CHARACTER » Henry Gyrich appears in 631 issues. Henry Peter Gyrich, an ambitious politician, has often been a thorn in the side to the superhuman community. Afraid of that which is different, Gyrich has often hindered the effectiveness of superheroes and has been among the first to blame them for society's ills. Character Wiki Images (41) Forum (0) News Recommended reading Comics Related Pages Henry Gyrich appears in 631 issuesView all The Avengers The Avengers 20 appearances Gli Incredibili X-Men Gli Incredibili X-Men 15 appearances X-Men X-Men 15 appearances The Incredible Hulk The Incredible Hulk 13 appearances Henry Gyrich last edited by SlamAdams on 12/22/21 07:19PM View full history Creation Henry Gyrich was created by Jim Shooter and John Byrne and first appeared in The Avengers #165. Character Evolution Henry Gyrich was first seen with the Avengers, a government agent assigned to keep the them under wrap. He had a policy of no more than six people on the team at once, leading to Hawkeye's replacement temporarily with the Falcon. Gyrich since went on to be a thorn in the backside of more than just the Avengers and started targeting mutants. After running for presidency, being brainwashed into being an assassin, trying to depower all of Earth's super humans, he eventually came to oversee The Initiative where he developed a personal team of superhuman bodyguards known as the Shadow Initiative. After it was discovered he had covered up the death of MVP and had illegally duplicated him, he was fired. However he soon became head of SWORD and tried to rid Earth of all aliens. He was later brainwashed by the Queen Hydra and used to work against America. He brainwashed Demolition Man into becoming the new Scourge and had him kill supervillains in witness protection. Alternate Earths Earth-295 (Age of Apocalypse) Gyrich, a human terrorist, infiltrated Angel's nightclub Heaven with explosives strapped to his chest. He was about to set off the bombs with the purpose of killing all the mutants within the club, but was stopped by Elite Mutant Force members Jesse and Terrence Bedlam. He was arrested and sent to prison. Under unknown circumstances he was liberated and continued to fight alongside the Human Resistance, helping to train Horror Show and Jean Grey. IN OTHER MEDIA X-Men: The Animated Series Gyrich was a recurring villain for most of season 1. Voiced by Barry Flatman. He oversaw the production of Sentinels, and was in charge of the Mutant Control Agency/Mutant Registration Program. Because of this, he was indirectly responsible for the "death" of Morph in the first episode. Due to the X-Men breaking into the agency and all the public backlash from the program since it started, the President orders Gyrich to shut down the Agency/program as well as his Sentinel project. She also questions Gyrich as to why mutants felt it was important to take the risk of breaking into a government installation in order to sabotage the registration database when it was supposed to be for their benefit? He successfully evades telling the truth, but still leaves in outrage over the President apparently taking the side of freaks. In the season 1 finale, he and Bolivar Trask implement their plans to have Senator Kelly promise them full endorsement for their Sentinel program when he becomes President, but Master Mold takes complete control and decides to have Sentinels run the entire world in order to have peace. Gyrich and Trask demand that Master Mold return to his original programming of protecting humanity from mutants, but Master Mold blows their minds by pointing out the basic fact, "Mutants are humans." Therefore, humanity must be protected from itself by having Sentinels run everything. The X-Men and Magneto are able to defeat Master Mold, destroy the Sentinel factory, and rescue Gyrich, Kelly, and Trask. Gyrich appears only two more times for the rest of the series, including the series finale. In the final episode, "Graduation Day", Gyrich severely wounds Professor Xavier and exposes his mutant powers to the public during a important debate. As the police take him away, he screams that anyone who defends mutants is a mutant! Weird thing about this episode is that even though the character is addressed as Gyrich, His appearance and volatile behavior is far closer to Graydon Creed, even sounding more like Creed's voice actor, John Stocker.

... track 16.... track 16... track 16.... of Hans Zimmer's Oscar-winning soundtrack for the movie "Dune"... track 16.... is the official, quintessential, heavy dark matter music of... 9-year old lisa simpson: ...."... it's just-.... like... it's Ron Chernow.... it's issue #3 of 'Devil's Reign - X-men'.... it's like a black pitch-charcoal black Raven shadow could have eclipsed the soul of Ron Chernow and he could have actually-.... written-...?...-... issue #3 of 'Devil's Reign - X-men' from Duggan and Noto... - okay... - okay ... - okay ...- okay... maybe I don't literally mean that Ron Chernow wrote this issue #3 - Devil's Reign - X-men issue as writer Gerry Duggan... it's like-... it's-.... it's-... the hard-core heavy influence-.... something- far, far, far, far, far beyond influence of the mind and intellect and labyrinthine knowledge of white-collar finance of Ron Chernow... in the dialogue of Emma Frost in issue #3 of 'Devil's Reign - X-men'.... " ....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 15 nocturna monica bellucci... track 15 nocturna monica bellucci... track 15... track 15... of Hans Zimmer's soundtrack to the movie "Dune"... track 15... is the official, quintessential music of... what does it mean to be an "impersonator" ... the Jason Macendale biography... on comicvine.gamespot ... at one time refers to Ned Leeds as being the 'impersonator'- Hobgoblin... but this... impersonator-status is dostoevskian... and also is Henry James... so complex... so complex and profound.... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 14... track 14... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 14... is the official, quintessential, haunting music of... the J. M. Dematteis-written Lex Luthor of JLU... a Lex Luthor who may truly, inscrutably, authentically possess... sorry... have... the soul of the Brian Michael Bendis-written Jessica Drew of issue #14 of 'The New Avengers', written by Brian Michael Bendis.... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 12 Victoria brianne hill 37-year old Brianne 'sparrow's breast'- lady macbeth Victoria lane Hill Lois Lane... track 12 Victoria brianne hill 37-year old Brianne 'sparrow's breasts'- lady macbeth Victoria lane Hill Lois Lane... track 12... track 12... of Hans Zimmer's Oscar-winning soundtrack for the movie "Dune"... track 12... is the official, quintessential music of... the tiny, tiny, tiny, tiny lisa simpson who is dressed beautifully in the winona ryder may welland white dress during a parade on 'The Simpson's' on youtube.... and this tiny, tiny, tiny, tiny winona ryder may welland white dress lisa simpson... she is so adorable and so decent and compassionate and so GOOD a person in the most complex way conceivable as she plays the role of the peacemaker during this parade of.. I think there may be a theme of political Ireland in this parade... on 'The Simpsons' on youtube... I LOVE LOVE LOVE LOVE LOVE this lisa simpson and I really want 3-year old soon 4-year old kate moss to play her in a live-action 'The Simpsons' movie directed by Mr. Scorcese... Mr. Marty Scorcese.... and it's like I so far just LOVE LOVE LOVE all all all and I mean ALL the lisa simpsons who I find on youtube... when I look up the simpsons episodes on youtube... and... it's just... sob sob sob... sob sob sob sob sob sob sob sob sob... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... track 12... track 12.. of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 12... is also the official, quintessential, roiling, tempestuous music of... Meryl Streep in the movie "Sophie's Choice"....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.. stochastic disturbance terms.. $3..

... track 8 nude queen hippolyta nude monica bellucci... track 8 nude queen hippolyta nude monica bellucci... track 8... of Hans Zimmer's Oscar-winning soundtrack to the movie "Dune"... track 8... is the official, quintessential, awesome music of... 'Art of Davidtz'- Embeth Davidts: the most beautiful woman in the universe.... and from a unique angle, she has exactly the face of michael rosenbaum... maybe not of every single person who is michael rosenbaum... but from this unique angle of light... she has exactly the face of a very remarkable, unique michael rosenbaum.... who may be very hard... to find... to locate... now... in the year 2022..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder.. stochastic disturbance terms.. $3..

Agnes Christie Pax of earth-1 (Willie Tell Archer-1): ..."... today is Wednesday... a Wednesday, the date of April the 27th...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3....

.... Marlon Brando-.... I'm sorry... the linguistics of Stanley Kauffman are so labyrinthine that they are.. his linguistics are impenetrable... but I honestly don't agree with Stanley Kauffman about Marlon Brando in 'The Godfather'.... Marlon Brando... 3-year old megan d. iseult: ...".... marlon brando-..... ?... in the Godfather... but I loved him....".... I'm sorry-... I don't know the website I copy-and-pasted this review of the Godfather by Stanley Kauffman... from... the website I copy-and-pasted this review of Stanley Kauffman's from.... I don't know the name of this website.... or the URL... I thought Marlon Brando was so-.. so real and authentic and naturalistic and actor in 'The Godfather'.. and so nuanced....

Stanley Kauffmann/April 1, 1972 “The Godfather” and the Decline of Marlon Brando PARAMOUNT PICTURES Hurricane Marlon is sweeping the country, and I wish it were more than hot air. A tornado of praise—cover stories and huzzahs—blasts out the news that Brando is giving a marvelous performance as Don Corleone in The Godfather, the lapsed Great Actor has regained himself, and so on. As a Brando-watcher for almost 30 years, I’d like to agree. I don’t see how any gifted actor could have done less than Brando does here. But from his opening line, with his back toward us, Brando betrays that he hasn’t even got the man’s voice under control. (Listen to the word “first.” Pure Brando, not Corleone.) Insecurity and assumption streak the job from then on. They have put padding in his cheeks and dirtied his teeth, he speaks hoarsely and moves stiffly, and these combined mechanics are hailed as great acting. I don’t see how any gifted actor could have done less than Brando does here. His resident power, his sheer innate force, has rarely seemed weaker. His gift of mental transformation, the conviction that the changes are interior and that the externals merely reflect them, is not nearly as strong here as in, say, The Young Lions or Viva Zapata or On the Waterfront or Teahouse of the August Moon. He is handicapped by poor makeup: his hair is not gray enough and his hairline ought to have been altered so that he doesn’t constantly suggest Brando. But the real fault is his own: his laxness, sloth. He has become so lazy in recent years that he is willing to take intent for deed. Corleone has no moments of outburst—the Brando trademark, the leap of flame out of menacing quiet—so his dominance has to come from imagination; muscled by concentration. What Brando manufactures is surface—studied but easy effects. A few moments ring true. When he hears of the death of his son, an ache starts deep in him and works to the surface through the fissures in the old man’s emotional armor. But generally, as they say at the Actors Studio he used to frequent, he gives us mere indication. It’s only the superficial contrast with the “standard” Brando that is making people gasp. Introductory offer: 50% off fearless reporting. 1 year for $10. Subscribe Compare Brando’s performance with Jean Gabin in virtually the same role in a recent French film called The Sicilian Clan. What authority Gabin had, how the waters of the world parted before him. If it’s argued that Gabin had a head start by reason of age and temperament, that only proves my point: Brando is being praised because of the difference between him and this role, not because of his achievement in it. The magnificent talent that dozed off some years ago is not fully awakened yet. Like star, like film. The keynote is inflation. Because the picture has so much of the commonplace, it escapes being called commonplace. In no important way is it any better than The Brotherhood (1968), on the same subject. (The word Mafia is never mentioned, but it doesn’t need to be.) The Godfather was made from a big best-seller, a lot of money was spent on it, and it runs over three hours. Therefore it’s significant. We’re getting the usual flood of comments that the Mafia is only mirror-image corporate capitalism. (All the killings in the film are said to be “business, not personal.”) These high-school analogies ignore, among other things, the origins of the Mafia and its blood-bonds of loyalty, which have nothing to do with capitalism. Almost every one in The Godfather is either a murderer or an accessory, so its moral center depends on inner consistency and on implicit contrast with non-murdering citizens around it. As the picture winds on and on, episode after episode, its only real change is the Mafia’s shift from “nice” gambling and prostitution to take on “dirty” narcotics. (Time, the late 1940s.) Well, I suppose everything’s going to hell, even the morality of the Mafia, but the picture certainly takes a long, long time to get there. Al Pacino, as Brando’s heir, rattles around in a part too demanding for him. James Caan is OK as his older brother. The surprisingly rotten score by Nino Rota contains a quotation from “Manhattan Serenade” as a plane lands in Los Angeles. Francis Ford Coppola, the director and co-adapter (with Mario Puzo), has saved all his limited ingenuity for the shootings and stranglings, which are among the most vicious I can remember on film. The print of the picture showed to the New York press had very washed-out colors. Stanley Kauffman was a film critic with The New Republic, beginning in 1958 and continuing until 2013. He was also a professor of English, Drama, and Film at City University of New York from 1973 to 1976, and taught at the Yale School of Drama.

... copy-and-pasted from.... I think the name of this URL is... https://thethings.com/will-johnny-depp-work-with-tim-burton-again/ ... I think that's the name of this URL I copy-and-pasted this article from....

Will Johnny Depp Be Cast In This Upcoming Tim Burton Movie? BY LANE VASQUEZ PUBLISHED DEC 12, 2020 Johnny Depp may be dealing with personal troubles, but will Tim Burton cast him in this upcoming project? Johnny Depp and Tim Burton in a throwback black and white photo - Johnny Depp and Tim Burton at an 'Edward Scissorhands' premiere Despite all his troubles in the media lately, Johnny Depp is still a fan favorite. In fact, many of his Hollywood connections continue to support him. And one of those is director and creative genius Tim Burton. Johnny's been in Tim's films before, and the two share a very close relationship. Plus, the two have partnered on such cinematic gems as 'Edward Scissorhands,' 'Charlie and the Chocolate Factory,' 'Corpse Bride,' 'Sweeney Todd,' and more! But when it comes to future projects with Depp, Burton's hands might be tied to some extent. Added to that is the fact that the pair haven't worked on a film since 2012... THETHINGS VIDEO OF THE DAY Close RELATED: Johnny Depp Fans Defend Him After Lawyer Demands He's Dropped By Dior Today, though brands like Dior are still backing Johnny, fans on Quora point out that Netflix might not be so easily swayed by fans. Burton's next big project — 'The Addams Family' series — is slated to release via Netflix in 2022, confirms Deadline. And as rumor has it, Burton wants Depp to portray Gomez Addams. Multiple 'sources' have hinted that Tim Burton has explicitly said he thinks Depp would be perfect as Gomez, and fans agree. As one so eloquently put it, "Johnny Depp as Gomez Addams just makes the weirdest most perfect sense…" Those same sources say that Netflix needs to be convinced, however. There's also the potential for backlash over Johnny's casting, a

... Hanno Ridal Raudsepp: ...."... being an actor should not be just like being a cutter..... being an actor should not be exactly the same as being a cutter.... no one should EVER be forced to play the role of Havok like that... EVER!!!!!!!.... EVER!!!!!!!!!.... EVER!!!!!!!!!!!.... I am Hanno Raudsepp and I am the victim of a horrific human rights atrocity in my faculty and capacity of being an actor playing the role of Havok over the course of almost a whole year.... I am Hanno Raudsepp and I am a victim of a horrific, satanic, sadistic war-crime and hate crime in my faculty and capacity of being an actor playing Havok for what is now almost a whole year now....... "..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

Hanno Raudsepp: ...".. I am Hanno Raudsepp and.. in the role of Havok.. I have suffered now for almost a whole year literally almost every single day I have suffered infinitely more horrifically as the victim of infinitely more sadism than Sylvester Stallone in the role of John Rambo in the movie 'First Blood'.... " ....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... Hanno Ridal Raudsepp: ..."... William Shakespeare has Lady Macbeth describe her husband Macbeth in these words... that he is 'too full of the milk of human kindness'.... this quote of Lady Macbeth gave A. C. Bradley serious, grave pause.... Macbeth is compassionate... Macbeth is fearless... but A. C. Bradley thought: 'too full of the milk of human kindness'... is that MACBETH... is.. is... IS that Macbeth... is that MACBETH... being 'too full of the milk of human kindness'... it may have been a metaphor that troubled A. C. Bradley as a description of Macbeth... 'milk' may be a metaphor or symbol for women... for the female gender... and something so satanic and horrific happened with what Shakespeare found his beloved Lady Macbeth said about how brutally and horrifically she believed herself capable of killing her little baby.... I think Lady Macbeth is childless.. but my beautiful soul Marga Anto he voice dissolved into a despairing, sad, Wagnerian whisper of sorrow and horror and fear when she read the quote of how Lady Macbeth described how if she had a baby how brutally and horrifically and satanically she Lady Macbeth would be willing to brutally kill her baby.. her own baby... this is not Lady Macbeth... for Lady Macbeth is spiritual, sacred and holy and one of the most beloved characters of Shakespeare and indeed in the whole history of literature itself... A. C. Bradley may never forgive himself for saying that Lady Macbeth was to great a personage to feel remorse... that she was too great to feel remorse... A. C. Bradley wrote that... but these are terrible, awful words of A. C. Bradley.... for Lady Macbeth is full of the milk of human kindness... and she has a sacred, beautiful soul... which is how Victoria Hill played her... exactly how she played her... I've only seen extremely, extremely, extremely brief footage on the internet of Victoria Hill's Lady Macbeth... but she is so enchanting in this role... so enchanting in the role of Lady Macbeth.... I think that Victoria Hill was awe-inspired by the legend and legacy of Emily Watson in a movie I've seen very little of... the movie 'Breaking the Waves', directed by Lars von Trier... I read on the internet in the year 1999.... in the year 1999 I read on the internet an article by a woman on a movie entertainment website... and the woman who wrote this article wrote only about her pure, unbridled excitement about Emily Watson's naked hysterics... about Emily Watson's nudity while having hysterics... her nudity while engaging in hysterics in the movie 'Breaking the Waves', directed by Lars von Trier... I've never seen those scenes.. of Emily Watson's nudity while having hysterics... I've never ever seen those scenes from the movie 'Breaking the Waves' in my life... the movie 'Breaking the Waves', directed by Lars von Trier... but this woman female entertainment movie writer of truly erotic soul in the year 1999 her article on the internet in the year 1999 in that article she wrote so passionately about Emily Watson's naked hysterics in the movie 'Breaking the Waves', directed by Lars von Trier... that she ended the article by saying that she the writer herself wanted to have hysterics just like that and that.. in her words... maybe 'she would do it nude'.... the article by this female writer ended with those words.... it's the footage I've seen on the internet of Victoria Hill having naked hysterics as Lady Macbeth... of Victoria Hill's nudity while having hysterics as Lady Macbeth... that makes me honestly believe that Emily Watson... Emily Watson in the movie 'Breaking the Waves', directed by Lars von Trier... that Emily Watson was Victoria Hill's muse and inspiration and Delphic Oracle... and Great, Leviathon Python who was guarding the Oracle of Delphi.... that the reality of Emily Watson doing naked hysterics in this Lars von Trier movie was all those things to Victoria Hill in the role of Lady Macbeth... their is a bare breasted Victoria Hill in a photograph screen-capture from her movie-role as Lady Macbeth in more than one of my binders.. and this photograph of a bare-breasted Victoria Hill Lady Macbeth... her face is so.... I can't describe the soul-shattering soul-annihilating facial expression of pure terror and horror of the face of the bare-breasted Victoria Hill as Lady Macbeth in this screen-capture from footage of her as Lady Macbeth this photograph of her... as a true Medusa of Greek Mythology Lady Macbeth in this photograph of her... from her nude scene having hysterics as Lady Macbeth... a screen-capture in more than one of my "screenplay"- binders..."..... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

Agnes Christie Pax of earth-1 (Nude Willie Tell Archer-1 aka the statuesque, very, very young beautiful nude woman with razor-neat brown hair standing with apocaltypic posture on a wooden footstool inside an archive of books on shelves the shelves full to the brim with books and she is removing a single book from the bookshelf.. a single book... in a photograph that was on Hegre Art on the internet on Hegre Art in the year 2008 and 2009.. I think also in the year 2007 definitely as well... simultaneous to the very first photographs of the Nude strong, limber, leviathon-beauty woman with blond hair who was 'Zulu Warrior' on Hegre Art and you can still find her as Elly.. she's a beautiful, young nude woman who is 'Elly' on Hegre Art.. she is 'Elly' and 'Zulu Warrior' on Hegre art.. she is 'Elly' and 'Zulu Warrior' on Hegre art and she and the truly Victorian, young, beautiful, statuesque nude woman standing on a wooden footstool inside a full book archive removing a single book from the bookshelf... it's a question or query whether she would actually LIKE the actress screename 'Willie Tell Archer'... a name derived from William Tell and Isabelle Archer from Henry James's novel 'Portrait of a Lady'... would she LIKE the name 'Willie Tell Archer' as her official, Hollywood movie-star screename in the opening and end-credits of movies she's in): ...".... it is about approximately 11:30 am in the morning today the date of April the 27th... a Wednesday...."....... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3.. the name of 'Gwendolyne'.. named after Queen Guinevere of the Arthurian myths and legends for 'Elly - Zulu Warrior' of Hegre Art as her first name for her screen-name...?... in the opening and end-credits of movies.. and the name for 'Elly - Zulu Warrior'... being... Gwendolyne Bistrow... sorry... I'm thinking of John Ritter as Jack Tripper on the sitcom 'Three's Company' when he opened a wonderful Restaurant called 'Jack's Bistro'... I'm thinking of what a truly wonderful word the word 'Bistro' actually is... 'Elly - Zulu Warrior' of Hegre Art as a famous Hollywood actress named... with the screen-name of 'Gwendolyne Bistrow'.. named after Queen Guinevere of King Arthur myths and legends and 'Jack's Bistro' of 'Three's Company'... 'Gwendolyne Bistrow' in the opening- and end-credits of movies she's in... 'Elly - Zulu Warrior'.. would-... WOULD she want that as her screen-name... 'Elly - Zulu Warrior' on Hegre Art... my dream is that she 'Elly - Zulu Warrior' being famous Hollywood movie-actress with the screen-name 'Gwendolyne Bistrow' that under that actress screen-name she would play Shayera Thall aka Hawkwoman for DC Studios... the origin of Shayera Thall is in Tim Truman's three-issue graphic novel mini-series called 'Hawkworld'... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3..

... copy-and-pasted from... from... https://karsh.org/a-brief-biography/ ...

MENU Karsh Signature Yousuf Karsh, master photographer of the 20th century A Brief Biography Leaving Armenia – Arriving in Canada The Early Years – Garo The Early Years – Ottawa His International Career The Later Years – Boston Leaving Armenia – Arriving in Canada On the stormy New Year’s Eve of 1925, the liner Versailles reached Halifax from Beirut. After a voyage of twenty-nine days, her most excited passenger in the steerage class must have been a seventeen-year-old Armenian boy who spoke little French, and less English. I was that boy. My first glimpse of the New World on a steely cold, sunny winter day was the Halifax wharf, covered with snow. I could not yet begin to imagine the infinite promise of this new land. For the moment, it was enough to find myself safe, the massacres, torture, and heartbreak of Armenia behind me. I had no money and little schooling, but I had an uncle, my mother’s brother, who was waiting for me and recognized me from a crude family snapshot as I stepped from the gangplank. George Nakash, whom I had not seen before, sponsored me as an immigrant, guaranteed that I would not be a “public charge,” and traveled all the way from his home in Sherbrooke, Quebec, for our meeting — the first of his many great kindnesses. We went up from the dock to the station in a taxi, the likes of which I had never seen — a sleigh-taxi drawn by horses. The bells on their harnesses never stopped jingling; the bells of the city rang joyously to mark a new year. The sparkling decorations on the windows of shops and houses, the laughing crowds — for me it was an unbelievable fantasy come true. On the two-day journey to my uncle’s home, I marveled at the vast distances. The train stalled in a deep snowdrift; we ran out of food; this situation, at least, was no novelty for me. I was born in Mardin, Armenia, on December 23, 1908, of Armenian parents. My father could neither read nor write, but had exquisite taste. He traveled to distant lands to buy and sell rare and beautiful things — furniture, rugs, spices. My mother was an educated woman, a rarity in those days, and was extremely well read, particularly in her beloved Bible. Of their three living children, I was the eldest. My brothers Malak and Jamil, today in Canada and the United States, were born in Armenia. My youngest brother, Salim, born later in Aleppo, Syria, alone escaped the persecution soon to reach its climax in our birthplace. It was the bitterest of ironies that Mardin, whose tiers of rising buildings were said to resemble the Hanging Gardens of Babylon, and whose succulent fruits convinced its inhabitants it was the original Garden of Eden, should have been the scene of the Turkish atrocities against the Armenians in 1915. Cruelty and torture were everywhere; nevertheless, life had to go on — albeit fearfully — all the while. Ruthless and hideous persecution and illness form part of my earliest memories: taking food parcels to two beloved uncles torn from their homes, cast into prison for no reason, and later thrown alive into a well to perish; the severe typhus epidemic in which my sister died, in spite of my mother’s gentle nursing. My recollections of those days comprise a strange mixture of blood and beauty, of persecution and peace. I remember finding brief solace in my young cousin relating her Thousand and One Nights tales of fantastic ships and voyages and faraway people, and always, solace in the example of my mother, who taught me not to hate, even as the oppression continued. One day, I returned from school, my forehead bleeding. I had been stoned by Turkish boys who tried to take away my only playthings, a few marbles. “Wait,” I told my mother defiantly, “from now on I am the one who will carry stones.” My mother took me in her arms and said, “My son, they do not know what they are doing. However, if you must retaliate — be sure you miss!” My mother’s generosity, strength, and hope sustained our family. She took into our home a young Armenian girl, shared our few morsels of food with her, and encouraged her to use her hands instead of her eyes, which had been cruelly mutilated. My mother herself seemed tireless. She had to go every day to the distant mountain spring which was the one source of water for the whole community. Allowed only one small pail, she would wait patiently in line for hours to get enough water for her children. Running water, to me, is still a great blessing. In 1922, our family was allowed to flee. We had to leave our doors open — with us we took no baggage, only our lives. And we had to flee on foot. During our month-long journey with a Bedouin and Kurdish caravan, which would have taken only two days by the forbidden train, my parents lost every valuable they had managed to save. My father’s last silver coin went to rescue me after I was caught foolishly making a sketch of piled-up human bones and skulls, the last bitter landmark of my country. In the safety of Aleppo, Syria, my father painstakingly tried to rebuild our lives. Only those who have seen their savings and possessions of a lifetime destroyed can understand how great were the spiritual resources upon which my father must have drawn. Despite the continual struggle, day after day, he somehow found the means to send me to my Uncle Nakash, and to a continent then to me no more than a vague space on a schoolboy’s map. Uncle Nakash was a photographer of established reputation, still a bachelor when I went to live with him, and a man of generous heart. If my first day at Sherbrooke High School proved a dilemma for the teachers—in what grade did one place a seventeen-year-old Armenian boy who spoke no English, who wanted to be a doctor, and who came armed only with good manners? — the school was for me a haven where I found my first friends. They not only played with me instead of stoning me, but allowed me to keep the marbles I had won. My formal education was over almost before it began, but the warmth of my reception made me love my adopted land. The Early Years – Garo In the summer of 1926, I went to work for Uncle Nakash at his studio, burying my original desire to study medicine. While at first I did not realize it, everything connected with the art of photography captivated my interest and energy — it was to be not only my livelihood but my continuing passion. I roamed the fields and woods around Sherbrooke every weekend with a small camera, one of my uncle’s many gifts. I developed the pictures myself and showed them to him for criticism. I am sure they had no merit, but I was learning, and Uncle Nakash was a valuable and patient critic. It was with this camera that I scored my first photographic success. I photographed a landscape with children playing and gave it to a classmate as a Christmas gift. Secretly, he entered it in a contest. To my amazement, it won first prize, the then munificent sum of fifty dollars. I gave ten dollars to my friend and happily sent the rest to my parents in Aleppo, the first money I could send to them. Shortly afterward my uncle arranged my apprenticeship with his friend John H. Garo of Boston, a fellow Armenian, who was recognized as the outstanding portraitist in the eastern states. Garo was a wise counsellor; he encouraged me to attend evening classes in art and to study the work of the great masters, especially Rembrandt and Velázquez. Although I never learned to paint, or to make even a fair drawing, I learned about lighting, design, and composition. At the Public Library, which was my other home in Boston, I became a voracious reader in the humanities and began to appreciate the greater dimensions of photography. It was Garo, who bore a physical resemblance to Mark Twain but without the humorist’s flamboyance, who made a lifelong impression on me. Originally, I had been sent to Boston for six months, but Garo took so kindly to me and was so encouraging that, in the end, I spent a total of three years with him. In Garo’s studio, I learned many of the technical processes used by photographic artists at that time, among them platinum printing, and pigment or gum arabic, carbon oil and bromoil. The complicated procedures demanded great skill, intuitive judgment, discipline and patience. My first gum arabic print took me eighteen days; it had to be sensitized, coated, and resensitized many times. Learning these processes made me strive for perfection; time meant nothing, and only the final result counted. But Garo taught me something more important than technique alone — Garo taught me to see, and to remember what I saw. He also prepared me to think for myself and evolve my own distinctive interpretations. “Understand clearly what you are seeking to achieve,” he would say, “and when it is there, record it. Art is never fortuitous.” When he had made six glass plates of a person, there had been much sharing of truth between the photographer and his subject. An air of cultured informality surrounded Garo. Since sittings in the studio were by available light, we stopped long before dusk. That hour was the beginning of many a happy and often spontaneous gathering of his artist friends — men and women of great talent — who would come to be with Garo and each other. During those days of Prohibition, my extracurricular activities included acting as bartender for the hospitality that flowed, delivered to the studio in innocent-looking paint cans. As mixer of concoctions of “nitric acid” for Arthur Fielder, or “hypo” for Serge Koussevitzky, I shared in wonderful encounters with some of the great personalities in the world of music, letters, the theater, and the opera of the 1920s. Even as a young man, I was aware that these glorious afternoons and evenings in Garo’s salon were my university. There I set my heart on photographing those men and women who leave their mark on the world. Garo’s health broke and he died in 1939, when I was still struggling with my own first independent studio in Ottawa, and I grieved and felt remorse that I could not be with him at the end. Those last months impressed me with what I have come to hold as a general truth: It is rarely possible to repay directly those who have rendered us great personal kindnesses. But it is also futile to rationalize and say that the time for sacrifice, to repay just moral debts, is past — for I do not believe that time ever passes. Nature does not often collaborate with men to permit simple repayment, whether the debt is from son to father, from soldier to comrade, or from pupil to master. We may never be able to pay directly for the gifts of true friendship — but pay we must, even though we make our payment to someone who owes us nothing, in some other place and at some other time. The Early Years – Ottawa I left Boston in 1931. My interest lay in the personalities that influenced all our lives, rather than merely in portraiture. Fostered by Garo’s teachings, I was yearning for adventure, to express myself, to experiment in photography. With all my possessions packed in two suitcases, I moved to Ottawa. In the capital of Canada, a crossroads of world travel, I hoped I would have the opportunity to photograph its leading figures and many foreign international visitors. I had a modest studio; the furniture was mostly orange crates covered — tastefully, I thought — with monk’s cloth, and if I occasionally found myself borrowing back my secretary’s salary of $17.00 a week to pay the rent, I was still convinced, with the resilience of youth, that I had made the right choice. Within a short time I was fortunate to meet B. K. Sandwell, the learned editor of the prestigious and elegantly illustrated periodical Saturday Night; a civilized, warm attachment grew up between us. Accompanying Sandwell’s political and social comments, my photographs were reproduced for the first time in his magazine. While my career seemed to be well launched, I had few friends in Ottawa during those early months, and I welcomed an invitation to join the Ottawa Little Theatre, an enthusiastic group of amateur players. The casual invitation was to have lasting effects on my life and career. The experience of photographing actors on the stage with stage lighting was exhilarating. The unlimited possibilities of artificial light overwhelmed me. Working with daylight in Garo’s studio one had to wait — often for hours — for the light to be right. In this new situation, instructions about lighting effects were given by the director; he could command the lighting to do what he wished. Moods could be created, selected, modified, intensified. I was thrilled by this means of expression, this method of interpreting life; a new world was opened to me. One of the leading actors at the Little Theatre was Lord Duncannon, the handsome twenty-one-year-old son of the then Governor General, Lord Bessborough, and Lady Bessborough, who were themselves avidly interested in stage production and had a miniature theater in their own castle in Scotland. Lord Duncannon prevailed upon his parents to sit for me, and soon the Governor General, in full regalia with sword and decorations, accompanied by his elegantly gowned, statuesque French wife, was climbing the steps to my studio. In my eagerness and delight I became too excited. My mistakes in English frustrated me; I did not even focus the camera correctly; not surprisingly, this first photographic attempt was disastrous. But the Bessboroughs proved most understanding of a nervous young photographer’s feelings and consented to sit for me again; this time my portraits were a great success and appeared in the Illustrated London News, and the Tatler, the Sketch, and many newspapers across Canada. Something more important than my introduction to incandescent lighting came out of the Little Theatre. My first night there I was ushered into the dressing room of the leading lady, the spirited and independent Solange Gauthier, from Tours, France. From our marriage some years later, to her death in 1960, she was a source of encouragement, understanding, and inspiration. In those early days, convinced that I had some talent, she was interested in helping me, and often did, after her own day’s work as a technical translator in the field of metallurgy. Because of the grim circumstances of my child-hood, I had missed experiencing the arts; Solange was acquainted with music, literature, drama, and the dance, which she shared with me. After the searing grief of her death, I felt the most fitting tribute to her would be a living memorial at the Ottawa Little Theatre, and I established the yearly Solange Karsh Award for the Best One-Act Play in Canada, the cash stipend accompanied by a medal based on a photograph I had taken of her one carefree day, dancing under the willow trees. But all this was still in the future. When Lord Bessborough’s tenure was over, his successor as Governor General was Lord Tweedsmuir, better known to readers of adventure thrillers as John Buchan, the author of The Thirty-Nine Steps. He was the most informal of men, impatient with the strict protocol his position sometimes demanded. In 1936, when Franklin Delano Roosevelt, the first American President to pay an official visit to Canada, came to Quebec City to confer with Lord Tweedsmuir and Prime Minister Mackenzie King, I was invited to photograph this eminent guest. The resultant photograph was not only my first foray into photojournalism, but also the occasion when I first met Prime Minister King. From then on, we were not strangers in the world of Ottawa, and he would in time become my patron and friend. It was King who made it possible for me to photograph Winston Churchill in Ottawa in December 1941. The world’s reception of that photograph — which captured public imagination as the epitome of the indomitable spirit of the British people — changed my life. His International Career A year after the Churchill photograph, early in 1943, I was on my way to England on a slow and frightening voyage on a Norwegian freighter, part of a ninety-three ship convoy. Only when I had climbed on board did her captain confide to me that the ship’s cargo hold was loaded with explosives! In wartime London, as I photographed one exhilarating personality after another — among them George Bernard Shaw, the Archbishop of Canterbury, and the British royal family — I felt once again the excitement of my apprenticeship days in Boston, drinking in the conversation of Garo and his colleagues. It was in London that I started the practice which I continue to this day of “doing my homework,” of finding out as much as I can about each person I am to photograph. I returned to Ottawa fatigued, but with a feeling of accomplishment at having completed my first “international portfolio.” My life had been enriched by meeting many remarkable personalities on this photographic odyssey, the first of many, to record those men and women who leave their mark on our era. It would set a pattern of working away from my studio. Any room in the world where I could set up my portable lights and camera—from Buckingham Palace to a Zulu kraal, from miniature Zen Buddhist temples in Japan to the splendid Renaissance chambers of the Vatican — would become my studio. Through my photography I have not only become acquainted with some of the most celebrated personalities of our era but have had the opportunity to visit fascinating parts of the world I might not otherwise have known. On an off-the-beaten-track movie assignment in the Moroccan desert between Casablanca and Marrakesh, I put to use the Arabic I had learned as a small boy, and photographed some of the principal actors in the film Sodom and Gomorrah. The royal family of Morocco was intrigued by the presence of the film company and invited ten members of the crew on a most unorthodox deer hunt. At the foot of the mountain, our party was provided with mules, guns (I used my camera), and individual soldiers as honor guards. We awaited the arrival of our host, the Crown Prince. As we reached the top of the mountain, imagine our surprise when he finally appeared — in a helicopter roaring overhead — and proceeded to shoot his prey from above! But wherever I traveled, it was to Little Wings, our haven and anchorage, that I always returned, with its grove of white birches and rows of Lombardy poplars on the bend of the Rideau River. It took its name from the fact that the gently rolling property was on a bird migratory route and we logged many birds each year. The trees we planted were named not after their species but for dear friends. A row of global maples flanked by beds of roses is “Avenue Marsh Jeanneret” in honor of the former Director of the University of Toronto Press, who encouraged the publication of my early books and supported me in my insistence on high aesthetic standards of reproduction. A weeping mulberry tree and an umbrella crabapple are the central focus of two kidney-shaped gardens of spring tulips and seasonal flowers I designed in honor of our friend Dr. John P. Merrill of Boston, the eminent physician and pioneer in kidney transplantation. After World War II, my ties to the New World were drawn even closer when, some twenty years after my arrival, I was able to bring my parents and two of my brothers to my adopted land. (My other brother, Malak, had come in 1937.) I had hesitated at tearing my parents away from lifelong friends in Aleppo in the twilight of their lives and bringing them to a country completely different in language and customs. But I reckoned without their adaptability. Uncle Nakash and I secured permission to go aboard their ship before it docked in New York, to the surprise of my family and to our mutual joy. My mother and father, who had traveled little in their lives except to flee from persecution, chose to make the last lap of their journey to Canada by air, instead of by train or automobile. When the plane drew up to the ramp, after landing in Montreal, and everyone shouted “Welcome, welcome!” my parents dissolved in tears of joy, and I knew I had made the right decision. Years later, another newcomer to Canada I brought to Little Wings when he was six weeks old. One of three brothers and sisters, he boasted a distinguished lineage, having been born in the house of an American Secretary of State. For the trip to Ottawa, I had taken the precaution of reserving two airplane seats, providing the unsuspecting reservation clerk only with the enigmatic identification “Y. Karsh and C. Karsh, young personality.” That the “young personality” made the journey in my warm coat pocket, rather than in the cold baggage car, was due to my insistence, but with the benign approval of the gentlemen in Customs and Immigration. They were also beguiled by two pounds of black, energetic poodle fluff punctuated by a cold nose. His name, Clicquot, was short for the champagne, “Veuve Clicquot.” (The proud male bore no resemblance to a veuve [widow], but he was as effervescent as champagne.) Just as I had had no real childhood, I had had no real pets. Clicquot was my first pet, my philosophical companion on long walks. He was actor enough when coming in out of what he considered misty weather to shake nonexistent drops from his dry coat with an air of reproach. He innocently chased squirrels in the wrong direction, sent holiday greetings, and freely dispensed advice to his friends on how to commandeer that extra cookie and how to look pitiful so your mistress will feed you by hand. We hoped that because he gobbled up, in one ecstatic, disobedient moment, the chocolate ankh (key of life) we had brought safely from Egypt, half a world away, he, too, might partake of its magical powers—but we hoped in vain. We still miss him. It was a congenial medical office — one that always made me think of my original desire to be a physician — which provided the setting for Estrellita Nachbar, the gifted medical writer and historian who was to become my wife. I was in Chicago photographing her employer and mentor, one of America’s most distinguished physicians, Dr. Walter C. Alvarez. He was then bringing to millions of readers, through his syndicated column, the reassuring clinical wisdom and compassion that had made him a beloved and world-famous diagnostician at the Mayo Clinic. Estrellita had been Dr. Alvarez’s editor for some years, using her extensive literary and medical background to make difficult scientific concepts exciting and readable to the layman, and collaborating with the doctor on his current best sellers. As Newsweek whimsically put it when reporting our marriage in 1962, “Something else clicked beside the shutter.” With our marriage, at which Dr. Alvarez gave away the bride, we blended our worlds, each adding a new dimension to the other. With her editorial ability Estrellita helped me to formulate my thoughts. She also brought her organizational skills to planning trips and schedules so that work was always complemented by new discoveries. On all our travels over the years—whether to Zululand, to Japan, to Russia, to Finland, to Scandinavia, to Egypt—we have pursued our joint interests in archaeology, in art, in medicine. She has continued to write articles on medical history. I have often sat in the audience at her lectures, when her carefully concealed scholarship transforms research in old tomes into engaging and modern social history. Early in our marriage I began to photograph, as my contribution, the National Poster Children of the Muscular Dystrophy Association. Over the years our relationship with these remarkable young people has been close and meaningful. We have watched many grow up, graduate from high school and college, and marry. But not all. The premature deaths of many of these young people serve as a spur to medical researchers to try to eradicate all forms of crippling diseases. Throughout my career, I have welcomed young people to my studio. I always think back to Garo and all he taught me, and to Edward Steichen, who took the time to discuss photography seriously with me at a crucial moment in my young career. I welcomed the intervals when I was Visiting Professor of Photography at both Ohio University at Athens and Emerson College in Boston, and was buoyed by the contact with fresh viewpoints and youthful experimentation, in a humanistic setting. Today, when it seems every young person flirts with photography, the decision to pursue it as a lifetime career is an especially important choice. The Later Years – Boston In June of 1992, I closed my Ottawa studio in the Château Laurier Hotel and no longer accepted commercial assignments. After sixty years, it was an emotional wrench to say good-bye to my studio family and to the camaraderie of working together. Mrs. Hella Graber, my librarian and technician for over twenty years, had already left to pursue her own career. Mr. Ignas Gabalis, my superb printer, a man of high aesthetic standards and enormous technical skill, an artist in his own right, had just marked his fortieth year with me. Mary Alderman, my secretary, with the seeming effortlessness that is the hallmark of a true professional, handled day-to-day studio operations for twenty years. Quietly, and with subtle, low-key persuasion, “Miss Mary” remained cool and unflappable at last-minute schedule changes. One of the most gratifying studio projects of the last thirty years was a program where outstanding recent photography graduates came to work with me in Ottawa, much like the one-on-one apprenticeship I had enjoyed with Garo. Generally, these young people stayed for two years, during which time they often assisted me on assignments and reaped the benefits of honing their technical skills with Mr. Gabalis. Their social skills and introduction to Canadian culture were not neglected: three of these young men married Ottawa girls! To this fellowship program, in 1979, came Jerry Fielder, a personable young gentleman from Monterey, California. Interested primarily in the curatorial aspects of photography, Jerry set to work putting my archives in order. In 1987 my archives, superbly organized by Jerry — including my negatives as well as color transparencies and prints — were acquired by the National Archives of Canada. Unlike the vitriolic theater critic in the play The Man Who Came to Dinner, who could hardly wait to leave the home of his hapless hosts, Jerry remained with us in Ottawa, to our great joy. He assisted me on many exciting photographic assignments. Among them were Paris for Paris-Match magazine and M. Mitterand; Scotland and a weekend at Balmoral Castle for Queen Elizabeth, Prince Philip, and their grandchildren; and New York for Jerry’s idol, composer/lyricist Stephen Sondheim — the only time I have ever seen him speechless with admiration. Charlie Britt, also a “Karsh fellow,” emulating Jerry, remained in Ottawa for seven years and was one of the three who married Canadian girls. Both Jerry and Charlie accompanied me to the White House for photography of President Bill Clinton and Hillary Clinton. Closing my Ottawa studio did not mean leaving close associations; we all keep in touch. Jerry, with his blending of organizational and interpersonal skills, is still my associate. In 1997, Estrellita and I relocated to Boston, the city of my apprenticeship and early days in the humanistic atmosphere of Garo’s studio. Our apartment is close to the Public Garden, the Museum of Fine Arts, and Symphony Hall. More and more often now, I am asked whether I think there are as many great men and women to photograph today as in the past — whether the strengths of a Churchill or an Einstein can be found today in this era of antiheroes. When my portrait of Churchill in 1941 opened the door to the world for me and started me on my search for greatness, I had a legacy of half a century to draw upon. During the war, in one brief period in England alone, I photographed forty-two leaders of international stature; and later in Washington, a similar number. After the war, there were still many personalities whose reputations extended back for decades. A Sibelius, a Helen Keller, a Schweitzer, a Casals are of enduring stature. But I believe the past has no claim on greatness, for such arresting personalities are always among us. Nor can we yet judge what lessons remain to be learned from the young. I know only that my quest continues. The endless fascination of these people for me lies in what I call their inward power. It is part of the elusive secret that hides in everyone, and it has been my life’s work to try to capture it on film. The mask we present to others and, too often, to ourselves may lift for only a second—to reveal that power in an unconscious gesture, a raised brow, a surprised response, a moment of repose. This is the moment to record. To my deep satisfaction, through my photographs many people have been introduced to some of the outstanding personalities of our time and, I hope, have been given a more intimate glimpse of and greater insight into them. My own quest now has stretched for over half a lifetime. The search for greatness of spirit has compelled me to work harder — to strive for perfection, knowing it to be unattainable. My quest has brought me great joy when something close to my ideal has been attained. It has kept me young in heart, adventurous, forever seeking, and always aware that the heart and mind are the true lens of the camera. In 1998, Karsh celebrated his 90th birthday. Queen Elizabeth II opened his exhibition, “Karsh in London,” at the renovated Canada House in Trafalgar Square. That same year Karsh was honored with the Fox Talbot Award. He died in Boston in July, 2002. A LIFE IN IMAGES VIDEO AND AUDIO A BRIEF BIOGRAPHY AWARDS SHARE Karsh Logo Jerry Fielder Director Estate of Yousuf Karsh jfielder@karsh.org Frequently Asked Questions Useful information about Karsh prints, using Karsh images, sittings and more. Inquiries General Please direct all general inquiries to inquiries@karsh.org Exhibitions Kristen Gresh, PhD Estrellita and Yousuf Karsh Senior Curator of Photographs Museum of Fine Arts, Boston KGresh@mfa.org + 1 (617) 369-3109 Archival Jill Delaney, PhD Archivist, Photography Library and Archives Canada Karsh@bac-lac.gc.ca +1 (613) 769-1351 Licensing USA and Canada Julie Grahame Senior Representative New York jgrahame@karsh.org +1 (917) 361-9791 Rest of the World Jacqui Wald Editorial Director Camera Press, UK j.wald@camerapress.com + 44 (0)20 7378 1300 Fine Art Prints Please direct all inquiries to prints@karsh.org