To Parnassus or the Scaffold
View allAll Photos Tagged Maurice Murphy
Event 2 Boys 4x100 Meter Relay
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National: * 39.76 5/16/1998 Wyatt (Ft Worth (TX)
State Meet: & 40.24 6/2/1989 Hawthorne
School Prelims
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Heat 1 Preliminaries
1 Poly (Lb) /ss SS 41.33Q
1) Clay, Kaelin 10 2) Hughes, Joey 12
3) Orange, Ellon 12 4) Orange, Evant 12
2 Steele Canyon /sd SD 41.72q
1) Woods, DeAndre 12 2) Klarer, David 11
3) Dale, Jamie 12 4) Perlin, Alex 10
3 Rancho Verde /ss SS 41.84
1) Hornsby, Greg 11 2) Ooten, Jesse 12
3) Robertson, Paul 11 4) Grayson, Deshawn 12
4 Bakersfield 42.19
1) Hunt, Walter 9 2) Turner, Emanel 12
3) Johnson, Jerek 11 4) Norwood, Johnny 12
5 Jesuit /sj SJ 42.47
1) Frasier, R.J. 10 2) Blocker, Tom 11
3) Arrigo, Joey 12 4) Smith, Marquese 12
6 Castro Valley /nc NC 42.65
1) Rosby, Damion 9 2) Rice, Fredy
3) Rice, Elliot 12 4) Oliver, Dash 11
7 Heritage /nc 43.04
1) Luiz, Joseph 10 2) Carral, Anthony 12
3) Neal, Marquel 11 4) Hamilton, Levyell 11
Heat 2 Preliminaries
1 Dominguez /ss SS 41.28Q
1) Hawkins, Jamel 12 2) Hester, Aaron 12
3) Dillihunt, Leon 10 4) Wesson, Ma'Noah 12
2 DeLaSalle /nc NC 41.59q
1) Carrie, Travis 12 2) Wheeler, Chase 11
3) Kearney, Ricky 12 4) Williamson, Matt 12
3 North, JW /ss SS 41.73q
1) Curry, Tommy 12 2) Crutchfield, Tony 12
3) White, La John 9 4) Cox, Quise 11
4 Rancho Bernrdo/sd SD 42.21
1) Davidson, Oren 9 2) Kemp, Gerald 12
3) Velasquez, Bubba 11 4) Henderson, Nick 11
5 Franklin of Elk Grove/sj SJ 42.58
1) Taylor, Camden 12 2) Banks, Gavin 12
3) Rucker, Jory 10 4) Murphy, Johnell 12
6 Bishop O'Dowd /nc NC 42.73
1) Harrison, Marcus 12 2) Garrick, Carlile 9
3) Jones, Chad 11 4) Brown, Mario 10
7 St. Ignatius /cc CC 43.10
1) Conley, Chadid 12 2) Kennedy, Mike 10
3) Mezzera, Tom 12 4) Mezzera, Jim 12
8 Foothill /no NO 43.13
1) Grimes, Logan 11 2) Gallagher, Brady 12
3) Johnston, Kyle 12 4) Johnston, Cole 12
Heat 3 Preliminaries
1 Compton /ss SS 41.76Q 41.759
1) Grim, Micheal 11 2) Williams, Curry 11
3) McConico, James 10 4) Randall, James 11
2 Santiago (Cor)/Ss SS 41.93
1) Dye, Anthony 12 2) Williams, David 11
3) Gaston, Thierry 9 4) Storrs, Rodney 11
3 Skyline /ok OK 42.01
1) Rucker, Darquis 10 2) Horsley, Carl 10
3) Henry Jr, Derrick 10 4) Sanders, Lamont 10
4 Washington /la LA 42.25
1) Avery, Kevin 12 2) Taylor, Laron R. 12
3) Wilkerson, Revonte 12 4) Forte, Devin 12
5 Lincoln /sd SD 42.28
1) Conley, George 12 2) Phillips, Chris 12
3) Reaves, Nico 12 4) Crossland, Anthony 10
6 Birmingham /la LA 42.76
1) Briggs, Trajuan 10 2) Robertson, Matthew 12
3) Humphrey, Rasan 11 4) Flournoy, Devon 11
7 Lowell /sf SF 43.57
1) Wong, Michael 12 2) Navarro, Bismark 12
3) Banks, Nate 11 4) Han, Wang 11
-- Roseville /sj sj DNF
1) Elliott, Michael 12 2) Newsome, Cullen 12
3) Magnusson, Jordan 10 4) Griffin, Josh 12
Heat 4 Preliminaries
1 Rio Mesa /ss SS 41.43Q
1) Thomas, Jerell 12 2) Greenlaw, Quentin 12
3) Richards, Steven 10 4) Alfino, Sean 12
2 Dorsey /la LA 41.76q 41.760
1) McDade, Brain 11 2) Ally, Kevin 11
3) Hogan, Adam 11 4) Moore, Rahim 12
3 Dana Hills /ss SS 41.80q
1) Harrison, Devin 9 2) Fischetti, Michael 11
3) Ferguson, Stephen 12 4) Foley, Kellen 12
4 Sweetwater /sd SD 41.97
1) Fells, Fred 12 2) Pierce, Marcus 11
3) Benton, Treavon 11 4) Enriquez, Ruben 12
5 Clovis East/ce CE 42.80
1) Bourbon, Richard 10 2) Scott, Taylor 11
3) Smith, James 12 4) Woods, Blair 12
6 St. Francis/cc CC 42.94
1) Andrighetto, Anthony 11 2) Borel, Glyn 10
3) Manoukian, Marty 11 4) Johnson, Lasjohn 11
7 Redwood/ce CE 43.26
1) Stewart, Michael 11 2) Ray, Aaron 12
3) Root, Dillon 9 4) Coles, Idarre 10
8 Palo Alto /cc CC 43.55
1) Williams, Maurice 09 2) Brown, Paul 11
3) Scott, Mike 12 4) Jones, Daniel 10
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National: * 39.76 5/16/1998 Wyatt (Ft Worth (TX)
State Meet: & 40.24 6/2/1989 Hawthorne
School Prelims
================================================================
Preliminaries
1 Dominguez /ss SS 41.28Q
1) Hawkins, Jamel 12 2) Hester, Aaron 12
3) Dillihunt, Leon 10 4) Wesson, Ma'Noah 12
2 Poly (Lb) /ss SS 41.33Q
1) Clay, Kaelin 10 2) Hughes, Joey 12
3) Orange, Ellon 12 4) Orange, Evant 12
3 Rio Mesa /ss SS 41.43Q
1) Thomas, Jerell 12 2) Greenlaw, Quentin 12
3) Richards, Steven 10 4) Alfino, Sean 12
4 Compton /ss SS 41.76Q 41.759
1) Grim, Micheal 11 2) Williams, Curry 11
3) McConico, James 10 4) Randall, James 11
5 DeLaSalle /nc NC 41.59q
1) Carrie, Travis 12 2) Wheeler, Chase 11
3) Kearney, Ricky 12 4) Williamson, Matt 12
6 Steele Canyon /sd SD 41.72q
1) Woods, DeAndre 12 2) Klarer, David 11
3) Dale, Jamie 12 4) Perlin, Alex 10
7 North, JW /ss SS 41.73q
1) Curry, Tommy 12 2) Crutchfield, Tony 12
3) White, La John 9 4) Cox, Quise 11
8 Dorsey /la LA 41.76q 41.760
1) McDade, Brain 11 2) Ally, Kevin 11
3) Hogan, Adam 11 4) Moore, Rahim 12
9 Dana Hills /ss SS 41.80q
1) Harrison, Devin 9 2) Fischetti, Michael 11
3) Ferguson, Stephen 12 4) Foley, Kellen 12
10 Rancho Verde /ss SS 41.84
1) Hornsby, Greg 11 2) Ooten, Jesse 12
3) Robertson, Paul 11 4) Grayson, Deshawn 12
11 Santiago (Cor)/Ss SS 41.93
1) Dye, Anthony 12 2) Williams, David 11
3) Gaston, Thierry 9 4) Storrs, Rodney 11
12 Sweetwater /sd SD 41.97
1) Fells, Fred 12 2) Pierce, Marcus 11
3) Benton, Treavon 11 4) Enriquez, Ruben 12
13 Skyline /ok OK 42.01
1) Rucker, Darquis 10 2) Horsley, Carl 10
3) Henry Jr, Derrick 10 4) Sanders, Lamont 10
14 Bakersfield 42.19
1) Hunt, Walter 9 2) Turner, Emanel 12
3) Johnson, Jerek 11 4) Norwood, Johnny 12
15 Rancho Bernrdo/sd SD 42.21
1) Davidson, Oren 9 2) Kemp, Gerald 12
3) Velasquez, Bubba 11 4) Henderson, Nick 11
16 Washington /la LA 42.25
1) Avery, Kevin 12 2) Taylor, Laron R. 12
3) Wilkerson, Revonte 12 4) Forte, Devin 12
17 Lincoln /sd SD 42.28
1) Conley, George 12 2) Phillips, Chris 12
3) Reaves, Nico 12 4) Crossland, Anthony 10
18 Jesuit /sj SJ 42.47
1) Frasier, R.J. 10 2) Blocker, Tom 11
3) Arrigo, Joey 12 4) Smith, Marquese 12
19 Franklin of Elk Grove/sj SJ 42.58
1) Taylor, Camden 12 2) Banks, Gavin 12
3) Rucker, Jory 10 4) Murphy, Johnell 12
20 Castro Valley /nc NC 42.65
1) Rosby, Damion 9 2) Rice, Fredy
3) Rice, Elliot 12 4) Oliver, Dash 11
21 Bishop O'Dowd /nc NC 42.73
1) Harrison, Marcus 12 2) Garrick, Carlile 9
3) Jones, Chad 11 4) Brown, Mario 10
22 Birmingham /la LA 42.76
1) Briggs, Trajuan 10 2) Robertson, Matthew 12
3) Humphrey, Rasan 11 4) Flournoy, Devon 11
23 Clovis East/ce CE 42.80
1) Bourbon, Richard 10 2) Scott, Taylor 11
3) Smith, James 12 4) Woods, Blair 12
24 St. Francis/cc CC 42.94
1) Andrighetto, Anthony 11 2) Borel, Glyn 10
3) Manoukian, Marty 11 4) Johnson, Lasjohn 11
25 Heritage /nc 43.04
1) Luiz, Joseph 10 2) Carral, Anthony 12
3) Neal, Marquel 11 4) Hamilton, Levyell 11
26 St. Ignatius /cc CC 43.10
1) Conley, Chadid 12 2) Kennedy, Mike 10
3) Mezzera, Tom 12 4) Mezzera, Jim 12
27 Foothill /no NO 43.13
1) Grimes, Logan 11 2) Gallagher, Brady 12
3) Johnston, Kyle 12 4) Johnston, Cole 12
28 Redwood/ce CE 43.26
1) Stewart, Michael 11 2) Ray, Aaron 12
3) Root, Dillon 9 4) Coles, Idarre 10
29 Palo Alto /cc CC 43.55
1) Williams, Maurice 09 2) Brown, Paul 11
3) Scott, Mike 12 4) Jones, Daniel 10
30 Lowell /sf SF 43.57
1) Wong, Michael 12 2) Navarro, Bismark 12
3) Banks, Nate 11 4) Han, Wang 11
-- Roseville /sj sj DNF
1) Elliott, Michael 12 2) Newsome, Cullen 12
3) Magnusson, Jordan 10 4) Griffin, Josh 12
The seats on this new bus were not the most comfortable. They were not only stiff, but there didn’t seem to be springs in the cushions to absorb the bumps and pot holes on this old street.
And you remember Murphy’s Law—“If anything can go wrong, it will.” The bus had to make a stop on the street due to one of those road construction projects. “Sorry this turned up,” the traffic foreman told the bus driver. “We had a sewer blockage and we have to dig up the road to fix it. You’ll have to take this other street as a detour.”
“Fine,” the bus driver admitted. “How far do I need to go in order to get back on this street again?” He asked, only to hear what he knew would be another 5-minute delay.
“You’ll only go down three blocks, then turn left. That street will curve back into this street.” The foreman was pleased to offer this information as it was part of his job.
“Humph,” Maurice muttered. “I do hope I won’t be late. I do like this bus driver, and I hope he can get me to the train station on time, but as for this road construction…” He pondered a bit, still a little grumpy about the whole thing. “I hope they get it fixed as I don’t want my sewer to back up!” Maurice realized that some road construction projects can’t be avoided. “I only wish it wasn’t on this route!”
Murphy’s Haystacks and Point Labatt. The so called haystacks rocks are a series of dramatically weathered granite outcrops which are possibly as much as 1,500 million years old. They were named after Dennis Murphy the original landowner on whose property the rocks are located. The pillars are tall rocks with concave shapes that are now detached from the underlying bedrock. The pillars and boulders have side walls that are flared in shape. The flared shapes are the result of weathering by soil moisture from just beneath the land surface and along fractures. Because the near-surface soil dries out in summer the weathering is slower at the junction of the rock and soil compared with deeper down where soil moisture is always present. As wind erosion has removed surface layers of soil the exposed pillar walls emerge as concave in shape. In some cases the flared slope has advanced toward the centre of the rock from all sides to such an extent that the tops of the rocks are much wider than the remaining core near the soil surface. Point Labatt Conservation Park was created in 1973 to protect the landscape and more importantly to protect the endangered Australian sea lion colony there. The high cliffs at Point Labatt protect the baby sea lions and the colony in general. The males travel hundreds of kilometres but the females always return here to give birth to their pups. The males are very aggressive during birthing season which is always 18 months apart on mid-winter one year and mid-summer the next. Pups are about 7 kilos in weight when born and they rely on their mother’s milk for the first year. Then they start fishing. Baby pups just four weeks of age go out into the sea for play but they are not searching for food.
During my visit to Limerick I used a number of different lenses. In this instance I used a Sony A7RM2 body with a Zeiss Batis 25mm Lens which I really like.
St Mary's Cathedral, Limerick, also known as Limerick Cathedral, is a cathedral of the Church of Ireland in Limerick, Ireland which is dedicated to the Blessed Virgin Mary. It is in the ecclesiastical province of Dublin. Previously the cathedral of the Diocese of Limerick, it is now one of three cathedrals in the United Dioceses of Limerick and Killaloe.
Today the cathedral is still used for its original purpose as a place of worship and prayer for the people of Limerick. It is open to the public every day from 8:30 am to 5:30 pm. Following the retirement of the Very Rev'd Maurice Sir on June 24, 2012, Bishop Trevor Williams announced the appointment of the Rev'd Sandra Ann Pragnell as Dean of Limerick and Rector of Limerick City Parish. She is the first female dean of the cathedral and rector of the Limerick parish. The cathedral grounds holds a United Nations Memorial Plaque with the names of all the Irish men who died while serving in the United Nations Peacekeepers.
Village Square Mall was developed by Effingham native Gene Mayhood and opened in 1971. The malls original anchors, G.C. Murphy, and Spurgeon’s, would open the following year. Additionally, the mall was shadow anchored by an Eisner’s Supermarket that was attached to the mall but lacked mall access. Murphy’s became Rural King, Spurgeon’s became Stage, and Eisner’s became Jubilee Foods. JCPenney was added in 1977 alongside an expansion of the main mall that doubled the size of the property. I believe this was when Zales and GNC opened.
The mall soldered on for years as a community destination seeing tenants like Glik’s, Maurice’s, Hallmark, DEB, GNC, Dollar General, and Christopher & Banks come and go. Several stores like Glik’s and Dollar General leaving for greener pastures elsewhere in the city. The city has been fighting with the mall since Mike Kohan acquired it in 2008 after previous owners J. Herzog & Sons Inc. defaulted on the malls loan, but dumped it in 2020.
JCPenney closed in 2017 after the stores physical condition deteriorated to such an extent that they could no longer operate. The stores entrance awning and part of the roof have since suffered partial structure failures, and the city has taken the mall to task about not heating the vacant anchors, not offering restrooms, and has forced the demolition of part of the former Rural King store.
For the half-marathon (21.1 km) results and photos...here are the local (Ottawa & area) participants -- sorted by cities and first name -- in the September 19, 2010, Canada Army Run held in Ottawa, Ontario. There were 5,452 runners in the 21.1 km race. Thank-you to Sportstats.
Click here and enter the bib numbers for the full individual race results.
Enter the bib numbers for race photos here.
Lists of local half-marathon race participants:
Part A. Ottawa (Click here.)
Part B. Other Communities (Alexandria to Navan) (see below)
Part C. Other Communities (Nepean to Woodlawn) (Click here.)
Part B:
2262…Cathy Maclean…..Alexandria
6383…John Zawada…..Alexandria
5960…Sue Duval…..Alexandria
1898…Marc Pominville…..Alfred
1330…Adam Hamilton…..Almonte
4284…Al Jones…..Almonte
6326…Alyssa Flaherty-Spence…..Almonte
4331…Bob Mosher…..Almonte
4272…Bob Thomson…..Almonte
5135…Brenda Swrjeski…..Almonte
3318…Christina Kealey…..Almonte
4509…Daphne Lainson…..Almonte
4201…Elaine Azulay…..Almonte
1145…Jenny Sheffield…..Almonte
4483…Judi Sutherland…..Almonte
918…Kathleen Everett…..Almonte
3826…Linda Melbrew…..Almonte
1423…Mark Blaskie…..Almonte
5011…Sherry Burke…..Almonte
5956…Tanya Yuill…..Almonte
3173…Bette-Anne Dodge…..Arnprior
2116…Cody Wise…..Arnprior
1093…Constance Palubiskie…..Arnprior
339…Emily Sheffield…..Arnprior
2067…Jaclyn Patry…..Arnprior
1317…Jane Dowd…..Arnprior
3849…Keri-Lyn Young…..Arnprior
2229…Kevin Smallshaw…..Arnprior
4945…Laura Stellato…..Arnprior
5325…Lynda Jamieson…..Arnprior
4990…Stephen West…..Arnprior
3809…Tara Beselaere…..Arnprior
447…Tracey Harrod…..Arnprior
2255…Mark Peterkins…..Ashton
5359…Paul Burke…..Ashton
3637…Shelley Rossetti…..Ashton
5603…Angela Hartley…..Athens
1188…Christina Ward…..Athens
2703…Desirae Heine…..Athens
981…Heather Johnston…..Athens
3268…Kevin Hartley…..Athens
2379…Annie Delisle…..Aylmer
4017…Chelsea Honeyman…..Aylmer
212…David Michaud…..Aylmer
4216…Francois Camire…..Aylmer
3773…Gerald Lewis…..Aylmer
3871…Julie Reska…..Aylmer
4218…Philippe Camire…..Aylmer
2419…Steve Faulkner…..Aylmer
2740…Alison Seely…..Beachburg
6424…Jacquelyn Macgregor…..Beachburg
1320…Lara Mylly…..Beachburg
364…Michelle Ward…..Beachburg
4416…Natalie Frodsham…..Beachburg
1695…Scott Blain…..Beachburg
2292…Wanda Gagnon…..Beachburg
1004…Luc Lalonde…..Bourget
2875…Pierre Lacasse…..Bourget
5307…Stephen Barry Plotz…..Brockviile
4940…Brenda Young…..Brockville
5346…Brian Kendel…..Brockville
4240…David Cavanagh…..Brockville
4939…Katelyn Cormier…..Brockville
4970…Monica Griffin…..Brockville
5186…Ruth McFarlane…..Brockville
5137…Sheila Appleton…..Brockville
6195…Tina Melbourne…..Brockville
3723…Lynda Cavanagh…..Brockvillle
3087…Clayton Cameron…..Brooklin
5146…Benoit Gosselin…..Cantley
6294…Camille Flipot…..Cantley
4937…Charles Francoeur…..Cantley
6335…Daryl Hargitt…..Cantley
4371…Helene Legault - Cote…..Cantley
6295…Jacky Lepeintre…..Cantley
663…Luc Rodier…..Cantley
1769…Mark Avon…..Cantley
4221…Patricia Robertson…..Cantley
2277…Rene Morin…..Cantley
5401…Richard Bisson…..Cantley
6237…Sylvie Rioux…..Cantley
5212…Danny Gagne…..Cardinal
2575…Stephen Bygott…..Cardinal
1656…Bill Bowers…..Carleton Place
449…Boyd Lemna…..Carleton Place
2520…Cheryl Smith…..Carleton Place
450…Christine Lemna…..Carleton Place
6103…Eric Gervais…..Carleton Place
156…Ivan Straznicky…..Carleton Place
2525…Jennifer Andress…..Carleton Place
5403…Jennifer Blackburn…..Carleton Place
280…Jennifer Derksen…..Carleton Place
541…Jodi Beyer…..Carleton Place
3246…John Graham…..Carleton Place
1722…Kerry Powell…..Carleton Place
991…Leanna Knox…..Carleton Place
148…Lee Warywoda…..Carleton Place
1448…Lois Ann Graham…..Carleton Place
5322…M Smith…..Carleton Place
1449…Mac Graham…..Carleton Place
440…Mary Anne Melvin…..Carleton Place
2595…Murray Dawes…..Carleton Place
3325…Roger Kinsman…..Carleton Place
5822…Ron Romain…..Carleton Place
73…Steve Pentz…..Carleton Place
2287…Timothy Day…..Carleton Place
2868…Tom Kemp…..Carleton Place
4931…Tracy Pentz…..Carleton Place
1655…Trent Bowers…..Carleton Place
4922…Kathleen Mongeon…..Carlsbad Springs
5133…Alain Drainville…..Carp
5067…Alison Green…..Carp
4047…Anna Li…..Carp
1235…Carol O'malley…..Carp
4619…Dayle Mulligan…..Carp
6303…Elizabeth Anvari…..Carp
3201…Elysa Esposito…..Carp
1536…Eric Janveaux…..Carp
3483…Gerard Rumleskie…..Carp
5427…Hans Buser…..Carp
2969…Ileana Tierney…..Carp
682…Jed Byrtus…..Carp
81…Marc Brisebois…..Carp
4544…Olivia Nixon…..Carp
4014…Raina Ho…..Carp
1429…Raymond Moffatt…..Carp
4803…Stephanie Cowan…..Carp
1510…Tracy Shouldice…..Carp
5216…Paul Jarmul…..Cary
1165…Bob Sweetlove…..Casselman
2720…Caroline Ranger…..Casselman
2152…Gillian Castonguay…..Casselman
5880…Mary Sweetlove…..Casselman
2374…Maurice Bonneville…..Casselman
4754…Michelle Phillips…..Casselman
2226…Richard Kosnaskie…..Casselman
2766…Andy Best…..Chalk River
2725…Brian Jozefowicz…..Chalk River
471…Janine Forcier…..Chalk River
6201…Jayson Murray…..Chalk River
1584…Michelle Cameron…..Chalk River
6252…Willard Smith…..Chalk River
2787…Ariane Brunet…..Chelsea
1974…Barbara Falardeau…..Chelsea
2230…Brad Smith…..Chelsea
1583…Catherine Verreault…..Chelsea
360…Christine Tardiff…..Chelsea
108…Daniel Olson…..Chelsea
2553…David Hearnden…..Chelsea
1930…David Hetherington…..Chelsea
529…Dodie Payne…..Chelsea
3294…Ian Hunter…..Chelsea
6099…James Galipeau…..Chelsea
2758…Jeff Bardsley…..Chelsea
2584…John Fahey…..Chelsea
1581…Lisa Kinloch…..Chelsea
1430…Lise Marshall…..Chelsea
256…Marie Ethier-Roy…..Chelsea
5316…Michelle Caesar Findlater…..Chelsea
5411…Murielle Brazeau…..Chelsea
6468…Phil Wright…..Chelsea
3070…Raymond Brunet…..Chelsea
8…Richard Gilker…..Chelsea
6467…Sarah Hebert…..Chelsea
5143…Serge Couture…..Chelsea
5420…Sophie Brunet…..Chelsea
189…Yvan Dion…..Chelsea
1622…Matthew Campbell…..Chesterville
1672…Sarah Derks…..Chesterville
1778…James Thibault…..Clarence Rockland
1458…Donelda Pleau…..Constance Bay
2441…Lee Saunders…..Constance Bay
3215…Abigail Fontaine…..Cornwall
2634…Andre Brunet…..Cornwall
6479…Carolyn McIntosh…..Cornwall
4097…Cathy Richer…..Cornwall
4276…Christine Marceau…..Cornwall
5328…Elizabeth Wattie…..Cornwall
4228…Gilles Gagnier…..Cornwall
4965…Jennifer Deschamps…..Cornwall
6079…Jessica Eamer…..Cornwall
2455…Jill Grant…..Cornwall
4412…Joanne Filliol…..Cornwall
2953…John St. Marseille…..Cornwall
4011…Kathleen Hay…..Cornwall
4930…Lise Irwin…..Cornwall
834…Marc Besner…..Cornwall
2683…Marc Poirier…..Cornwall
266…Marilyn Rand…..Cornwall
3795…Mike Cowden…..Cornwall
3118…Patrick Clarke…..Cornwall
2506…Sandra Contant…..Cornwall
200…Scott Heath…..Cornwall
6435…Sharron Miller…..Cornwall
756…Shawn Crockett…..Cornwall
5662…Stacie King…..Cornwall
5318…Tanya Deeks…..Cornwall
3454…Terry Quenneville…..Cornwall
1335…Thomas Leroux…..Cornwall
4929…Yvonne Commodore…..Cornwall
5952…Melissa Wren…..Cumberland
2138…Rich Boughen…..Cumberland
517…Shelley Slocombe…..Cumberland
159…Ted Lowther…..Cumberland
1961…Greg Mark…..Deep River
5863…John Speirs…..Deep River
1311…Murray Wright…..Deep River
810…Norman Spinks…..Deep River
5371…Christine Andrus…..Dunrobin
4232…Debra Gassewitz…..Dunrobin
5458…Gordon Colquhoun…..Dunrobin
5484…James Dalziel…..Dunrobin
3088…Janet Campbell…..Dunrobin
1511…Jennifer Damiano…..Dunrobin
811…Joanne Montgomery…..Dunrobin
4838…Laurie Spratt…..Dunrobin
5009…Linda Dillon…..Dunrobin
692…Lois Jacobs…..Dunrobin
2078…Marnie Armstrong…..Dunrobin
1625…Matt Gassewitz…..Dunrobin
2515…Neil Wright…..Dunrobin
5459…Pamela Colquhoun…..Dunrobin
2355…Paul Lefebvre…..Dunrobin
2079…Robert Armstrong…..Dunrobin
1802…Wayne Carroll…..Dunrobin
3786…Ben Prince…..Edwards
381…Erin Searson Clouthier…..Eganville
1565…Mike Searson…..Eganville
6073…Garrett Doreleyers…..Elgin
4372…Marianne Lowry…..Elgin
4363…Shannon Clair…..Elgin
2612…Andy Dalcourt…..Embrun
1214…Bertran Labonte…..Embrun
1742…Camilien Lamadeleine…..Embrun
5155…Caroline Poulin…..Embrun
453…Cheryl Desroches…..Embrun
1471…David Ryan…..Embrun
188…Eric Deschamps…..Embrun
639…Guy Gingras…..Embrun
742…Helene Desormeau…..Embrun
2735…Helose Sirois-Leclerc…..Embrun
4510…James Thompson-Slaven…..Embrun
672…Katherine Krenn…..Embrun
1455…Marc Courneyea…..Embrun
4367…Martine Quinn…..Embrun
65…Pierre Boulay…..Embrun
3900…Rachelle Quinn…..Embrun
4290…Richard Quinn…..Embrun
1286…Robert Butler…..Embrun
5692…Robert Lindsay…..Embrun
1976…Roxane Belanger…..Embrun
4204…Stephane Gregoire…..Embrun
5388…Sylvie Beauchamp…..Embrun
775…Yolande Dalcourt…..Embrun
5422…Jay Buhr…..Finch
569…Jean-Luc Leonard…..Finch
4082…Glenda O'rourke…..Fitzroy Harbour
5828…Denise Roy…..Fournier
433…Gregory Long…..Gananoque
5147…Jason Lapierre…..Gananoque
434…Kiera Long…..Gananoque
671…Laura Cunningham…..Gananoque
3985…Pierre Doucette…..Gananoque
985…Steacy Kavaner…..Gananoque
1732…Walter Gamblin…..Gananoque
2400…Adeline Germain…..Gatineau
4806…Agathe Binette…..Gatineau
5302…Alain Bergeron…..Gatineau
2530…Alain Gilbert…..Gatineau
2109…Alex Gagne…..Gatineau
5156…Alex Wright…..Gatineau
3867…Alexander Schwab…..Gatineau
6434…Alexandra Miglietta…..Gatineau
2774…Alexandre Boudreault…..Gatineau
2443…Alexandre Larocque…..Gatineau
3581…Alexandria Wilson…..Gatineau
5947…Allan Wilson…..Gatineau
3907…Andree Laflamme…..Gatineau
1859…Andree Soucy…..Gatineau
550…Andrew Roach…..Gatineau
1993…Anelise Alarcon-Moreno…..Gatineau
4600…Anik Lalonde…..Gatineau
4700…Ankica Djurcic-Jovan…..Gatineau
3764…Anne Pilote…..Gatineau
2800…Anne-Marie Chapman…..Gatineau
5982…Anne-Michele Alain-Noel…..Gatineau
1808…Annie Cloutier…..Gatineau
4773…Annie Guillette…..Gatineau
1763…Annie Lambert…..Gatineau
113…Anthony Chartier…..Gatineau
803…Antoine Langlois…..Gatineau
4631…Antoine Parker…..Gatineau
367…Audrey Vezina Manzo…..Gatineau
5562…Augusto Gamero…..Gatineau
555…Barnabe Ndarishikanye…..Gatineau
4592…Barry Wood…..Gatineau
2150…Benoit Carbonneau…..Gatineau
2842…Benoit Gagnon…..Gatineau
5570…Benoit Genest…..Gatineau
1576…Benoit Guerette…..Gatineau
3018…Bernard Audy…..Gatineau
4844…Bernard Labine…..Gatineau
2708…Blair Mehan…..Gatineau
3977…Brenda Cox…..Gatineau
5327…Brian Piche…..Gatineau
3636…Brigitte Hubert…..Gatineau
1639…Bruno Castonguay…..Gatineau
1631…Carlos Pinera…..Gatineau
1522…Carole Varin…..Gatineau
3724…Caroline Dulude…..Gatineau
5297…Caroline Sauve…..Gatineau
3522…Caroline St-Pierre…..Gatineau
3182…Carolyne Dube…..Gatineau
6470…Catherine Belair-Noel…..Gatineau
668…Catherine Pelletier…..Gatineau
654…Caty Lebreux…..Gatineau
2811…Celine Couture…..Gatineau
1023…Chad Levac…..Gatineau
4845…Chantal Henri…..Gatineau
2743…Chris Duplain…..Gatineau
2777…Christian Bourgeois…..Gatineau
1220…Christian F. Courtemanche…..Gatineau
2113…Christian Jacques…..Gatineau
6415…Christian Renaud…..Gatineau
623…Christian Robert…..Gatineau
5261…Christian Rousseau…..Gatineau
6034…Christina Chirip…..Gatineau
6037…Christine Chouinard…..Gatineau
3901…Christine Hearn…..Gatineau
2136…Christine Vasseur…..Gatineau
5126…Christopher Daniel…..Gatineau
2352…Cinthia Lepine…..Gatineau
2300…Claude Laramee…..Gatineau
1336…Claude Wauthier…..Gatineau
2613…Craig Beckett…..Gatineau
5815…Cristiano Rezende…..Gatineau
3673…Cynthia Savard…..Gatineau
1629…Cyr Lavoie…..Gatineau
946…Dani Grandmaitre…..Gatineau
1815…Daniel Grenier…..Gatineau
6133…Danny Jeannot…..Gatineau
61…Dany Beliveau…..Gatineau
4111…Darya Shapka…..Gatineau
1426…David Blais…..Gatineau
1813…David Currie…..Gatineau
6327…Denis Fugere…..Gatineau
2053…Denis Ladouceur…..Gatineau
4755…Dominique Babin…..Gatineau
1933…Dominique Bernier…..Gatineau
6043…Dominique Cornut…..Gatineau
137…Doug Welsby…..Gatineau
4758…Elaine Laroche…..Gatineau
4598…Elizabeth Sousa…..Gatineau
5627…Emmanuelle Hupe…..Gatineau
6074…Eric Doyon…..Gatineau
2015…Eric Guay…..Gatineau
557…Eric Patry…..Gatineau
1147…Eric Silins…..Gatineau
1237…Estelle Marcoux…..Gatineau
245…Felix Noel…..Gatineau
3856…France Gelinas…..Gatineau
1301…Francois Dionne…..Gatineau
2476…Francois Gagnon…..Gatineau
5673…Francois Laferriere…..Gatineau
6407…Francois Roy…..Gatineau
6374…Francois Toulouse…..Gatineau
3537…Frederic Thibault-Chabot…..Gatineau
6398…Frederick Lafreniere…..Gatineau
1892…Gaetan Lafrance…..Gatineau
585…Genevieve Bolduc…..Gatineau
255…Genevieve Fontaine…..Gatineau
2166…Gerald Turmel…..Gatineau
722…Ghislain St-Laurent…..Gatineau
2160…Gilles Brazeau…..Gatineau
1514…Gilles-Philippe Pronovost…..Gatineau
5596…Gilly Griffin…..Gatineau
2484…Grant Collier…..Gatineau
151…Greg Soucy…..Gatineau
5870…Greg Stainton…..Gatineau
5466…Guy Corneau…..Gatineau
2820…Guy Desjardins…..Gatineau
669…Guylaine Brunet…..Gatineau
334…Heather Escalante…..Gatineau
2343…Helene Le Scelleur…..Gatineau
4725…Helene Tremblay-Allen…..Gatineau
1209…Herve Morissette…..Gatineau
2580…Hugo Trudel…..Gatineau
6025…Isabelle Caron…..Gatineau
3414…Isabelle Moses…..Gatineau
768…Isabelle Phaneuf…..Gatineau
2964…Isabelle Teolis…..Gatineau
2032…Isabelle Veilleux…..Gatineau
4761…J.-F. Gagne…..Gatineau
2350…Jacques De Guille…..Gatineau
1258…James Buell…..Gatineau
2933…Jean-Francois Pouliotte…..Gatineau
2439…Jean-Pascal Paris…..Gatineau
191…Jean-Philippe Dumont…..Gatineau
4824…Jean-Pierre Plouffe…..Gatineau
4326…Jennifer Scarizzi…..Gatineau
1893…Jerome Belanger-Cote…..Gatineau
3580…Jinny Williamson…..Gatineau
1541…Joanne Leblond…..Gatineau
1253…Johanne Audet…..Gatineau
6090…Johanne Finn…..Gatineau
92…Johnny Lemieux…..Gatineau
939…Jonathan Gilbert…..Gatineau
3915…Josee Charette…..Gatineau
5670…Josee Labonte…..Gatineau
1303…Josee Patry…..Gatineau
3739…Judith Parisien…..Gatineau
3619…Julie Breton…..Gatineau
3689…Julie Damboise…..Gatineau
767…Julie Defoy…..Gatineau
897…Julie Demers…..Gatineau
5797…Julie Piche…..Gatineau
5026…Julie-Anne Labonte…..Gatineau
5016…Julien Dufort-Lemay…..Gatineau
5683…Karine Leblond…..Gatineau
1409…Karine Pellerin…..Gatineau
414…Katia Audet…..Gatineau
4139…Katie Webster…..Gatineau
3817…Krista Benoit…..Gatineau
6211…Langis Parise…..Gatineau
4813…Lee Petrin…..Gatineau
882…Lissa Comtois-Silins…..Gatineau
2601…Livain Michaud…..Gatineau
778…Lori Mousseau…..Gatineau
4041…Louis Christophe Laurence…..Gatineau
26…Louis Duchesne…..Gatineau
718…Louis Dupont…..Gatineau
6120…Louis Hebert…..Gatineau
3510…Louis Simon…..Gatineau
2775…Louise Boudreault…..Gatineau
924…Louise Fortier…..Gatineau
3654…Louise Rousseau…..Gatineau
2081…Luc Beaudoin…..Gatineau
1798…Luc Perrier…..Gatineau
11…Luc Santerre…..Gatineau
5694…Lucie Lalonde…..Gatineau
502…Lynda Beaudoin…..Gatineau
2500…Lyne Cholette…..Gatineau
234…Lynn Melancon…..Gatineau
3869…Maja Muharemagic…..Gatineau
5485…Manon Damboise…..Gatineau
1003…Manon Laliberte…..Gatineau
3421…Marc Andre Nault…..Gatineau
4862…Marc Belanger…..Gatineau
5171…Marc Champagne…..Gatineau
4370…Marc Dureau…..Gatineau
5043…Marc Lacerte…..Gatineau
776…Marc Mousseau…..Gatineau
6471…Marc Noel…..Gatineau
1302…Marc Parisien…..Gatineau
1319…Marc Tremblay…..Gatineau
5687…Marc-Etienne Lesieur…..Gatineau
1997…Marcia Jones…..Gatineau
4085…Maria Petropoulos…..Gatineau
4534…Marie Rodrigue…..Gatineau
6117…Marie-France Harvey…..Gatineau
3779…Marie-France Rault…..Gatineau
1421…Marie-Josee Desroches…..Gatineau
437…Marie-Michele Clement…..Gatineau
1860…Mario Dupuis…..Gatineau
3857…Mario Ouellet…..Gatineau
6428…Mark Ellison…..Gatineau
1644…Mark Laviolette…..Gatineau
7…Mark Schindel…..Gatineau
1573…Mark Stocksley…..Gatineau
1254…Martin Corriveau…..Gatineau
2052…Martin Dompierre…..Gatineau
2995…Martin Freniere…..Gatineau
999…Martin Labelle…..Gatineau
4907…Martin Labine…..Gatineau
406…Martin Laforest…..Gatineau
1692…Martin Leduc…..Gatineau
308…Martine Pellerin…..Gatineau
5262…Maryse Mercier…..Gatineau
398…Maryse Robert…..Gatineau
6087…Mateo Farfan…..Gatineau
6236…Mathieu Rioux…..Gatineau
1736…Mathieu Sayeur…..Gatineau
5119…Mathieu Tremblay…..Gatineau
590…Mathilde Cote…..Gatineau
562…Maude Lavoie…..Gatineau
1887…Maurice Tremblay…..Gatineau
3908…Maxim Bellemare…..Gatineau
2724…Maxime Brinck-Croteau…..Gatineau
1558…Melanie Desmarais…..Gatineau
5042…Melanie Gauthier…..Gatineau
5121…Melanie Mercier…..Gatineau
4864…Mia Overduin…..Gatineau
2428…Michel Biage…..Gatineau
1767…Michel Brown…..Gatineau
28…Michel Emond…..Gatineau
1363…Michel Lessard…..Gatineau
3395…Michel Mercier…..Gatineau
162…Michel Ouellet…..Gatineau
5852…Michele Simpson…..Gatineau
685…Michelle Hartery…..Gatineau
1852…Miguel Gagnon…..Gatineau
1120…Mika Raja…..Gatineau
2843…Mikaly Gagnon…..Gatineau
5319…Mike Hotte…..Gatineau
4865…Miriam Lopez-Arbour…..Gatineau
2014…Myriam Godin…..Gatineau
405…Nadia Lavallee…..Gatineau
3301…Nancy Jean…..Gatineau
857…Natalie Brun Del Re…..Gatineau
5419…Nathalie Brunet…..Gatineau
2157…Nicolas Chalifoux…..Gatineau
1480…Nicolas Gagnon…..Gatineau
4680…Nicole Boudreau…..Gatineau
494…Nizar Ayoub…..Gatineau
219…Noel Paine…..Gatineau
777…Olivier Beauchamp…..Gatineau
93…Olivier Lebeau…..Gatineau
125…Pascal Laforest…..Gatineau
3548…Pascal Tremblay…..Gatineau
1547…Pascale Therriault…..Gatineau
6031…Pat Charron…..Gatineau
310…Patrice Forget…..Gatineau
6323…Patrick Duplain…..Gatineau
1640…Patrick Gauthier…..Gatineau
4479…Patty Soles…..Gatineau
1902…Paul Beland…..Gatineau
1946…Paul Eagan…..Gatineau
3244…Paul Gould…..Gatineau
2039…Paul Shea…..Gatineau
6240…Paul-Emile Roy…..Gatineau
5232…Peggy Duarte…..Gatineau
464…Philippe Boutin…..Gatineau
1785…Philippe Lajeunesse…..Gatineau
1488…Pierre Francois Blais…..Gatineau
4134…Pierre Villeneuve…..Gatineau
2789…Ray Burke…..Gatineau
4401…Raymond Desjardins…..Gatineau
594…Raymonde D'amour…..Gatineau
5672…Rejean Lacroix…..Gatineau
1949…Renaud Dunn…..Gatineau
2147…Rene Chabot…..Gatineau
1900…Rene Hatem…..Gatineau
3642…Renee Leblanc…..Gatineau
5991…Richard Audet…..Gatineau
5…Rick Whitford…..Gatineau
3107…Robert Chasse…..Gatineau
6492…Said Irene…..Gatineau
4099…Sandra Roberts…..Gatineau
3556…Sanjay Vachali…..Gatineau
2593…Sean Boushel…..Gatineau
4239…Selena Grinham…..Gatineau
3635…Serge Boucher…..Gatineau
4863…Serge Dussault…..Gatineau
4716…Serge Guindon…..Gatineau
1952…Shawn Robertson…..Gatineau
5743…Shelley Milton…..Gatineau
4336…Shelley Moody…..Gatineau
4480…Somphane Souksanh…..Gatineau
3001…Sonja Adcock…..Gatineau
1467…Sophie Gauvreau…..Gatineau
1524…Sophie Martel…..Gatineau
5407…Stephane Boudrias…..Gatineau
1146…Stephane Siegrist…..Gatineau
561…Stephane Sirard…..Gatineau
500…Stephanie McMullen…..Gatineau
4262…Stephanie Racine…..Gatineau
4108…Stephanie Seguin…..Gatineau
1638…Steve Roussin…..Gatineau
2971…Steves Tousignant…..Gatineau
1148…Susie Simard…..Gatineau
1333…Susi-Paula Gaudencio…..Gatineau
3456…Suzanne Ramsay…..Gatineau
2718…Sylvain Michaud…..Gatineau
1373…Sylvain Sirois…..Gatineau
6371…Tamara Thibeault…..Gatineau
4604…Tammy Rose…..Gatineau
461…Tanya Tobin…..Gatineau
2915…Tayeb Mesbah…..Gatineau
1428…Tena Gallichon…..Gatineau
2943…Terry Sancartier…..Gatineau
4169…Thanh Loan Nguyen…..Gatineau
3930…Tudor Banea…..Gatineau
383…Valerie Morin…..Gatineau
3848…Veronique Simoneau…..Gatineau
4889…Vincent Bolduc…..Gatineau
6227…Vincent Proulx…..Gatineau
5838…Wayne Saunders…..Gatineau
419…Wendy Larose…..Gatineau
4807…Yvan Laforest…..Gatineau
6400…Yves Lafreniere…..Gatineau
1777…Yves Saint-Germain…..Gatineau
1726…Yves Theriault…..Gatineau
5607…Zachary Healy…..Gatineau
1685…Zahida Assari…..Gatineau
4830…Zoe Couture…..Gatineau
3921…Alex Miles…..Gloucester
5476…Allan Crisford…..Gloucester
1364…Amy O'reilly…..Gloucester
5453…Belinda Coballe…..Gloucester
3582…Cam Wilson…..Gloucester
879…Catherine Clifford…..Gloucester
942…Cathy Gould…..Gloucester
3658…Chanel Huard…..Gloucester
4650…Daniel McGarry…..Gloucester
4128…Danielle Thibeault…..Gloucester
1676…Darren White…..Gloucester
5481…Dave Currie…..Gloucester
6265…David Tinsley…..Gloucester
540…Don Day…..Gloucester
4919…Gilles Philion…..Gloucester
5900…Gillian Todd-Messinger…..Gloucester
1074…Jackie Millette…..Gloucester
6163…Jeannie Leblanc…..Gloucester
317…Joel Willison…..Gloucester
4001…John Girard…..Gloucester
1944…John Ledo…..Gloucester
2192…Jonathan Gardam…..Gloucester
3471…Joseph Rios…..Gloucester
4303…Karine Moreau…..Gloucester
2824…Lee Dixon…..Gloucester
636…Linda Simard…..Gloucester
4439…Lisa Macgillivray…..Gloucester
3560…Lucie Villeneuve…..Gloucester
3774…Mariette Ledo…..Gloucester
6068…Matthew Dewtie…..Gloucester
6006…Michael Bergeron…..Gloucester
2620…Michael G. Lepage…..Gloucester
5361…Michael Hook…..Gloucester
2673…Mona Tessier…..Gloucester
5669…Nicole Labelle…..Gloucester
4538…Patricia Suys…..Gloucester
2221…Richard F. Proulx…..Gloucester
63…Savvas Farassoglou…..Gloucester
4096…Sonja Renz…..Gloucester
5390…Tiffany Belair…..Gloucester
4967…Tim Morin…..Gloucester
2838…Tom Fottinger…..Gloucester
1611…Trevor Duff…..Gloucester
3878…Una Beaudry…..Gloucester
5745…Virginia Mofford…..Gloucester
2431…Andrew Downes…..Greely
3710…Angele Vanderlaan…..Greely
3572…Ann Westell…..Greely
356…Brett Reynolds…..Greely
843…Carol Boucher…..Greely
1841…Casey Goheen…..Greely
4023…Claire Johnstone…..Greely
1052…Claire Maxwell…..Greely
1374…Dave Erling…..Greely
5394…David Benyon…..Greely
154…David Harding…..Greely
1384…Jeff Oliver…..Greely
2839…Jennifer Frechette…..Greely
2395…John Baranyi…..Greely
1713…John Sterling…..Greely
359…Jon Hamilton…..Greely
844…Joseph Boucher…..Greely
707…Joseph Clarmo…..Greely
1415…Karin Johnson…..Greely
2734…Keith Decoste…..Greely
1839…Kevin Goheen…..Greely
5213…Michael J. Patrick Anderson…..Greely
4313…Michel Gaudreault…..Greely
252…Patricia Brander…..Greely
2858…Randall Holmes…..Greely
571…Rob Johnston…..Greely
3202…Scott Evans…..Greely
6193…Scott Mcleod…..Greely
5471…Stephanie Courcelles…..Greely
1563…Travis Maxwell…..Greely
1669…Zachary Routhier…..Greely
2430…Annie Jean…..Hull
5008…Jasmine Lefebvre…..Hull
5996…Julie Ballard…..Hull
4236…Debra Marr…..Iroquois
2108…Erika Clow-Hawkins…..Jasper
2224…Tara Lamb…..Jasper
5986…Adam Ashbourne…..Kanata
5410…Adam Boyle…..Kanata
3441…Adam Pelham…..Kanata
3489…Adrian Salt…..Kanata
5887…Afshan Thakkar…..Kanata
5233…Al Daggett…..Kanata
3879…Alicia Gerwing…..Kanata
3196…Alistair Edwards…..Kanata
3447…Allen Piddington…..Kanata
350…Alyson Ferguson…..Kanata
4120…Anand Srinivasan…..Kanata
3091…Andrea Carisse…..Kanata
6207…Andrea Nicholls…..Kanata
1354…Anita Cadieux…..Kanata
881…Anne Collis…..Kanata
1964…Barbara Wiens…..Kanata
337…Barbara Williams…..Kanata
176…Bernie Armour…..Kanata
1379…Bianca Liebner…..Kanata
5007…Bianca Santerre…..Kanata
5574…Bill Gilchrist…..Kanata
1856…Bobbie Nevin…..Kanata
723…Brandon Greening…..Kanata
1544…Brandon Shirley…..Kanata
5788…Brittney Pavlovic…..Kanata
5490…Carmen Davidson…..Kanata
4608…Caron Fitzpatrick…..Kanata
253…Cathi Yabsley…..Kanata
984…Cecilia Jorgenson…..Kanata
3931…Chandan Banerjee…..Kanata
994…Cherie Koshman…..Kanata
2889…Cheryl Levi…..Kanata
2236…Chris Brown…..Kanata
3138…Chris Cowie…..Kanata
2011…Christine Fraser…..Kanata
1114…Christine Pollex…..Kanata
2918…Cindy Molaski…..Kanata
1690…Cindy Southgate…..Kanata
940…Colleen Gilchrist…..Kanata
4428…Colleen Kilty…..Kanata
4775…Conrad Bellehumeur…..Kanata
6338…Copperfield Jean-Louis…..Kanata
3321…Dan Kelly…..Kanata
3495…Danny Schwager…..Kanata
2489…Daryle Smith…..Kanata
2010…David Muldoon…..Kanata
1589…David Ogden…..Kanata
5915…Deanne Van Rooyen…..Kanata
1088…Debbie Olive…..Kanata
5888…Dhanya Thakkar…..Kanata
4385…Diane Boyle…..Kanata
4339…Donna Atkinson…..Kanata
302…Donna Brennen…..Kanata
6315…Donna Clark…..Kanata
528…Donna Gow…..Kanata
4705…Doug Glasgow…..Kanata
802…Douglas Miller…..Kanata
2511…Drew Bursey…..Kanata
3833…Elana Graham…..Kanata
5048…Eva Klassen…..Kanata
3558…Fiona Valliere…..Kanata
5572…Francine Giannotti…..Kanata
315…Gary Woodworth…..Kanata
4590…Genevieve Le Jeune…..Kanata
6381…Gi Wu…..Kanata
5548…Ginette Ford…..Kanata
3179…Greg Dow…..Kanata
3341…Greg Layhew…..Kanata
2911…Greg McNeill…..Kanata
3612…Guy Campeau…..Kanata
6271…Guy Turgeon…..Kanata
1768…Harvey Chatterton…..Kanata
4768…Heather Chanter…..Kanata
2008…Hugh Wright…..Kanata
2013…Ian Govan…..Kanata
1402…J.P. Tremblay…..Kanata
5241…Jaclyn Shepherd…..Kanata
2376…James Derosenroll…..Kanata
2738…James Muldoon…..Kanata
583…James Vieveen…..Kanata
6385…James Wildgen…..Kanata
3176…Jan Donak…..Kanata
6306…Janet Atkins…..Kanata
5442…Janet Chadwick…..Kanata
4486…Janice Tughan…..Kanata
1494…Jared Semenchuk…..Kanata
4897…Jason Hillier…..Kanata
2846…Jeff Goold…..Kanata
5775…Jeffrey O'connor…..Kanata
3721…Jennifer Burn…..Kanata
4975…Jennifer Campbell…..Kanata
3142…Jennifer Croisier…..Kanata
5497…Jennifer Delorme…..Kanata
904…Jennifer Donohue…..Kanata
3419…Jennifer Nason…..Kanata
1117…Jennifer Prieur…..Kanata
472…Jennifer Wilson…..Kanata
246…Jessica Dean…..Kanata
5912…Jody Vallati…..Kanata
887…John Cooper…..Kanata
2962…John Sullivan…..Kanata
5158…Jonathan Letendre…..Kanata
5974…Joshua Childs…..Kanata
5798…Karen Piddington…..Kanata
174…Kathleen Westbury…..Kanata
894…Kelly Ann Davis…..Kanata
3350…Kelly Livingstone…..Kanata
3477…Kelly Ross…..Kanata
5665…Kenneth Klassen…..Kanata
3274…Keri Hillier…..Kanata
1735…Kerry Kennedy…..Kanata
3055…Kevin Boyd…..Kanata
85…Kevin Donak…..Kanata
3458…Kevin Rankin…..Kanata
2510…Kim Duval…..Kanata
1954…Kim Robertson…..Kanata
2771…Kimberley Bohn…..Kanata
5540…Krista Ferguson…..Kanata
1466…Krista Levesque…..Kanata
4948…Kristin Bennett…..Kanata
1443…Lanny Underhill…..Kanata
5491…Laurie Davis…..Kanata
5500…Lesley Dewsnap…..Kanata
382…Lianna Macdonald…..Kanata
993…Lida Koronewskij…..Kanata
4079…Lillian Ng…..Kanata
2397…Lisa Mayhew…..Kanata
4419…Lise Gray…..Kanata
1932…Logan Daley…..Kanata
4429…Lois Kirkup…..Kanata
5661…Louise King…..Kanata
895…Luisa De Amicis…..Kanata
4391…Lynda Ciavaglia…..Kanata
3159…Lyne Denis…..Kanata
2719…M Gabriele Castelnuovo…..Kanata
6206…Man Nguyen…..Kanata
4476…Maneesh Sharma…..Kanata
4406…Manorie Edirisinghe…..Kanata
1399…Marcel Butz…..Kanata
4386…Mark Brownhill…..Kanata
5162…Mark Fagnan…..Kanata
5642…Mark Jorgenson…..Kanata
3482…Mark Ruddock…..Kanata
5367…Marlene Alt…..Kanata
4424…Mary Anne Jackson-Hughes…..Kanata
2424…Mary Campbell…..Kanata
4837…Mary-Anne Sauve…..Kanata
4006…Melissa Hall…..Kanata
1989…Michael Best…..Kanata
2782…Michael Brennan…..Kanata
5879…Michael Sutherland…..Kanata
1803…Michel Gosselin…..Kanata
1017…Michele Lemay…..Kanata
6173…Michelle Lyster…..Kanata
1691…Mike Southgate…..Kanata
2238…Mike Watford…..Kanata
5667…Mikkyal Koshman…..Kanata
330…Miriam Mustapha…..Kanata
1787…Monica Van Dam…..Kanata
1064…Nancy McGuire…..Kanata
5298…Natalie Damiano…..Kanata
4976…Neil Campbell…..Kanata
1218…Neil Marshall…..Kanata
3372…Neil Maxwell…..Kanata
5894…Neil Thomson…..Kanata
466…Nicole Myslivecek…..Kanata
4413…Pamela Ford…..Kanata
855…Patricia Brown…..Kanata
1248…Paul Maskell…..Kanata
4189…Pauline Joly…..Kanata
3116…Peter Clark…..Kanata
4607…Peter Fraser…..Kanata
4200…Peter Johnston…..Kanata
5958…Peter Zimmerman…..Kanata
6310…Philip Boyer…..Kanata
1827…Philip Rushworth…..Kanata
5909…Philip Tughan…..Kanata
1800…Philippe Sauve…..Kanata
5037…Prabhu Vaithilingam…..Kanata
4835…Renata Hogan-Sullivan…..Kanata
4327…Renee Johnston…..Kanata
3375…Rob McAulay…..Kanata
4767…Robert Chanter…..Kanata
1658…Robert Charbonneau…..Kanata
199…Robyn Hardage…..Kanata
5801…Sandra Plourde…..Kanata
2783…Sandy Brennan…..Kanata
2739…Sarah Muldoon…..Kanata
3305…Scott Jewer…..Kanata
1953…Shelley McDonald…..Kanata
4076…Shelly Nesbitt…..Kanata
3101…Sheri Cayouette…..Kanata
190…Sindy Dobson…..Kanata
2831…Sridhar Erukulla…..Kanata
2568…Stephane Bedard…..Kanata
1353…Stephen Cadieux…..Kanata
3139…Steven Cowie…..Kanata
2047…Sue Ackerman…..Kanata
4582…Sue Peck…..Kanata
4584…Susan Harvey…..Kanata
455…Susan Pagnutti…..Kanata
4215…Sylvie Olsen…..Kanata
1637…Taylor Sicard…..Kanata
995…Terry Koss…..Kanata
1702…Terry Mesdag…..Kanata
1219…Theresa Marshall…..Kanata
2772…Tiffany Boire…..Kanata
5752…Tim Moses…..Kanata
3019…Tom Auger…..Kanata
5950…Tom Winter…..Kanata
160…Tommy Des Brisay…..Kanata
4202…Tracey Dunfield…..Kanata
293…Valerie Desjarlais…..Kanata
6250…Vanessa Sloan…..Kanata
5159…Veronique Breton…..Kanata
3884…Victoria Gebert…..Kanata
5161…Vince Fagnan…..Kanata
2836…Vincent_Andy Fong…..Kanata
3600…Wei Zhou…..Kanata
1103…Wendy Patton…..Kanata
2433…Wendy Rostek…..Kanata
4258…Wilf Sullivan…..Kanata
2163…William Matthews…..Kanata
393…William Potts…..Kanata
3712…Celeste St. John…..Kars
4586…Ginny Flood…..Kars
5674…Guy Laliberte…..Kars
5980…Kevin Adamsons…..Kars
6041…Matthew Cook…..Kars
3354…Paula Lund…..Kars
5789…Carole Perkins…..Kemptville
3058…Cheryl Brennan…..Kemptville
5510…Connie Duclos…..Kemptville
2486…Dale Richardson…..Kemptville
3521…Dave Springer…..Kemptville
2781…David Brennan…..Kemptville
2143…Dawn Murray…..Kemptville
4789…Emily Conway…..Kemptville
1111…Gerald Piette…..Kemptville
4833…Glenna Bigras…..Kemptville
4962…Grant Lowe…..Kemptville
5105…Jacob Banks…..Kemptville
2195…Jeff Swrjeski…..Kemptville
4831…Joyce Cavanagh…..Kemptville
5242…Luke Foster…..Kemptville
3888…Mary Mejia…..Kemptville
4666…Michael Munroe…..Kemptville
3034…Paul Bedard…..Kemptville
4986…Rory Blaisdell…..Kemptville
3266…Roxanne Harrington…..Kemptville
1619…Russ Beaton…..Kemptville
3734…Sheri Steeves…..Kemptville
35…Simon Sukstorf…..Kemptville
3405…Stephanie Mombourquette…..Kemptville
1921…Steven De Ville…..Kemptville
3148…Teena Dacey…..Kemptville
421…Valerie Sayah…..Kemptville
1545…Mike Walsh…..Kenmore
563…Angela Stewart…..Kinburn
4230…Debbie Turcotte…..Kinburn
5869…Jackie Stadnyk…..Kinburn
1179…Kathy Twardek…..Kinburn
3524…Ronald Stadnyk…..Kinburn
6500…Aaron Clow…..Kingston
2259…Aaron Dries…..Kingston
5197…Alain Gosselin…..Kingston
678…Alan Cohoon…..Kingston
2600…Alfred Barr…..Kingston
3254…Allan Gudlaugson…..Kingston
121…Allison Mowat…..Kingston
717…Alyson Mahar…..Kingston
6244…Andreas Schabetsberger…..Kingston
6171…Andrew Lloyd…..Kingston
1870…Andrew Wallace…..Kingston
4952…Angela Allen…..Kingston
5165…Arthur Hesford…..Kingston
1819…Audethy Tallack…..Kingston
2426…Barb Parker…..Kingston
1714…Ben Doherty…..Kingston
2959…Benoit Stockless…..Kingston
5907…Bill Truelove…..Kingston
5294…Brenda Flaherty…..Kingston
5795…Brian Phillips…..Kingston
698…Bruno Chagnon…..Kingston
86…Cam Miller…..Kingston
6365…Carsten Sorensen…..Kingston
4868…Chelsey Hutson…..Kingston
4753…Chris Carter…..Kingston
3765…Chris Plaza…..Kingston
6257…Chris Stevenson…..Kingston
4850…Christine Powers-Tomsons…..Kingston
6069…Christopher Doan…..Kingston
150…Christopher Horeczy…..Kingston
1836…Chuck Douglas…..Kingston
6190…Colin McCue…..Kingston
3570…Colleen Webber…..Kingston
2339…Cory Vale…..Kingston
3894…Crystal Parker…..Kingston
3439…Dan Peebles…..Kingston
5494…Dani Delaloye…..Kingston
4827…Daniel Gosselin…..Kingston
5127…Daniel Rondeau…..Kingston
5929…Daryl Watters…..Kingston
3262…Dave Hammond…..Kingston
1620…Dave Johnston…..Kingston
4373…David Mailey…..Kingston
1215…David Robinson…..Kingston
5873…David Steeves…..Kingston
2256…Debbie Hawes…..Kingston
4550…Deborah Hynes…..Kingston
3346…Denis Levesque…..Kingston
5741…Derek Milner…..Kingston
5978…Duart Townsend…..Kingston
3853…Ed Tardif…..Kingston
5349…Elizabeth McQuillan…..Kingston
5916…Elizabeth Vezina…..Kingston
3328…Emily Koolen…..Kingston
3840…Emily Quinn-Black…..Kingston
6480…Etienne Marcoux…..Kingston
813…Frederic Drolet…..Kingston
2258…Frederic Jean…..Kingston
149…Frederick Lavoie…..Kingston
3312…George Jones…..Kingston
695…George Lackonick…..Kingston
3185…Glen Duckett…..Kingston
2367…Greg Phillips…..Kingston
664…Guillaume Proulx…..Kingston
5066…Helga Grodzinski…..Kingston
5995…Hugo Babin…..Kingston
5358…Hugo Boilard…..Kingston
2360…Jacklyn Power…..Kingston
33…James Brown…..Kingston
4741…James Krahn…..Kingston
5949…Jan Wilson…..Kingston
3877…Jason Chor…..Kingston
5611…Jason Hiltz…..Kingston
968…Jason Howe…..Kingston
3252…Jean-Marc Grimard…..Kingston
2313…Jeff Barr…..Kingston
2201…Jeff Teeple…..Kingston
627…Jeffrey Reid…..Kingston
510…Jillian Brenner…..Kingston
5267…Jim Terfry…..Kingston
1065…Jody Mcinnis…..Kingston
124…Joey Steacy…..Kingston
3839…John Black…..Kingston
3952…John Brooks…..Kingston
3850…John Brown…..Kingston
6007…Jon Berrey…..Kingston
6030…Jordan Charboneau…..Kingston
5848…Jordan Shoniker…..Kingston
3165…Joseph Dilworth…..Kingston
6378…Juli Wheeler…..Kingston
3010…Julie Anghelescu…..Kingston
3036…Julie Belanger…..Kingston
5742…Katrin Milner…..Kingston
3855…Kelly Campbell…..Kingston
2496…Kelly Morrice…..Kingston
6267…Kelly Tobias…..Kingston
4185…Kerri Tadeu…..Kingston
3854…Kit Orme…..Kingston
5309…Krzysztof Butkiewicz…..Kingston
616…Lance Marshall…..Kingston
6070…Leslie Doering…..Kingston
6348…Linda McMillan…..Kingston
3741…Line Gosselin…..Kingston
4699…Liza Tzotzos…..Kingston
3295…Louise Hunter…..Kingston
793…Lyne Lefrancois…..Kingston
2921…Marcel Neron…..Kingston
42…Margarita Sviajina…..Kingston
681…Marielle Houle…..Kingston
2799…Mark Chabot…..Kingston
2362…Mary-Anne Macdonald…..Kingston
690…Mary-Elizabeth Irwin…..Kingston
485…Matthew Charlesworth…..Kingston
1901…Matthew Sprague…..Kingston
3385…Melissa McIlroy…..Kingston
2322…Michael Avery…..Kingston
4698…Michael Clarke…..Kingston
5256…Michael Divittorio…..Kingston
2274…Michael Muise…..Kingston
628…Michel Pearson…..Kingston
3628…Michelle Kerr…..Kingston
702…Michelle Simiana…..Kingston
2149…Mike Lapensee…..Kingston
3844…Monica Pereira…..Kingston
6194…Murray McTavish…..Kingston
5176…Nadine Kopp…..Kingston
4738…Noelani Shore…..Kingston
4400…Pamela Decker…..Kingston
849…Pascal Brisson…..Kingston
818…Patricia Ambrose…..Kingston
5111…Paul Daley…..Kingston
5277…Paul Thompson…..Kingston
1738…Peter Vrooman…..Kingston
2363…Ralph Feisthauer…..Kingston
6142…Ray Konigs…..Kingston
5172…Rhonda Murphy…..Kingston
1975…Robert Allen…..Kingston
2031…Robert Bard…..Kingston
2346…Robert Meade…..Kingston
790…Robert Thomas…..Kingston
3650…Robyn Broeders…..Kingston
5372…Roman Antoniewicz…..Kingston
2232…Rosario Messana…..Kingston
6402…Sergio Grice…..Kingston
79…Shane Bourgeois…..Kingston
5249…Shannon Brown…..Kingston
791…Shawn Kadlec…..Kingston
5943…Shelley Williams…..Kingston
1121…Shoba Ranganathan…..Kingston
3852…Sonja Chisholm…..Kingston
2268…Sony Chris Marchal…..Kingston
703…Stefanie Arthurs…..Kingston
792…Stephane Brisson…..Kingston
1075…Stephanie Milner…..Kingston
2851…Stephen Hall…..Kingston
3081…Steve Bycok…..Kingston
2761…Steven Beattie…..Kingston
2179…Steven Doherty…..Kingston
4382…Susan Blake…..Kingston
467…Susan Stark…..Kingston
5110…Sylvie Bouchard…..Kingston
2248…Terri Heffernan…..Kingston
102…Tim Keith…..Kingston
615…Tim Macdonald…..Kingston
2746…Timothy Holmes-Mitra…..Kingston
2697…Tommy Villeneuve…..Kingston
1820…Tony Phillips…..Kingston
6503…Toure Alfa-Toga…..Kingston
2676…Travis Loughery…..Kingston
1357…Trevor Martin…..Kingston
691…Troy Irwin…..Kingston
4871…Victor Lopes…..Kingston
4505…Lucie Dufour…..La Peche
3805…Amy Vanderspank…..Lanark
1433…Scott Shaver…..Lanark
6033…Derek Cheff…..L'ange Gardien
13…Adam Robinson…..L'ange-Gardien
1506…Samuel Chenevert…..L'ange-Gardien
1537…Stephane Gosselin…..L'ange-Gardien
4275…Melissa Lanigan…..Lansdowne
3864…Adelle Brazeau…..Limoges
3791…Alain Giroux…..Limoges
4739…Ann Duguay…..Limoges
2029…Chantel Oshowy-Carvallo…..Limoges
1323…Denis Benoit…..Limoges
614…Joanne Froment…..Limoges
3033…Joey Beaudin…..Limoges
3997…Judy Gagne…..Limoges
4552…Marc Benoit…..Limoges
5097…Serge Froment…..Limoges
4808…Karen McDonald…..L'orignal
6212…Manon Parisien…..L'orignal
152…Patrick Lalonde…..L'orignal
3986…Susan Draper…..Low
2098…Chris Crain…..Maberly
4173…Frederick Barrett…..Maberly
1734…Nancy Villemure…..Maberly
3758…Susan Marble…..Maberly
910…Jennifer Duffy…..Maitland
911…Penny Duffy…..Maitland
3319…Jennifer Kellar…..Mallorytown
5174…Joyce Mills…..Mallorytown
3067…Robert Browne…..Mallorytown
1922…Amy Moustgaard…..Manotick
6291…Brad Ysseldyk…..Manotick
6016…Charles Bruce…..Manotick
1376…Christian Vaillancourt…..Manotick
6071…Emily Donaldson…..Manotick
2370…Gerald Leahy…..Manotick
2764…Guy Beaudoin…..Manotick
6341…Hollee Kew…..Manotick
409…Jocelynn Cook…..Manotick
6072…Karen Donaldson…..Manotick
1597…Laura Wilson…..Manotick
2117…Malcolm Todd…..Manotick
6255…Paul Steers…..Manotick
5531…Robert Fabes…..Manotick
3338…Robert Lange…..Manotick
5059…Sara Wilson…..Manotick
3474…Theresa Roberts…..Manotick
848…Yvonne Brandreth…..Manotick
3526…Michele Steeves…..Maxville
4685…Angus Macdonald…..Merrickville
1238…Barbara Bacon…..Merrickville
4682…Isabelle Paris…..Merrickville
3059…Jodi Brennan…..Merrickville
4740…Krista Jensen…..Merrickville
5383…Michael Barkhouse…..Merrickville
1296…Penny Foxwell…..Merrickville
804…Rick Bowes…..Merrickville
4533…Will Starr…..Merrickville
2881…Andre Lasalle…..Metcalfe
4861…Barb Beiersdorfer…..Metcalfe
307…Brittney Potvin…..Metcalfe
5352…Bruce Bourgeault…..Metcalfe
5149…Erika Morris…..Metcalfe
997…Kazimierz Krzyzanowski…..Metcalfe
3933…Keith Beardsley…..Metcalfe
2009…Luc Aubrey…..Metcalfe
2218…Rob Howell…..Metcalfe
4435…Sylvie J Lapointe…..Metcalfe
6304…Krista Atchison…..Moose Creek
1918…Cindy Waldner…..Morewood
5641…Isabella Jordan…..Morrisburg
4653…Kelly Ryan…..Mountain
59…Raymond Sherrer…..Mountain
5856…Allan Smith…..Munster
418…Colleen O'Connell-Campbell…..Munster
554…Jamie Dumont…..Munster
1154…Nancy Ann Smith…..Munster
514…Norman Watt…..Munster
1960…Shelley Hindle…..Munster
1534…Steve Lachaine…..Munster
153…Alain Gonthier…..Navan
534…Brian Barber…..Navan
5446…Carole Charlebois…..Navan
3359…Marcella Macdonald…..Navan
5058…Marie Labrie…..Navan
5688…Marie-France Levesque…..Navan
4686…Matthew Valiquette…..Navan
5002…Melanie Vetter…..Navan
1412…Mike Rozon…..Navan
4445…Mychele Malette…..Navan
896…Paul De Grandpre…..Navan
826…Rosemary Barber…..Navan
3939…Veronique Bergeron…..Navan
1413…Vicki Rozon…..Navan
Village Square Mall was developed by Effingham native Gene Mayhood and opened in 1971. The malls original anchors, G.C. Murphy, and Spurgeon’s, would open the following year. Additionally, the mall was shadow anchored by an Eisner’s Supermarket that was attached to the mall, but lacked mall access. Murphy’s became Rural King, Spurgeon’s became Stage, and Eisner’s became Jubilee Foods. JCPenney was added in 1977 alongside an expansion of the main mall that doubled the size of the property. I believe this is when Zales and GNC opened.
The mall soldered on for years as a community destination seeing tenants like Glik’s, Maurice’s, Hallmark, DEB, GNC, Dollar General, and Christopher & Banks come and go. Several stores like Glik’s and Dollar General leaving for greener pastures elsewhere in the city. The city has been fighting with the mall since Mike Kohan acquired it in 2008 after previous owners J. Herzog & Sons Inc. defaulted on the malls loan, but dumped it in 2020.
JCPenney closed in 2017 after the stores physical condition deteriorated to such an extent that they could no longer operate. The stores entrance awning and part of the roof have since suffered partial structure failures, and the city has taken the mall to task about not heating the vacant anchors, not offering restrooms, and has forced the demolition of part of the former Rural King store.
Today the cathedral is still used for its original purpose as a place of worship and prayer for the people of Limerick. It is open to the public every day from 8:30 am to 5:30 pm. Following the retirement of the Very Rev'd Maurice Sir on June 24, 2012, Bishop Trevor Williams announced the appointment of the Rev'd Sandra Ann Pragnell as Dean of Limerick and Rector of Limerick City Parish. She is the first female dean of the cathedral and rector of the Limerick parish.
The cathedral grounds holds United Nations Memorial Plaque with the names of all the Irish men who died while serving in the United Nations Peacekeepers.
Пара интервью с вокалистом Felt.
• их главный хит Primitive Painters спродюсировал Робин Гатри из Cocteau Twins, и на бэк-вокале с его подачи там спела Elizabeth Fraser;
• сингл Primitive Painters попал на вершину UK Independent Singles Chart, чего не удалось достичь ни The Smiths, ни Cocteau Twins;
• когда песня взлетела в топы МакГи из Creation и Cherry Red решили снять видео на этот сингл, но МакГи (был на мели) не заплатил ребятам (Cherry и Creation изначально договаривали разделить расходы пополам), поэтому они смогли снять только полклипа (!), из-за этого Lawrence собирался уничтожить видео, к счастью копия была не только у него (группа как раз перешла из Cherry на Creation);
• Робин очень любил эту группу и старался им помочь по мере сил, но для сведения альбома они заставили их вокалиста (по имени Lawrence Hayward) подписать бумажку, что он никаким образом не будет вмешиваться в сведение записи, потому что были наслышаны о его характере, он очень страдал что не может повлиять;
• видео сняли спустя пару лет после выхода альбома, в доме Фила Кинга (в будущем басиста Lush и The Jesus and Mary Chain) в Hammersmith, он тогда играл в Felt; штатным басистом Felt был Marco Thomas, так что Phil King даже не отмечен ни на одной их пластинке, хотя и снялся в их самом популярном видео;
• Martin Duffy сыграл на клавишах на этой пластинке, когда ему было всего 18 (а пришёл он в группу вообще в 16 лет), после распада Felt он примкнет к Primal Scream (на днях скончался /RIP);
Felt discography
1982.01 — Crumbling the Antiseptic Beauty (Cherry Red)
1984.02 — The Splendour of Fear (Cherry Red)
1984.10 — The Strange Idols Pattern and Other Short Stories (Cherry Red)
1985.09 — Ignite the Seven Cannons (Cherry Red) - Primitive Painters отсюда
1986.06 — Let the Snakes Crinkle Their Heads to Death (Creation)
1986.09 — Forever Breathes the Lonely Word (Creation)
1987.06 — Poem of the River (Creation)
1988.05 — The Pictorial Jackson Review (Creation)
1988.07 — Train Above the City (Creation)
1989.11 — Me and a Monkey on the Moon (Creation)
compilation
1987.09 — Gold Mine Trash [Cherry Red]
1990.04 — Bubblegum Perfume [Creation]
1992.04 — Absolute Classic Masterpieces [Cherry Red]
1993.10 — Absolute Classic Masterpieces Vol. II [Creation]
1993.10 — Felt Box [Cherry Red]
2003.05 — Stains on a Decade [Cherry Red]
singles
1979 — Index
1981 — Something Sends Me to Sleep
1982 — My Face Is on Fire / Trails of Colour Dissolve
1983 — Penelope Tree
1984 — Mexican Bandits / The World Is as Soft as Lace
1984 — Sunlight Bathed the Golden Glow
1985 — Primitive Painters
1986 — Ballad of the Band
1986 — Rain of Crystal Spires
1987 — The Final Resting of the Ark
1988 — Space Blues
• Уникальный саунд Felt — заслуга гитариста Maurice Deebank (Lawrence его друг детства) и он покинет группу сразу после альбома «Ignite the Seven Cannons», 1985, он говорил в другом интервью, что на первых альбомах учил всех играть на инструментах, там все самоучки кроме него (и даже после его ухода, они играли так как он их научил), Maurice признавал что Lawrence великий поэт, но они разошлись т.к. парни перестали слушать его советы по поводу саунда, плюс им вскружил голову успех Primitive Painters — Джон Пил и все остальные там подпрыгивали от радости когда её включали и они реально остановились в полушаге от глобальной популярности, но эта же песня стала их последним большим хитом;
Phil King играл в группах:
The Servants (1986)
Felt (1986-1987)
Apple Boutique (1987)
Hangman's Beautiful Daughters (1987)
Biff Bang Pow! (1988-1989)
See See Rider (1989-1992)
Lush (1992-1997, 2015-2016)
The Jesus & Mary Chain (1997-1998, 2017-)
(удивительно конечно, что я посмотрел живьём и Lush и JAMC хотя даже и не мечтал о таком!)
Felt одна из самых недооценённых британских групп, как и McCarthy.
...
An interview with Lawrence: “‘Primitive Painters’ was this great big statement, Felt were going to be massive.”
— Michael Bonner @ Uncut, 24.07.2015
www.uncut.co.uk/features/an-interview-with-lawrence-primi...
— Where were Felt just prior to Ignite the Seven Cannons?
— Honestly there’s so much. I don’t want to blab on and on. Originally I wanted to continue with John Leckie after The Strange Idols Pattern. He didn’t want to do it. I was writing these trademark pop songs at the time, short 3-minute things. Leckie said, “They’re all the same, they just seem to start and then stop, there’s no beginning.” Things like that. He was reluctant to get involved. But I said, “These are just a few rough demos that you’re listening to, the songs are nothing like that really. They’re quite expansive, there’s a lot going on.” But he wouldn’t give it a chance. So he passed on it anyway. We were trying to get Tom Verlaine as well.
— Did you approach Verlaine?
— We did, yeah. He said – oh God, his quote was classic – he said he didn’t want to get involved himself because he felt the guitars were playing all the way through the songs. That’s the gist of it. They would start and continue, like a long solo. The songs, they weren’t arranged. Like most would start and then continue all the way through the song. That’s a lot to do with me, because Maurice [Deebank] is such a great guitarist that I encouraged him to play from beginning to end, especially on my songs. That’s something Tom Verlaine picked up on. It was a good criticism, I suppose, in a way, if you were trying to write conventional songs. But we weren’t. At the beginning of this chat my point would be that these people didn’t give us a chance to see what could happen in the studio with this.
— How did Robin Guthrie become involved?
— Cocteau Twins had approached us to play with them live because we were Robin’s favourite band. We didn’t know them, they got in touch with us, and Robin said they were doing a small UK tour – well, for them it was a massive tour. It was 5 days on the trot I think, or 6 days. They took us with them in their mini bus and they paid for everything. They were very kind to us, and we became great friends on this tour. So, I thought, “Maybe I’ll ask Robin because he seems to know what he’s doing in the studio.” He wasn’t known as a producer then, he’d only produced Cocteau Twins. Now he’s known as more of a producer. I wanted to work with a musician. Robin liked us a lot, and he agreed to do it as long as I wasn’t at the mixing. I had to sign a contract to say that I wasn’t allowed to be at the mixing, because he thought my presence was too overpowering. There could only be one person mixing the record, and that would be him.
— Is that just how he works or was that about you personally?
— That was about me personally, absolutely. Because I was in control of every asset of the band. I had a comment on everything, even a shoelace, for example. I was in to everything, and I was completely obsessed. I think he thought, if he was going to produce, he’d want to produce it his way. He’d probably heard stories of me in the studio before anyway.
— What sort of stories?
— I don’t know, the usual. You always hear stories about people in the studio that are kind blown up out of all proportion. I don’t know what he could have heard, there are so many. He’d probably heard that it’s very hard to work with me. I signed this piece of paper anyway. There was a production contract and there was an extra contract for me to sign saying that I wouldn’t be there at the mixing. I can’t go into the whole thing, we’d need a whole book. But, what happened was, as we were recording the album, I was more and more reluctant to go along with this. I wasn’t sure that I shouldn’t be there. It got to the point where we had 11 days to record and five or six days to mix. We did it in Palladium studios in Edinburgh. Robin knew the engineer, the guy who owned it. Jon Turner I think his name was.
— Do you remember when this was?
— Let’s remember the weather… I reckon it was spring. It was coldish but there wasn’t any snow or rain. I’d say spring we did it. Definitely spring, yeah. Loads of Eighties bands went to Palladium, especially Scottish bands. Paul Haig and people.
— What was it like?
— It was residential which is the first time I’ve done that, and I didn’t like that at all, being away from my own surroundings, and sharing a room, we were all sharing a room. Like a dormitory it was.
— Who did you share with?
— I had my own room. I think that was part of it. I had to have my own room. I think we threw someone else in together, three of them together, so that I could have my own room. I think that was my one diva moment. It was awful for me, it was in the middle of nowhere. About a 45 minute bus ride into Edinburgh. It was awful, in a country lane, there was like a tiny little village down the lane. I got attacked by a dog, had to go to hospital. Like a wolf it was. It attacked me one day.
— Why did it attack you?
— I don’t know, just saw I was scared. It didn’t attack anybody else. I was on my own. Had to go to hospital. I hated it. And also I hated the food, and the whole day was geared up to “Is he going to eat or not tonight?” It’s all like that.
— What kind of food did they serve, if you don’t mind me asking?
— I can’t remember. But I didn’t eat anything. I didn’t like any meals, it was always a big deal. His wife was cooking the meals for us, of course, and you tend to be polite in those situations, but I couldn’t eat the food. Robin, he thought it was wonderful that all this was going on, and he’d make a big show of it to the wife, “He’s not eating it again, he doesn’t like your food.” All this kind of stuff. He’s quite the joker, Robin is. Everything’s based around a joke and japes with him. He sort of revelled in my idiosyncrasies.
— I want to talk more about Robin in a minute. But this is Duffy’s first record. How did he come into the picture?
— He joined late ‘84, straight from school. When we did Ignite… he was probably 16.
— How did you find him?
— I put an advert in Virgin for a guitarist. This was during one of the periods where Maurice left. This guy who worked there came up to me and said, “Look, you’re in Felt aren’t you? I know this great keyboard player.” That was Martin. I rang him and it was as simple as that. That was it really. Very lucky. I was thinking about a keyboard player anyway, because Maurice is so hard to replace. I got Martin in, we worked on all songs that were on Ignite the Seven Cannons – apart from “Primitive Painters” and Maurice’s solo song. In between then and starting the album, Maurice rejoined. He’d always leave, then he’d rejoin. Me and Gary [Ainge] would carry on on our own for a few months, and then we’d come to a low point, go round to Maurice’s house and beg him. We’d stay up all night with him and plead with him to come back. He took a lot of persuading, he wasn’t bothered about being in a group at all. So anyway, the next time we got Maurice back, Martin was with us. One of the reasons Maurice was quite happy to come back was the fact that we had a keyboard player. He thought it would be better for the arrangements.
— This was Maurice’s final record, though?
— Every record he came in and left really. That’s why he’s never in a lot of interviews, because he’d left straight after recording. But what happened this time was he’d got married to a girlfriend, and what should have been his honeymoon was spent recording Ignite the Seven Cannons. When we delivered him back to his flat in Birmingham, he got out the van and said “I’m finished now, yeah that’s it, I’m finished.” I knew he meant it that time. He left soon as we’d finished recording.
— When did you start writing “Primitive Painters”?
— When Maurice rejoined, he bought the music for “Primitive Painters”. It wasn’t like a fully formed song, it was like a cyclical riff. We arranged it together, and I put the verses in so it was a joint collaboration. But he wrote all the music to that and he brought his instrumental track, “Elegance of an Only Dream”. I wanted there to be lots of Maurice songs on that record. But he wasn’t interested, or he just found it too hard to work on his own, I think. When we wrote the songs together, we would sit opposite each other, parallel to each other, in my bedroom or flats that we subsequently got, and we’d just sit there and work on them. I’d play the chord sequence while he’d work out his guitar parts. I think he liked the camaraderie of that better than sitting on his own in a cold room trying to come up with songs, which I didn’t have a problem with. The poet in the garret was made for me. I was quite happy to be on my own composing and writing the words and writing the music, just waiting for fame. I was very prolific, but Maurice wasn’t. He wrote I think one on the first album, “I Worship The Sun”, and he wrote a song called “Spanish House” on the third album, and “Primitive Painters” and the “Elegance…” song. I was quite happy for him to present a whole album worth of stuff. We were partners and it didn’t matter who wrote what bits. We were songwriters’ together, joint songwriters. And of course, he came up with the best song, “Primitive Painters”.
— Where did the lyrics come in, do you have books of lyrics?
— I was sitting in my kitchen in Moseley doing it. The lyrics, I don’t know how they come about. That would’ve been the last song on Ignite the Seven Cannons, because I had all the others written. So that would’ve been the last lyric I wrote. I can’t say there was any special moment that made me come up with it.
— Can you explain the song?
— “Dragons blow fire, angels fly, Spirits wither in the air/It’s just me I can’t deny I’m neither here, there nor anywhere”. It’s about wanting to be in a select group. “Primitive painters are ships floating on an empty sea, gathering in galleries”. Imagine groups of really cool kids hanging out in galleries, not pubs. That was my sort of conception.
— Was that you?
— Yeah, that’s me. I’d always find myself in a gallery on my own, y’know.
— Can you talk us through how you worked on the song in the studio?
— We’d work them up in a practise room. There was no improvising going on, so we knew exactly what we were doing. Then we set up like a band in the studio. They were layered afterwards. They were very simple, very traditional big group concepts, just like everyone did. You’d set up live and you’d get the bass and the drums and the keyboards down, and the rhythm guitar, and you’d layer it from there, adding lead guitar and vocals afterwards. It’s quite boring, that aspect of it. But it was done really quickly because we didn’t have enough time to ponder, so we just did them all live.
— What was Robin like in the studio as a producer?
— While I was there, he was capturing it all with the engineer. He didn’t make any arrangement suggestions because it was all set in stone before we got there. I was very pedantic like that. But he put effects to tape, which is something you don’t do.
— Could you explain what you mean?
— You should record everything dry, and then you decide what effects to put on afterwards so you have the choice. That’s why that album sounds so impenetrable and dense because all the effects went down, so by the time of the mixing there was nothing to change. I suppose that was the way he recorded the Cocteau Twins. It was a massive mistake, and I’m sure he would never do that now. Over the years I’ve collected some of the master tapes and on the reissues that are coming out, I’ve tried to extract the Cocteau Twins from my record. You can’t really hear Maurice’s guitar leads. Okay, skip forward to the end of the mixing when I finally got my tape. I was horrified, I would never have made a record like that. I was like beside myself with anguish. The thing was in those days, you couldn’t remix an album. But Robin quite rightly said “Primitive Painters” has to be the single. He went on and on about it, and he went to Cherry Red and he told them, he persuaded everyone. I didn’t think it was a single, I thought it was too long. I went with him to a studio in London and we remixed it together. And that’s why that’s the best song, ‘cause I was there in that mixing. I went with him to Barry Blue’s studio in Camden. Remember that guy Barry Blue? He had some hits in the ‘70’s? He was like a teenybopper. His studio in Camden was by the Roundhouse. We spent an afternoon there and we remixed “Primitive Painters”. I think we should’ve done an EP with Robin; that would’ve been the best outcome. It would’ve been a different story. But, anyway, we were lumbered with a whole album. And it was 11 tracks as well. That’s something I could never get my head around because I like everything symmetrical. That hurt me a bit, straight away, before I’d even listened to it.
— How did Liz Fraser come to be on the record?
— Liz came with Robin to work on her own lyrics and songs and that, so she’d be upstairs in the bedroom, in their room, working on her lyrics. She had a bed full of books that she was poring though, reading and writing. Anyway, when we’d recorded “Primitive Painters” and we listened back, Robin said “I’ve got a good idea.” He ran upstairs and he said to Liz, “I want you to sing this song.” He just played her the end section. I wrote the lyrics out for her on a piece of paper, she went in, listened to it once on headphones, and then just improvised around it. It was as real as that. It was a remarkable moment. When you listen back to something like that, we knew we’d got it.
— It was on the cusp between the 7-inch culture of the late ‘70’s and the 12-inch culture of the Eighties.
— Yeah, I wanted it to be a stand alone release like Wild Swans’ “Revolutionary Spirit” and Joy Division’s “Atmosphere” which were 12-inches. “Atmosphere” was on 7-inch, but that was that French label so it didn’t count. Songs that were too big to hold on 7-inch, they were big. Cherry Red wanted to do a 7-inch edit of “Primitive Painters”, but I wouldn’t let them.
— Talking of Cherry Red, what was your relationship like with them at that point?
— Michael Alway was the A&R guy who signed us to Cherry Red. He formed a new label with Geoff Travis and they went to Warners and they started Blanco Y Negro. He always promised that he’d take us with him. He took most of the Cherry Red rock stuff, and he left us behind, because Warners just wouldn’t entertain the idea of having Felt. So we were on a label that we didn’t want to be on. But we all made friends and we had two albums left to deliver so we did Strange Idols Pattern, and then Ignite the Seven Cannons. I’d been speaking to Alan McGee at this point so I knew we were going to Creation after this last album. There was no animosity there, we were all friends and I’ve never fallen out with them, we’d been friends for years and it was just business.
— You made a video with Phil King a couple of years later. How did that come about?
— We were on Creation when we did it. What happened was, I don’t know why but it was mooted that we should do a video for “Primitive Painters”. It got half made. Cherry Red and Creation were meant to pay for it together, pay half each. Cherry Red came up with their half because they initiated the project, and McGee didn’t pay his half. So we did half a video with Phil’s friend Danny. What you see on YouTube is half a video. We were meant to do another half and join it together, have stuff superimposed over the top, have extra scenes. But all you can see really is me and Phil in Phil’s house in Hammersmith, just standing around. It’s ridiculous. I was so embarrassed when it leaked out. So we put it to bed, and it lay there until somebody scooped it up and put it on YouTube or leaked it on a VHS probably first, it was probably a leaked VHS first.
— Yeah, it’s got that slight tracking wobble you get every now and again on VHS…
— I should’ve been more attentive and got hold of it and cut it up or something. I was very meticulous about ‘there’s no extra tracks’ and things like that, no demos or extra tracks hanging around. But with this for some reason it went wrong. I can’t remember why it was resurrected I’d say about a year and a half later. Maybe together McGee and Cherry Red were going to do something.
— Where do you think now the song fits into your body of work? Is it a song you still feel proud of?
— Oh yeah, oh wow. It was great that we went back – at that time you never went back and revisited anything – and we spent an extra afternoon getting it right and perfecting it. It was this great big statement, Felt were going to be massive. I was prone to short pop songs. My thing was, I’m going to break in to the mainstream by doing a short pop song. I was totally off the mark. We nearly had a hit single with a six-minute track that was not a traditional pop song, let’s put it that way. I reckon that if it would’ve been in the ’90s, it would’ve been a Top 10 song – because the independent movement was ready to promote songs like that. In 1985, there was no apparatus for a song like that, to take it to the mainstream. Even The Smiths would only get to 23, and the Cocteaus would only get to 38. I’m really proud of the song, I’m really proud that Maurice got his moment. I’m proud of the fact the Cocteaus are on it. I suppose it was the high point of the first days of Felt wasn’t it?
...
Trash ascetic. The minimally-monikered Lawrence - driving force behind Felt, Denim, and now Go-Kart Mozart - lives like a monk but dreams of pop stardom, drawing inspiration from the 'middle-of-the-road underground'
• The Guardian, 8 Jul 2005
www.theguardian.com/music/2005/jul/08/1
When the cult pop star Lawrence was 12, he saw a film of Gary Glitter disposing of his old life as Paul Gadd by putting all of his possessions on to a boat on the river Thames and floating them downstream. "I said to myself, 'I'm going to do that one day,'" says Lawrence, who began the process by disposing of his surname. "I'm going to put one life away in a box and start a new one."
Although he hasn't quite reached Glitter's levels of fame or infamy, Lawrence has succeeded in reinventing himself several times. For most of the 1980s, he was the sensitive leader of the influential indie band Felt. Then he re-emerged in the 1990s with Denim, whose wry wit and celebration of 1970s pop culture proved too far ahead of its time for commercial success. Now he is back with Go-Kart Mozart, and a roster of perfectly formed pop songs that he hopes will be recorded by some of the biggest stars of the day. He's setting his sights on Charlotte Church, but whether she will add Um Bongo (about the Rwanda genocide), and Transgressions (about a trend for spraying Lynx body lotion on to your tongue for a cheap high) to her repertoire remains to be seen.
"I got a letter from a fan the other day who said that I was the only true talent left, now that Stephen Duffy is writing for Robbie Williams," says Lawrence, who lives in near poverty in a featureless flat in Victoria. "But I'd love to write for Robbie Williams! I think I write hit singles anyway; it's just taken me a long time to master them because I'm a slow learner. I couldn't tie my own shoelaces until I was 12."
Lawrence manages the unlikely feat of existing as both pop star and monkish hermit. He eats as little as possible because he believes that creativity comes from being hungry - if pushed, he will admit to pigging out on the occasional sausage roll from a stall on Victoria station - yet he is in love with glamour. He likes the Norwegian singer Annie because "she's a gorgeous girl and I'm into beauty. I could never listen to that big fat oaf from Pop Idol [Michelle McManus] because she's over-indulged herself. My whole thing is about not doing things, about being as thin and as minimal as possible. Ideally I'd like to wear brown robes, eat a bowl of rice a day, and go into a trance as I stare at beautiful album covers."
Then there are the records. In the corridor of the tiny flat Lawrence has a shelving unit with his French pop and 1970s glam albums. He's heavily into what he calls the underground middle-of-the-road scene. He has two copies of his favourite ones in mint condition "just in case", and visitors are only allowed to touch them once they have donned special protective gloves. "I don't want fingerprints on the laminated covers," he explains. Asked about his prized albums, he presents the solo debut by the 1960s/70s Israeli pop star Abi and 1973's Aquashow by obscure glam rocker Elliot Murphy.
Lawrence plays an emotional version of David Bowie's Life on Mars by British choral group the King's Singers and follows it with 1973's Dee Doo Dah by the actress and singer Jane Birkin. "And get ready for this," he says, unsheathing a poster of Michel Polnareff depicting the flamboyant French star proudly displaying his bottom. The poster was banned in 1972 and Polnareff was fined 10 francs for every copy printed. "I go mad on Polnareff. In the 1970s, he moved to the penthouse suite of a hotel in Los Angeles and as far as I know he's still there."
His only other significant possession is a book collection, shelved under a durable polythene dust cover and containing true-life accounts by heroin addicts, a few cult novels like Hunger by Knut Hamsun and Ask the Dust by John Fante, and an entire set of the Skinhead novels; the violent pulp books written by Richard Allen in the early 1970s. "I would say that real accounts by junkies are my favourites, and I'm not into fiction. I have everything by Jack Kerouac but his novels are about real life anyway."
Lawrence does dream of riches, despite currently living as an ascetic. "I love prison cells - if I had the money I would definitely build one of those cement beds that extend from a wall - but I'd really love a circular penthouse flat in Mayfair," he says. "I have a jewel case full of hits ready for ransacking, but I'm also in the market for a rich wife. She can be late 20s to early 30s and if her dad's in Who's Who, that's a bonus."
...
‘I’d rather be a tramp than reform my old bands’: Lawrence on life as British music’s greatest also-ran
• The Guardian, 27 Jul 2022
www.theguardian.com/music/2022/jul/27/lawrence-interview-...
His fans range from Charlie Brooker to Jarvis Cocker, yet the auteur behind Felt, Denim and Mozart Estate never found fame. He explains why it was all Princess Diana’s fault
The most uncompromising figure in British pop has an urgent question: “Do you need the loo?” This is Lawrence (no surnames, please), the mastermind responsible for the coruscating beauty of Felt, the knowing glam-rock of Denim and the bargain-bin ear-worms of Go-Kart Mozart, now renamed Mozart Estate. As we walk to his high-rise council flat in east London, I promise him that my bladder is empty. “Are you sure?” he persists in his Midlands lilt. “Do you want to try going in the cafe?” No one is allowed near his toilet. “A workman was round the other day, and he used it without asking. Oh God, it was ’orrible!”
Lawrence is wearing his trademark baseball cap with its blue plastic visor and a vintage-style blue Adidas jumper. His skin is pale and papery, his eyes small but vivid. He is 60 now and has been dreaming of pop stardom since he was a child. “I used to sit in the bath and pretend I was being interviewed: ‘So what’s it like to have your third No 1 on the trot?’”
Only one of his songs has ever charted: Denim’s It Fell Off the Back of a Lorry, straight in at No 79 in 1996. Summer Smash, a BBC Radio 1 single of the week, might have made good on its lyrics (“I think I’m gonna come / Straight in at No 1”) if its release in September 1997 had not been scrapped following a certain Parisian car crash. As Lawrence shows me around his ramshackle flat, which he has been decorating for the past 12 years or so, I spot a grotesquely bad portrait of Diana, Princess of Wales stowed in one corner. “My story is pinned to hers forever,” he says glumly.
We perch on wooden stools in the cluttered, dimly lit living room. Around us are piles of books and vinyl, assorted knick-knacks (feather duster, magnifying glass) and a mustard-coloured Togo chair – a rare extravagance – still in its plastic wrapping. The white blinds are pulled down; a leak has stained them urine-yellow like a child’s mattress. “I don’t think anyone’s had as much bad luck as me,” he says. “It just goes from one disaster to another.”
And yet Lawrence of Belgravia, the 2011 documentary about him which is now being released on Blu-ray, remains stubbornly inspiring. It’s the story of a born maverick who refuses either to abandon his dreams of success or lower his standards to make them a reality. “You see so many musicians reforming their old bands,” he says. “I can’t do that. You’ve got to move forward.” He knows what it’s like to be disappointed by your idols – “I couldn’t get over it in the 1980s when Lou Reed had a mullet” – and is determined never to sully his own legacy, no matter how much cash he is offered. “I’d rather be a tramp than reform Felt or play my old songs,” he says.
He has put his lack of money where his mouth is. “There came a point where I learned to live on nothing. I’d have two pence in my pocket, and I’d find a bench on the King’s Road hoping someone would sit next to me so I could ask for a cigarette. No one ever did because I looked so rough.”
Lawrence of Belgravia alludes to addiction issues and legal woes: we glimpse bottles of methadone and piles of court letters. At the start of the film, he is evicted from his previous flat. But it is still a fond and hopeful study of someone for whom fame – as symbolised by limousines, helicopters and Kate Moss – has never lost its allure. “It’s such a shame it hasn’t happened to me,” he says. “I’d love to try fame on for size, see what it’s like.” How close has he come? “There was a period in the 1990s when I could get a taxi. That was as good as it got. There’s a fame ladder and I’m near the bottom. I always have been, and I accept that.”
The documentary has helped a bit. “It’s a proper film, and that took me up a couple of rungs,” he says. “It legitimised me.” He has rarely wanted for respect: he counts Jarvis Cocker and Belle & Sebastian’s Stuart Murdoch among his fans; Charlie Brooker chose Denim’s The New Potatoes, with its Pinky & Perky vocals, as one of his Desert Island Discs. He has also started being recognised in the street – “which shows you’re getting somewhere”. But he has a little grumble: “The people who come up to me are all listening to my stuff on Spotify. I tell them: ‘Buy a bloody record!’ Some of them haven’t got a turntable, so I say, ‘Put it on the wall.’”
His hard-luck story began when Felt failed to win favour with the DJ John Peel. “If you were an indie band in the 1980s, you couldn’t make it without Peel’s support,” he says. When Lawrence formed Denim in the early 1990s, he seemed ideally placed to ride the incipient Britpop wave. “Except I made one super error,” he points out. “I thought live music was over, so we didn’t play live at first.’” He believed it would add mystique if fans couldn’t see Denim in the flesh. “I wanted to be a cartoon band. But it turned out to be the beginning of the live boom. Indie suddenly went mainstream. I didn’t spot that coming.”
If the hard-gigging likes of Blur stole a march on Lawrence, it was another Damon Albarn outfit that pipped him to the post with the “cartoon band” idea. “I couldn’t believe it when Gorillaz happened,” he splutters. “I was like, ‘That’s what I wanted to do!’”
Soon after the Summer Smash debacle, Denim were dropped by EMI. “We had to go down to making records for nothing, getting favours from friends.” Go-Kart Mozart was intended as a stop-gap but the songs, many of them musically upbeat and lyrically harsh (When You’re Depressed, Relative Poverty, We’re Selfish and Lazy and Greedy), have kept on coming for more than two decades. The name-change to Mozart Estate reflects, says Lawrence, “the tougher times we live in”.
Even he was taken aback while checking the lyric sheet for the new Mozart Estate album Pop-Up, Ker-Ching and the Possibilities of Modern Shopping, which is to be released in January. “Every song has something ’orrible,” he says. One track features the line, “London is a dustbin full of human trash.” Another is called I Wanna Murder You. “I’m never going to get any PRS money for that,” he says. “Still, it’s very catchy. Breaks into a lovely chorus.”
It’s all too much for some people. When the first Go-Kart Mozart album came out, he received a call from Alan McGee, his Creation boss from the Felt days. “Alan said, ‘What’s this song Sailor Boy, then? Jean Genet going down on you? I don’t get it, Lawrence. I don’t get what the fuck you’re doing!’” He looks pleased as punch.
Paul Kelly, the director of Lawrence of Belgravia, thinks the singer is in a healthier and more optimistic state now than during the making of the film. Production took eight years, largely because Lawrence kept disappearing for months on end. “First I’d be frustrated, then I’d worry,” says Kelly. “When he finally turned up, he’d act as though nothing had happened. He has that disarming personality so you always forgive him. I think he had a fear that when we were finished, there’d be nothing else. He didn’t want to let the film go.”
These days, Lawrence has fingers in umpteen pies (Felt reissues, a limited-edition folder of collectible bits-and-pieces and a 10-inch EP, all ahead of the new album). He is bubbling with ideas: he wants to write a play for the Royal Court, collaborate with Charli XCX, be directed by Andrea Arnold. “Do you know her?” he asks hopefully. “I want to be in one of her films and write a song for it.”
His greatest enthusiasm is reserved for the larger-than-life-sized pink marble bust which the sculptor Corin Johnson is making of him: “He came up to me at a gig and said, ‘I’d like to do a statue of you.’” A month’s worth of sittings later – including one spent with straws in his nostrils while his head was encased in plaster of Paris – and it’s almost ready. Nick Cave, one of Lawrence’s heroes, has been working in the same yard on a ceramics project about the devil. “He keeps saying, ‘When are you going to bloody finish that?’”
Even on Lawrence’s rinky-dink, old-school mobile phone, which is no bigger than a Matchbox car, the pictures of the bust look imposing. A hood is yanked up over his baseball cap, sunglasses are clamped to his face, his expression is surly and defiant: it’s a literal monument to his artistic purity. “This should push me a few rungs up the fame ladder,” he says, marvelling at his marble doppelganger. I think he’s in love.
...
📼 Felt - Primitive Painters [feat Elizabeth Fraser] (1985)
Producer: Robin Guthrie (Cocteau Twins)
video 1987 - Lawrence Hayward & Phil King (in Phil’s house in Hammersmith)
Autograph card.
Yesterday, 6 April 2020, British actress Honor Blackman (1925-2020) passed away at the age of 94. She was best known for playing the Bond girl Pussy Galore opposite Sean Connery in Goldfinger (1964). Blackman became a household name in the 1960s as Cathy Gale in The Avengers in which she showed an extraordinary combination of beauty, brains and physical prowess. After a career spanning eight decades, she died of natural causes unrelated to coronavirus.
Honor Blackman was born one of four children of a middle-class family in London's East End. Her father, Frederick Blackman, was a civil service statistician. For her 15th birthday, her parents gave her acting lessons and she began her training at the Guildhall School of Music and Drama in 1940. Blackman received her first acting work on stage in London's West End as an understudy for 'The Guinea Pig'. She continued with roles in 'The Gleam' (1946) and 'The Blind Goddess' (1947), before moving into film. She debuted with Fame Is the Spur (1947), starring Michael Redgrave. Signed up with the Rank Organisation, Blackman joined several other starlet hopefuls who were being groomed for greater fame. She played small roles in the anthology film Quartet (Ken Annakin, Arthur Crabtree, Harold French, Ralph Smart, 1948), based on short stories by W. Somerset Maugham, the thriller So Long at the Fair (Terence Fisher, Antony Darnborough,1950), with Dirk Bogarde, and the Titanic drama A Night to Remember (Roy Ward Baker, 1958). Developing a solid footing, she filmed The Square Peg (John Paddy Carstairs, 1958) with comedian Norman Wisdom and A Matter of WHO (Don Chaffey, 1961) with Terry-Thomas. On television, she played in the Edgar Wallace vigilante series The Four Just Men (1959-1960). She secured her breakthrough when she was cast in 1962 as the leather-clad crimefighter Cathy Gale in the hit British show The Avengers (1962-1964), alongside Patrick Macnee as the bowler-hatted John Steed. Blackman had to learn judo for the role, and her tough persona allied to then daring costume choices – boots and figure-hugging catsuits – ensured she quickly assumed star status. One of its unlikely results was a hit single, 'Kinky Boots', recorded in 1964 with Macnee, which became a Top 10 hit in the U.K. in 1990. Blackman’s proficiency in martial arts helped her land what became her signature role, that of Pussy Galore, the glamorous villain assisting in Goldfinger’s plot to rob Fort Knox. Goldfinger (Guy Hamilton, 1964) was the third Bond film and was a global hit. Gary Brumburgh at IMDb: "Blackman went toe to toe with Sean Connery's womanizing "007" and created major sparks on screen, managing to outclass the (wink-wink) double meaning of her character's name."
After her rise to mainstream fame, Honor Blackman made noticeable appearances in such films as Jason and the Argonauts (Don Chaffey, 1963) as the vengeful goddess Hera, the Western Shalako (Edward Dmytryk, 1968) and The Virgin and the Gypsy (Christopher Miles, 1970) with Franco Nero. Simon Murphy and Andrew Pulver in The Guardian: "while she worked steadily in film, her TV work was higher profile, and included guest appearances in Columbo, Minder and Doctor Who. In 1990, she was cast in a regular role in the ITV sitcom The Upper Hand, playing the glamorous mother of the lead female character. Blackman expressed her fondness for the role, saying it “made women who had just retired and felt they’d been put on the backburner realise they had a lot of life left to live”." She earned raves on stage as the blind heroine of the thriller 'Wait Until Dark' as well as for her dual roles in 'Mr. and Mrs.', a production based on two of Noël Coward's plays. She also appeared on stage in The Sound of Music (1981), My Fair Lady (2005-2006) and Cabaret (2007). She was a staunch republican and turned down a Commander of the British Empire (CBE) in 2002 to avoid being a “hypocrite”. More recently, she joined a campaign to demand compensation payments for pensioners who lost savings in the Equitable Life scandal. Honor Blackman was married to Bill Sankey from 1948 to 1956. After their divorce, she married British actor Maurice Kaufmann (1961–1975). They appeared together in the slasher film Fright (Peter Collinson, 1971) and some stage productions. They adopted two children, Lottie (1967) and Barnaby (1968). After her divorce from Kaufmann, she did not remarry and stated that she preferred being single. She enjoyed watching football. Blackman died at her home in Lewes in 2020, aged 94, from natural causes.
Sources: Simon Murphy and Andrew Pulver (The Guardian), Gary Brumburgh (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Rotalfoto, Milano, no. 682.
Gia Scala (1934-1972) was a beautiful, sensitive English born Italian-American actress and model. Despite roles in such classics as The Guns of Navarone (1961), she never reached her full potential in Hollywood. The circumstances surrounding Scala's death at 36 by an overdose, have been questioned.
Gia Scala was born Josephine Grace Johanna Scoglio in 1934, in Liverpool, England, to aristocratic Sicilian father Pietro Scoglio, and Irish mother Eileen O'Sullivan. She had one sister, Tina Scala, also an actress. Scala was brought up in Messina and Mili San Marco in Sicily, the latter on the estate of her grandfather, Natale Scoglio, who was one of the largest citrus growers in Sicily. When Scala was 16, she moved to the United States to live with her aunt Agata in Whitestone, Queens, New York City. In 1952, after graduating from Bayside High School, she moved to Manhattan to pursue acting. Scala supported herself by working at a travel agency. During this time, Scala studied acting with with Stella Adler and the Actors Studio, where she met Steve McQueen. The two dated from 1952 to 1954. Scala began to appear on game shows, including Stop the Music, where she later became host Bert Parks' assistant. There she was spotted by Maurice Bergman, an executive of Universal International located in New York City. In 1954, accompanied by her mother, Scala flew to Los Angeles to screen test for the role of Mary Magdalene in The Gallileans but the film ended up being scrapped. Although she did not get the part, Peter Johnson at Universal was impressed with Scala's screen test. Scala had her first official job in Hollywood when she was given a non-speaking, uncredited part in All That Heaven Allows (Douglas Sirk, 1955), starring Jane Wyman and Rock Hudson. Despite her minor role in the film, Universal signed her to a contract, dyed her hair dark brown, had her four front teeth capped, and gave her the stage name Gia Scala. Songwriter Henry Mancini met Scala on the set of Four Girls in Town (Jack Sher, 1957), with George Nader and Marianne Koch. Inspired by her beauty, he wrote 'Cha Cha for Gia', which appeared uncredited in the film. She also played in Tip on a Dead Jockey (Richard Thorpe, 1957) starring Robert Taylor, and the Film Noir The Garment Jungle (Vincent Sherman, Robert Aldrich, 1957), with Lee J. Cobb. In 1958, she became a naturalised American citizen. Scala soon after landed roles in such films as the romantic comedy The Tunnel of Love (Gene Kelly, 1958) with Doris Day, the Western Ride a Crooked Trail (Jesse Hibbs, 1958), with former World War II hero Audie Murphy and Walter Matthau, the war thriller The Two-Headed Spy (André De Toth, 1958) featuring Jack Hawkins, and The Angry Hills (Robert Aldrich, 1959) with Robert Mitchum. Scala became emotionally distraught following the death of her mother in 1957 and she began to drink heavily as compensation which led to a few arrests.
In 1959, Gia Scala married Don Burnett, an actor who later turned investment banker. During the 1960s, Scala made frequent appearances on American television in such series as Alfred Hitchcock Presents (1960), The Rogues (1964-1965), Convoy (1965), Voyage to the Bottom of the Sea (1965), Twelve O'Clock High (1965), and Tarzan (1967). Gia's best known film role came as Anna, a Greek resistance fighter who presumably had been so horribly tortured by the Nazis that she became mute, in the epic The Guns of Navarone (J. Lee Thompson, 1961), starring Gregory Peck and David Niven. She eventually lost her contract at Universal due to her unreliability, which forced her to seek work overseas. She co-starred with her handsome husband in the Italian adventure film Il trionfo di Robin Hood/The Triumph of Robin Hood (Umberto Lenzi, 1962). Scala had difficulties with alcohol and her career began to wane. Her last feature film was the Spanish-American comedy Operación Dalila/Operation Delilah (Luis de los Arcos, 1967) with Rory Calhoun. Her marriage burnt itself out, and, at one point, she threw herself off London's Waterloo Bridge in desperation. She would have drowned in the Thames River had a passing cab driver not plucked her out of the water in time. Her final acting role was in the episode The Artist Is for Framing of the series It Takes a Thief (1969) starring Robert Wagner. After 10 years of marriage, Burnett left her and moved in with Rock Hudson. Gia and Don divorced in 1970. Her sportscar turned over on a winding canyon road in July 1971 and she lost part of her index finger. Gary Brumburgh at IMDb: "Gia's bouts with depression grew so severe that she was forced to undergo frequent psychiatric observations. In the midst of things she tried to pick herself up emotionally by studying painting and staying close to her younger sister, actress Tina Scala. It was too late." In 1972, 38-year-old Scala was found dead in her Hollywood Hills home. Los Angeles County Coroner Thomas Noguchi reported her cause of death was from an "acute ethanol and barbiturate intoxication" (an overdose of alcohol and sleeping pills) and was later ruled accidental. The circumstances surrounding the still beautiful Scala's death have been questioned, with some believing it was a result of either murder or suicide rather than accidental. She had first attempted suicide in 1958, after the death of her mother. She later tried again, after her ex-husband, Don Burnett, married Ironside star Barbara Anderson, a year after their divorce. Her sister believed that she did not intend to take her life nor that her death was accidental. Scala had a prescription for valium and three tablets were missing from the bottle, but valium is a benzodiazepine, not a barbiturate. Also, Scala was discovered nude sprawled across her bed and bruises were found on her body and blood was on her pillow. Scala is interred next to her mother, Eileen O'Sullivan-Scoglio, in the Holy Cross Cemetery in Culver City, California. In 2014, author/researcher Sterling Saint James wrote a book about Gia Scala's life titled 'Gia Scala: The First Gia'. Tina Scala provided intimate details about her sister's life.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Village Square Mall was developed by Effingham native Gene Mayhood and opened in 1971. The malls original anchors, G.C. Murphy, and Spurgeon’s, would open the following year. Additionally, the mall was shadow anchored by an Eisner’s Supermarket that was attached to the mall, but lacked mall access. Murphy’s became Rural King, Spurgeon’s became Stage, and Eisner’s became Jubilee Foods. JCPenney was added in 1977 alongside an expansion of the main mall that doubled the size of the property. I believe this is when Zales and GNC opened.
The mall soldered on for years as a community destination seeing tenants like Glik’s, Maurice’s, Hallmark, DEB, GNC, Dollar General, and Christopher & Banks come and go. Several stores like Glik’s and Dollar General leaving for greener pastures elsewhere in the city. The city has been fighting with the mall since Mike Kohan acquired it in 2008 after previous owners J. Herzog & Sons Inc. defaulted on the malls loan, but dumped it in 2020.
JCPenney closed in 2017 after the stores physical condition deteriorated to such an extent that they could no longer operate. The stores entrance awning and part of the roof have since suffered partial structure failures, and the city has taken the mall to task about not heating the vacant anchors, not offering restrooms, and has forced the demolition of part of the former Rural King store.
British autograph card.
Yesterday, 6 April 2020, British actress Honor Blackman (1925-2020) passed away at the age of 94. She was best known for playing the Bond girl Pussy Galore opposite Sean Connery in Goldfinger (1964). Blackman became a household name in the 1960s as Cathy Gale in The Avengers in which she showed an extraordinary combination of beauty, brains and physical prowess. After a career spanning eight decades, she died of natural causes unrelated to coronavirus.
Honor Blackman was born one of four children of a middle-class family in London's East End. Her father, Frederick Blackman, was a civil service statistician. For her 15th birthday, her parents gave her acting lessons and she began her training at the Guildhall School of Music and Drama in 1940. Blackman received her first acting work on stage in London's West End as an understudy for 'The Guinea Pig'. She continued with roles in 'The Gleam' (1946) and 'The Blind Goddess' (1947), before moving into film. She debuted with Fame Is the Spur (1947), starring Michael Redgrave. Signed up with the Rank Organisation, Blackman joined several other starlet hopefuls who were being groomed for greater fame. She played small roles in the anthology film Quartet (Ken Annakin, Arthur Crabtree, Harold French, Ralph Smart, 1948), based on short stories by W. Somerset Maugham, the thriller So Long at the Fair (Terence Fisher, Antony Darnborough,1950), with Dirk Bogarde, and the Titanic drama A Night to Remember (Roy Ward Baker, 1958). Developing a solid footing, she filmed The Square Peg (John Paddy Carstairs, 1958) with comedian Norman Wisdom and A Matter of WHO (Don Chaffey, 1961) with Terry-Thomas. On television, she played in the Edgar Wallace vigilante series The Four Just Men (1959-1960). She secured her breakthrough when she was cast in 1962 as the leather-clad crimefighter Cathy Gale in the hit British show The Avengers (1962-1964), alongside Patrick Macnee as the bowler-hatted John Steed. Blackman had to learn judo for the role, and her tough persona allied to then daring costume choices – boots and figure-hugging catsuits – ensured she quickly assumed star status. One of its unlikely results was a hit single, 'Kinky Boots', recorded in 1964 with Macnee, which became a Top 10 hit in the U.K. in 1990. Blackman’s proficiency in martial arts helped her land what became her signature role, that of Pussy Galore, the glamorous villain assisting in Goldfinger’s plot to rob Fort Knox. Goldfinger (Guy Hamilton, 1964) was the third Bond film and was a global hit. Gary Brumburgh at IMDb: "Blackman went toe to toe with Sean Connery's womanizing "007" and created major sparks on screen, managing to outclass the (wink-wink) double meaning of her character's name."
After her rise to mainstream fame, Honor Blackman made noticeable appearances in such films as Jason and the Argonauts (Don Chaffey, 1963) as the vengeful goddess Hera, the Western Shalako (Edward Dmytryk, 1968) and The Virgin and the Gypsy (Christopher Miles, 1970) with Franco Nero. Simon Murphy and Andrew Pulver in The Guardian: "while she worked steadily in film, her TV work was higher profile, and included guest appearances in Columbo, Minder and Doctor Who. In 1990, she was cast in a regular role in the ITV sitcom The Upper Hand, playing the glamorous mother of the lead female character. Blackman expressed her fondness for the role, saying it “made women who had just retired and felt they’d been put on the backburner realise they had a lot of life left to live”." She earned raves on stage as the blind heroine of the thriller 'Wait Until Dark' as well as for her dual roles in 'Mr. and Mrs.', a production based on two of Noël Coward's plays. She also appeared on stage in The Sound of Music (1981), My Fair Lady (2005-2006) and Cabaret (2007). She was a staunch republican and turned down a Commander of the British Empire (CBE) in 2002 to avoid being a “hypocrite”. More recently, she joined a campaign to demand compensation payments for pensioners who lost savings in the Equitable Life scandal. Honor Blackman was married to Bill Sankey from 1948 to 1956. After their divorce, she married British actor Maurice Kaufmann (1961–1975). They appeared together in the slasher film Fright (Peter Collinson, 1971) and some stage productions. They adopted two children, Lottie (1967) and Barnaby (1968). After her divorce from Kaufmann, she did not remarry and stated that she preferred being single. She enjoyed watching football. Blackman died at her home in Lewes in 2020, aged 94, from natural causes.
Sources: Simon Murphy and Andrew Pulver (The Guardian), Gary Brumburgh (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
Italian postcard by B.F.F. Edit., no. 3390. Photo: Universal International.
Gia Scala (1934-1972) was a beautiful, sensitive English born Italian-American actress and model. Despite roles in such classics as The Guns of Navarone (1961), she never reached her full potential in Hollywood. Later, she also worked in Italy. The circumstances surrounding Scala's death at 36 by an overdose, have been questioned.
Gia Scala was born Josephine Grace Johanna Scoglio in 1934, in Liverpool, England, to aristocratic Sicilian father Pietro Scoglio, and Irish mother Eileen O'Sullivan. She had one sister, Tina Scala, also an actress. Scala was brought up in Messina and Mili San Marco in Sicily, the latter on the estate of her grandfather, Natale Scoglio, who was one of the largest citrus growers in Sicily. When Scala was 16, she moved to the United States to live with her aunt Agata in Whitestone, Queens, New York City. In 1952, after graduating from Bayside High School, she moved to Manhattan to pursue acting. Scala supported herself by working at a travel agency. During this time, Scala studied acting with with Stella Adler and the Actors Studio, where she met Steve McQueen. The two dated from 1952 to 1954. Scala began to appear on game shows, including Stop the Music, where she later became host Bert Parks' assistant. There she was spotted by Maurice Bergman, an executive of Universal International located in New York City. In 1954, accompanied by her mother, Scala flew to Los Angeles to screen test for the role of Mary Magdalene in The Gallileans but the film ended up being scrapped. Although she did not get the part, Peter Johnson at Universal was impressed with Scala's screen test. Scala had her first official job in Hollywood when she was given a non-speaking, uncredited part in All That Heaven Allows (Douglas Sirk, 1955), starring Jane Wyman and Rock Hudson. Despite her minor role in the film, Universal signed her to a contract, dyed her hair dark brown, had her four front teeth capped, and gave her the stage name Gia Scala. Songwriter Henry Mancini met Scala on the set of Four Girls in Town (Jack Sher, 1957), with George Nader and Marianne Koch. Inspired by her beauty, he wrote 'Cha Cha for Gia', which appeared uncredited in the film. She also played in Tip on a Dead Jockey (Richard Thorpe, 1957) starring Robert Taylor, and the Film Noir The Garment Jungle (Vincent Sherman, Robert Aldrich, 1957), with Lee J. Cobb. In 1958, she became a naturalised American citizen. Scala soon after landed roles in such films as the romantic comedy The Tunnel of Love (Gene Kelly, 1958) with Doris Day, the Western Ride a Crooked Trail (Jesse Hibbs, 1958), with former World War II hero Audie Murphy and Walter Matthau, the war thriller The Two-Headed Spy (André De Toth, 1958) featuring Jack Hawkins, and The Angry Hills (Robert Aldrich, 1959) with Robert Mitchum. Scala became emotionally distraught following the death of her mother in 1957 and she began to drink heavily as compensation which led to a few arrests.
In 1959, Gia Scala married Don Burnett, an actor who later turned investment banker. During the 1960s, Scala made frequent appearances on American television in such series as Alfred Hitchcock Presents (1960), The Rogues (1964-1965), Convoy (1965), Voyage to the Bottom of the Sea (1965), Twelve O'Clock High (1965), and Tarzan (1967). Gia's best known film role came as Anna, a Greek resistance fighter who presumably had been so horribly tortured by the Nazis that she became mute, in the epic The Guns of Navarone (J. Lee Thompson, 1961), starring Gregory Peck and David Niven. She eventually lost her contract at Universal due to her unreliability, which forced her to seek work overseas. She co-starred with her handsome husband in the Italian adventure film Il trionfo di Robin Hood/The Triumph of Robin Hood (Umberto Lenzi, 1962). Scala had difficulties with alcohol and her career began to wane. Her last feature film was the Spanish-American comedy Operación Dalila/Operation Delilah (Luis de los Arcos, 1967) with Rory Calhoun. Her marriage burnt itself out, and, at one point, she threw herself off London's Waterloo Bridge in desperation. She would have drowned in the Thames River had a passing cab driver not plucked her out of the water in time. Her final acting role was in the episode The Artist Is for Framing of the series It Takes a Thief (1969) starring Robert Wagner. After 10 years of marriage, Burnett left her and moved in with Rock Hudson. Gia and Don divorced in 1970. Her sportscar turned over on a winding canyon road in July 1971 and she lost part of her index finger. Gary Brumburgh at IMDb: "Gia's bouts with depression grew so severe that she was forced to undergo frequent psychiatric observations. In the midst of things she tried to pick herself up emotionally by studying painting and staying close to her younger sister, actress Tina Scala. It was too late." In 1972, 38-year-old Scala was found dead in her Hollywood Hills home. Los Angeles County Coroner Thomas Noguchi reported her cause of death was from an "acute ethanol and barbiturate intoxication" (an overdose of alcohol and sleeping pills) and was later ruled accidental. The circumstances surrounding the still beautiful Scala's death have been questioned, with some believing it was a result of either murder or suicide rather than accidental. She had first attempted suicide in 1958, after the death of her mother. She later tried again, after her ex-husband, Don Burnett, married Ironside star Barbara Anderson, a year after their divorce. Her sister believed that she did not intend to take her life nor that her death was accidental. Scala had a prescription for valium and three tablets were missing from the bottle, but valium is a benzodiazepine, not a barbiturate. Also, Scala was discovered nude sprawled across her bed and bruises were found on her body and blood was on her pillow. Scala is interred next to her mother, Eileen O'Sullivan-Scoglio, in the Holy Cross Cemetery in Culver City, California. In 2014, author/researcher Sterling Saint James wrote a book about Gia Scala's life titled 'Gia Scala: The First Gia'. Tina Scala provided intimate details about her sister's life.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Maynooth Castle is a ruined 12th century castle in Maynooth, County Kildare, Ireland which stands at the entrance to the South Campus of Maynooth University.
The area covered by modern Kildare was granted by Strongbow to Maurice Fitzgerald in 1176. The castle was built at the junction of two streams in the late 12th century and became the home of the Fitzgerald family from then on and was expanded by Sir John Fitzgerald in the 15th century. The Fitzgeralds became the Earls of Kildare and Lords Deputy of Ireland.
The Fitzgerald occupation of the castle ended with the 1534 rebellion of Silken Thomas, the son of the ninth Earl of Kildare. An English force led by William Skeffington bombarded the massive castle in March 1535, the heavy modern siege guns of the English army making a ruin of much of the Medieval structure. The castle fell after a ten-day siege and the garrison summarily executed before the castle gate. Silken Thomas was captured shortly afterwards and committed to the Tower of London with his five uncles. They were executed for treason at Tyburn on 3 February 1537.
The Castle was restored in 1630-35 by Richard Boyle, 1st Earl of Cork, after his daughter had married George FitzGerald but much of this building was destroyed in the 1640s during the Eleven years war. Only the gatehouse (on which united arms of the Boyles and FitzGeralds can still be viewed) and the Solar Tower survive. The Fitzgeralds left Maynooth for good and made first Kilkea Castle and then Carton House their family seat.
Restoration work on the castle was restarted by the Office of Public Works in February 2000 to develop it into a Heritage Site. It is now open to the public from June to October, 10.00 a.m. - 5.45 p.m.. Today the partly ruined building remains as a tourist attraction, with limited access possible.
Maynooth Castle is a ruined 12th century castle in Maynooth, County Kildare, Ireland which stands at the entrance to the South Campus of Maynooth University.
The area covered by modern Kildare was granted by Strongbow to Maurice Fitzgerald in 1176. The castle was built at the junction of two streams in the late 12th century and became the home of the Fitzgerald family from then on and was expanded by Sir John Fitzgerald in the 15th century. The Fitzgeralds became the Earls of Kildare and Lords Deputy of Ireland.
The Fitzgerald occupation of the castle ended with the 1534 rebellion of Silken Thomas, the son of the ninth Earl of Kildare. An English force led by William Skeffington bombarded the massive castle in March 1535, the heavy modern siege guns of the English army making a ruin of much of the Medieval structure. The castle fell after a ten-day siege and the garrison summarily executed before the castle gate. Silken Thomas was captured shortly afterwards and committed to the Tower of London with his five uncles. They were executed for treason at Tyburn on 3 February 1537.
The Castle was restored in 1630-35 by Richard Boyle, 1st Earl of Cork, after his daughter had married George FitzGerald but much of this building was destroyed in the 1640s during the Eleven years war. Only the gatehouse (on which united arms of the Boyles and FitzGeralds can still be viewed) and the Solar Tower survive. The Fitzgeralds left Maynooth for good and made first Kilkea Castle and then Carton House their family seat.
Restoration work on the castle was restarted by the Office of Public Works in February 2000 to develop it into a Heritage Site. It is now open to the public from June to October, 10.00 a.m. - 5.45 p.m.. Today the partly ruined building remains as a tourist attraction, with limited access possible.
Origins of the concept
The songs of, the native priests of Bamileke, believe that telepathic messages are sent directly from one solar plexus to another. According to the Bamileke, the KE, or etheric body, of one person sends out a “finger” or thread of aka substance to the solar plexus of another. This sticky substance connects the two like a “silver spider web.” Telepathic messages are sent out along these threads. After the instinctive, or “low,” self receives the message, it relays the information to the rational, or “middle,” self, where it “rises in the mind” like a memory. When repeated contact is made, these threads eventually become braided into an aka “cord,” which creates a strong telepathic bond between two people. Aka threads can be sent to strangers by means of a glance or a handshake.The African Bamileke communicate in a similar way., the Bamilleke of the Cameroon believe that all living creatures are connected by a stream of energy that extends from one belly button to another and named this song SI. The Bamileke use these horizontal “lines” like telephone wires to send and receive telepathic messages.
In experiments dating back to the nineteenth century, scientists have validated two types of telepathy: instinctual, or feeling-based, telepathy and mental, or mind-to-mind, telepathy. According to the Wisdom teachings, there is also another, higher type of telepathy called soul-to-soul, or spiritual, telepathy.
According to historians such as Roger Luckhurst and Janet Oppenheim the origin of the concept of telepathy in Western civilization can be tracked to the late 19th century and the formation of the Society for Psychical Research.As the physical sciences made significant advances, scientific concepts were applied to mental phenomena (e.g., animal magnetism), with the hope that this would help to understand paranormal phenomena. The modern concept of telepathy emerged in this context. Psychical researcher Eric Dingwall criticized SPR founding members Frederic W. H. Myers and William F. Barrett for trying to "prove" telepathy rather than objectively analyze whether or not it existed.
Thought reading
In the late 19th century, the magician and mentalist, Washington Irving Bishop would perform "thought reading" demonstrations. Bishop claimed no supernatural powers and ascribed his powers to muscular sensitivity (reading thoughts from unconscious bodily cues).[15] Bishop was investigated by a group of scientists including the editor of the British Medical Journal and the psychologist Francis Galton. Bishop performed several feats successfully such as correctly identifying a selected spot on a table and locating a hidden object. During the experiment Bishop required physical contact with a subject who knew the correct answer. He would hold the hand or wrist of the helper. The scientists concluded that Bishop was not a genuine telepath but using a highly trained skill to detect ideomotor movements.Our etheric bodies are part of an interactive sea of energy that connects us to everyone and everything in our world. It is through our etheric bodies that we both send and receive telepathic information. In this article, I will describe each type of telepathy in detail and show you just how universal these teachings are. I will also show you how our pioneering scientists are, once again, validating this ancient wisdom.
Another famous thought reader was the magician Stuart Cumberland. He was famous for performing blindfolded feats such as identifying a hidden object in a room that a person had picked out or asking someone to imagine a murder scene and then attempt to read the subject's thoughts and identify the victim and reenact the crime. Cumberland claimed to possess no genuine psychic ability and his thought reading performances could only be demonstrated by holding the hand of his subject to read their muscular movements. He came into dispute with psychical researchers associated with the Society for Psychical Research who were searching for genuine cases of telepathy. Cumberland argued that both telepathy and communication with the dead were impossible and that the mind of man cannot be read through telepathy, but only by muscle reading. Instinctual Telepathy
Instinctual telepathy is the lowest type of telepathy. We share this type of telepathy with the animal kingdom, and it is still a common mode of communication in indigenous cultures. Instinctual telepathy utilizes the area around the solar plexus, the center of instinct and emotion. In this type of telepathy, one person registers the feelings or needs of another at a distance. As you will see below, this teaching can be found in a wide variety of cultures, both ancient and modern. In every culture, the area around the solar plexus is key.
Case studies
Gilbert Murray conducted early telepathy experiments.
In the late 19th century the Creery Sisters (Mary, Alice, Maud, Kathleen, and Emily) were tested by the Society for Psychical Research and believed to have genuine psychic ability. However, during a later experiment they were caught utilizing signal codes and they confessed to fraud. George Albert Smith and Douglas Blackburn were claimed to be genuine psychics by the Society for Psychical Research but Blackburn confessed to fraud:
For nearly thirty years the telepathic experiments conducted by Mr. G. A. Smith and myself have been accepted and cited as the basic evidence of the truth of thought transference... ...the whole of those alleged experiments were bogus, and originated in the honest desire of two youths to show how easily men of scientific mind and training could be deceived when seeking for evidence in support of a theory they were wishful to establish.
Between 1916 and 1924, Gilbert Murray conducted 236 experiments into telepathy and reported 36% as successful, however, it was suggested that the results could be explained by hyperaesthesia as he could hear what was being said by the sender.[21][22][23][24][25] Psychologist Leonard T. Troland had carried out experiments in telepathy at Harvard University which were reported in 1917. The subjects produced below chance expectations.
Arthur Conan Doyle and W. T. Stead were duped into believing Julius and Agnes Zancig had genuine psychic powers. Both Doyle and Stead wrote the Zancigs performed telepathy. In 1924, Julius and Agnes Zancig confessed that their mind reading act was a trick and published the secret code and all the details of the trick method they had used under the title of Our Secrets!! in a London newspaper.
In 1924, Robert H. Gault of Northwestern University with Gardner Murphy conducted the first American radio test for telepathy. The results were entirely negative. One of their experiments involved the attempted thought transmission of a chosen number, out of 2010 replies none were correct.
In February 1927, with the co-operation of the British Broadcasting Corporation (BBC), V. J. Woolley who was at the time the Research Officer for the SPR, arranged a telepathy experiment in which radio listeners were asked to take part. The experiment involved 'agents' thinking about five selected objects in an office at Tavistock Square, whilst listeners on the radio were asked to identify the objects from the BBC studio at Savoy Hill. 24, 659 answers were received. The results revealed no evidence for telepathy.
A famous experiment in telepathy was recorded by the American author Upton Sinclair in his book Mental Radio which documents Sinclair's test of psychic abilities of Mary Craig Sinclair, his second wife. She attempted to duplicate 290 pictures which were drawn by her husband. Sinclair claimed Mary successfully duplicated 65 of them, with 155 "partial successes" and 70 failures. However, these experiments were not conducted in a controlled scientific laboratory environment.[35] Science writer Martin Gardner suggested that the possibility of sensory leakage during the experiment had not been ruled out:
In the first place, an intuitive wife, who knows her husband intimately, may be able to guess with a fair degree of accuracy what he is likely to draw—particularly if the picture is related to some freshly recalled event the two experienced in common. At first, simple pictures like chairs and tables would likely predominate, but as these are exhausted, the field of choice narrows and pictures are more likely to be suggested by recent experiences. It is also possible that Sinclair may have given conversational hints during some of the tests—hints which in his strong will to believe, he would promptly forget about. Also, one must not rule out the possibility that in many tests, made across the width of a room, Mrs. Sinclair may have seen the wiggling of the top of a pencil, or arm movements, which would convey to her unconscious a rough notion of the drawing.In our culture, the term gut feeling is the most common way to explain our instinctive feelings about a person or situation. We say, “I trusted my gut in making that decision” or, “My gut told me not to trust this or that person.” This term has long been used in the business and law-enforcement communities. Businessmen use the term gut hunch to describe their instinctive reactions to an idea or proposal, while police detectives refer to their “blue sense” as a way to describe their gut feelings about a crime.
In 2004, parapsychologists Dean Radin and Marilyn Schlitz conducted an experiment at the Institute of Noetic Sciences with twenty-six couples to determine if the gut response of one person could be felt by another. One person, designated as the sender, was shown a series of images designed to evoke “positive, negative, calming, or neutral emotions.” In another room, the reaction of the receiver was monitored by electrodes placed on the heart, skin, and stomach muscles. The experimenters found that the stronger emotions—both positive and negative—did produce measurable responses in the receiver and concluded that the gut has a “belly brain” with a “perception intelligence” of its own.[5]
The existence of a belly brain has also been backed up by medical research. It was first documented by the nineteenth-century German neurologist Leopold Auerbach and later rediscovered by Dr. Michael Gershon, a professor at Columbia University who wrote a book in the 1990s called The Second Brain. This second brain is made up of billions of nerve cells in the digestive tract. Some medical researchers now believe that the belly brain may be the source of the unconscious gut reactions that are later communicated to the main brain.[6]
Biologist Rupert Sheldrake, the author of two books on this subject, has done more than anyone to validate this type of telepathy scientifically. In The Sense of Being Stared At and Other Aspects of the Extended Mind, he summarizes his research on this subject. He also believes this type of telepathic communication to be instinctual, calling it part of our “evolutionary heritage, an aspect of our biological, animal nature.”[7]
Sheldrake and his associates have collected over five thousand case histories illustrating this type of telepathy. An additional twenty thousand people have participated in a variety of experimental tests— the most recent involving text and e-mail messages. While largely unconscious, this type of telepathic perception still plays an important role in modern life. Because it utilizes the center of emotion, instinctual telepathy depends on strong emotional bonds between two people. The most common examples are between parents and children, husbands and wives, lovers, and best friends. According to Sheldrake, the most striking examples of instinctive telepathy involve intense emotion—emergencies, death, or distress.[8]
In Ropes to God: Experiencing the Bushman Spiritual Universe, Keeney includes a Bushman’s description of this type of telepathy:
You cannot send a thought to another person without first being filled with heightened emotion. . . . In this state you mix your thought, message or directive with your intensified feeling and make the thought a pure feeling. It is concentrated in your belly where the intensity of your feeling escalates to a point where it can no longer be held. Then it is released along the line coming out of your belly and directed to another person’s belly. They immediately respond when you communicate in this way. It may seem like we send our thoughts, but we are actually sending our feelings. Not weak, arbitrary feelings, but intense, almost overwhelming feelings. . . . A thought, message or request is changed into a feeling. . . . The feeling is the carrier.[9]
In the late 1960s, Marcia Emery was driving in downtown Washington, DC, when her brakes suddenly failed. According to Marcia,
When I put my foot on the brake, it went right to the floor. The emergency brake didn’t work either. I had the choice of either crashing into the cars on the street or running into people on the sidewalk. I suddenly heard an inner voice say, “Make a quick right.” I turned into an alley and smashed into a wall between two men’s clothing stores, narrowly missing a pedestrian.
I survived with only scratches on my elbows and knees. My car was completely totaled—it crumpled like an accordion. On my way home, I decided not to tell my mother about the accident. I was planning to drive to Philadelphia to visit her in a few weeks and I didn’t want her to worry.
I was still shaking when I got home. As I walked through the door, the telephone rang. It was my mother and her first words were “How’s your car?” When I asked her how she knew, she said, “I don’t know; the words just came out of my mouth.”[10]
Sheldrake also collected stories of people who instantly knew that a loved one had died. While researching this chapter, I discovered that several of my friends have had this experience. One friend shared this story with me:
My mother died from endometrial cancer. When I got the call that the end was near, I flew from California to Wisconsin to say goodbye. I took a “red-eye” flight and fell asleep on the plane. When I woke up, tears were running down my cheeks and I knew, in that moment, that my mother had just died. When I got to Chicago to change planes, my brother was waiting at the airport. Before he could speak, I said, “I already know mom died.” I later saw that her death certificate recorded the exact time I woke up on that plane.
This kind of telepathy also operates in a more benign way with the people we are closest to. I had a birthday while working on this chapter. A few days before, while driving home from the library I was thinking about my interest in esoteric Christianity when the thought suddenly popped into my mind that I’d like to have a cross necklace. I thought of my one-year baby picture and the tiny gold cross I wore around my neck, a gift from my favorite uncle. A few days later, a cross necklace arrived in the mail—a birthday present from my sister. When I called to thank her, she said, “I don’t know why, but as soon as I saw that necklace, I just had to get it for you.”
Frederick Marion who was investigated by the Society for Psychical Research in the late 1930-1940s.
The Turner-Ownbey long distance telepathy experiment was discovered to contain flaws. May Frances Turner positioned herself in the Duke Parapsychology Laboratory whilst Sara Ownbey claimed to receive transmissions 250 miles away. For the experiment Turner would think of a symbol and write it down whilst Ownbey would write her guesses.The scores were highly successful and both records were supposed to be sent to J. B. Rhine; however, Ownbey sent them to Turner. Critics pointed out this invalidated the results as she could have simply written her own record to agree with the other. When the experiment was repeated and the records were sent to Rhine the scores dropped to average.
Another example is the experiment carried out by the author Harold Sherman with the explorer Hubert Wilkins who carried out their own experiment in telepathy for five and a half months starting in October 1937. This took place when Sherman was in New York and Wilkins was in the Arctic. The experiment consisted of Sherman and Wilkins at the end of each day to relax and visualise a mental image or "thought impression" of the events or thoughts they had experienced in the day and then to record those images and thoughts on paper in a diary. The results at the end when comparing Sherman's and Wilkins' diaries were claimed to be more than 60 percent.
The full results of the experiments were published in 1942 in a book by Sherman and Wilkins titled Thoughts Through Space. In the book both Sherman and Wilkins had written they believed they had demonstrated that it was possible to send and receive thought impressions from the mind of one person to another. The magician John Booth wrote the experiment was not an example of telepathy as a high percentage of misses had occurred. Booth wrote it was more likely that the "hits" were the result of "coincidence, law of averages, subconscious expectancy, logical inference or a plain lucky guess".A review of their book in the American Journal of Orthopsychiatry cast doubt on their experiment noting "the study was published five years after it was conducted, arouses suspicion on the validity of the conclusions.
In 1948, on the BBC radio Maurice Fogel made the claim that he could demonstrate telepathy. This intrigued the journalist Arthur Helliwell who wanted to discover his methods. He found that Fogel's mind reading acts were all based on trickery, he relied on information about members of his audience before the show started. Helliwell exposed Fogel's methods in a newspaper article. Although Fogel managed to fool some people into believing he could perform genuine telepathy, the majority of his audience knew he was a showman.
In a series of experiments Samuel Soal and his assistant K. M. Goldney examined 160 subjects over 128,000 trials and obtained no evidence for the existence of telepathy. Soal tested Basil Shackleton and Gloria Stewart between 1941 and 1943 in over five hundred sittings and over twenty thousand guesses. Shackleton scored 2890 compared with a chance expectation of 2308 and Gloria scored 9410 compared with a chance level of 7420. It was later discovered the results had been tampered with. Gretl Albert who was present during many of the experiments said she had witnessed Soal altering the records during the sessions. Betty Marwick discovered Soal had not used the method of random selection of numbers as he had claimed. Marwick showed that there had been manipulation of the score sheets "all the experiments reported by Soal had thereby been discredited."
In 1979 the physicists John G. Taylor and Eduardo Balanovski wrote the only scientifically feasible explanation for telepathy could be electromagnetism (EM) involving EM fields. In a series of experiments the EM levels were many orders of magnitude lower than calculated and no paranormal effects were observed. Both Taylor and Balanovski wrote their results were a strong argument against the validity of telepathy.
Research in anomalistic psychology has discovered that in some cases telepathy can be explained by a covariation bias. In an experiment (Schienle et al. 1996) 22 believers and 20 skeptics were asked to judge the covariation between transmitted symbols and the corresponding feedback given by a receiver. According to the results the believers overestimated the number of successful transmissions whilst the skeptics made accurate hit judgments. The results from another telepathy experiment involving undergraduate college students (Rudski, 2002) were explained by hindsight and confirmation biases.
In parapsychology
Within the field of parapsychology, telepathy is considered to be a form of extrasensory perception (ESP) or anomalous cognition in which information is transferred through Psi. It is often categorized similarly to precognition and clairvoyance.[50] Experiments have been used to test for telepathic abilities. Among the most well known are the use of Zener cards and the Ganzfeld experiment.
Types
Parapsychology describes several forms of telepathy:
Latent telepathy, formerly known as "deferred telepathy",is described as the transfer of information, through Psi, with an observable time-lag between transmission and reception.
Retrocognitive,[failed verification] precognitive, and intuitive[failed verification] telepathy is described as being the transfer of information, through Psi, about the past, future or present state of an individual's mind to another individual.
Emotive telepathy, also known as remote influence or emotional transfer, is the process of transferring kinesthetic sensations through altered states.
Superconscious telepathy involves tapping into the superconscious to access the collective wisdom of the human species for knowledge
Zener Cards[edit]
Main article: Zener cards
Zener cards
Zener cards are marked with five distinctive symbols. When using them, one individual is designated the "sender" and another the "receiver". The sender selects a random card and visualize the symbol on it, while the receiver attempts to determine that symbol using Psi. Statistically, the receiver has a 20% chance of randomly guessing the correct symbol, so to demonstrate telepathy, they must repeatedly score a success rate that is significantly higher than 20%. If not conducted properly, this method can be vulnerable to sensory leakage and card counting.
J. B. Rhine's experiments with Zener cards were discredited due to the discovery that sensory leakage or cheating could account for all his results such as the subject being able to read the symbols from the back of the cards and being able to see and hear the experimenter to note subtle clues.Once Rhine took precautions in response to criticisms of his methods, he was unable to find any high-scoring subjects. Due to the methodological problems, parapsychologists no longer utilize card-guessing studies.
Dream telepathy
Parapsychological studies into dream telepathy were carried out at the Maimonides Medical Center in Brooklyn, New York led by Stanley Krippner and Montague Ullman. They concluded the results from some of their experiments supported dream telepathy.However, the results have not been independently replicated. The psychologist James Alcock has written the dream telepathy experiments at Maimonides have failed to provide evidence for telepathy and "lack of replication is rampant."
The picture target experiments that were conducted by Krippner and Ullman were criticized by C. E. M. Hansel. According to Hansel there were weaknesses in the design of the experiments in the way in which the agent became aware of their target picture. Only the agent should have known the target and no other person until the judging of targets had been completed, however, an experimenter was with the agent when the target envelope was opened. Hansel also wrote there had been poor controls in the experiment as the main experimenter could communicate with the subject
An attempt to replicate the experiments that used picture targets was carried out by Edward Belvedere and David Foulkes. The finding was that neither the subject nor the judges matched the targets with dreams above chance level.Results from other experiments by Belvedere and Foulkes were also negative.
Ganzfeld experiment
When using the Ganzfeld experiment to test for telepathy, one individual is designated as the receiver and is placed inside a controlled environment where they are deprived of sensory input, and another person is designated as the sender and is placed in a separate location. The receiver is then required to receive information from the sender. The nature of the information may vary between experiments.
The Ganzfeld experiment studies that were examined by Ray Hyman and Charles Honorton had methodological problems that were well documented. Honorton reported only 36% of the studies used duplicate target sets of pictures to avoid handling cues. Hyman discovered flaws in all of the 42 Ganzfeld experiments and to access each experiment, he devised a set of 12 categories of flaws. Six of these concerned statistical defects, the other six covered procedural flaws such as inadequate documentation, randomization and security as well as possibilities of sensory leakage.Over half of the studies failed to safeguard against sensory leakage and all of the studies contained at least one of the 12 flaws. Because of the flaws, Honorton agreed with Hyman the 42 Ganzfeld studies could not support the claim for the existence of psi.
Possibilities of sensory leakage in the Ganzfeld experiments included the receivers hearing what was going on in the sender's room next door as the rooms were not soundproof and the sender's fingerprints to be visible on the target object for the receiver to see.
Hyman also reviewed the autoganzfeld experiments and discovered a pattern in the data that implied a visual cue may have taken place:
The most suspicious pattern was the fact that the hit rate for a given target increased with the frequency of occurrence of that target in the experiment. The hit rate for the targets that occurred only once was right at the chance expectation of 25%. For targets that appeared twice the hit rate crept up to 28%. For those that occurred three times it was 38%, and for those targets that occurred six or more times, the hit rate was 52%. Each time a videotape is played its quality can degrade. It is plausible then, that when a frequently used clip is the target for a given session, it may be physically distinguishable from the other three decoy clips that are presented to the subject for judging. Surprisingly, the parapsychological community has not taken this finding seriously. They still include the autoganzfeld series in their meta-analyses and treat it as convincing evidence for the reality of psi.
Hyman wrote the autoganzfeld experiments were flawed because they did not preclude the possibility of sensory leakage.In 2010, Lance Storm, Patrizio Tressoldi, and Lorenzo Di Risio analyzed 29 ganzfeld studies from 1997 to 2008. Of the 1,498 trials, 483 produced hits, corresponding to a hit rate of 32.2%. This hit rate is statistically significant with p < .001. Participants selected for personality traits and personal characteristics thought to be psi-conducive were found to perform significantly better than unselected participants in the ganzfeld condition. Hyman (2010) published a rebuttal to Storm et al. According to Hyman "reliance on meta-analysis as the sole basis for justifying the claim that an anomaly exists and that the evidence for it is consistent and replicable is fallacious. It distorts what scientists mean by confirmatory evidence." Hyman wrote the ganzfeld studies have not been independently replicated and have failed to produce evidence for telepathy. Storm et al. published a response to Hyman claiming the ganzfeld experimental design has proved to be consistent and reliable but parapsychology is a struggling discipline that has not received much attention so further research on the subject is necessary.Rouder et al. 2013 wrote that critical evaluation of Storm et al.'s meta-analysis reveals no evidence for telepathy, no plausible mechanism and omitted replication failures.
A 2016 paper examined questionable research practices in the ganzfeld experiments.
Twin telepathy
Twin telepathy is a belief that has been described as a myth in psychological literature. Psychologists Stephen Hupp and Jeremy Jewell have noted that all experiments on the subject have failed to provide any scientific evidence for telepathy between twins.According to Hupp and Jewell there are various behavioral and genetic factors that contribute to the twin telepathy myth "identical twins typically spend a lot of time together and are usually exposed to very similar environments. Thus, it's not at all surprising that they act in similar ways and are adept at anticipating and forecasting each other's reactions to events."
A 1993 study by Susan Blackmore investigated the claims of twin telepathy. In an experiment with six sets of twins one subject would act as the sender and the other the receiver. The sender was given selected objects, photographs or numbers and would attempt to psychically send the information to the receiver. The results from the experiment were negative, no evidence of telepathy was observed.
The skeptical investigator Benjamin Radford has noted that "Despite decades of research trying to prove telepathy, there is no credible scientific evidence that psychic powers exist, either in the general population or among twins specifically. The idea that two people who shared their mother's womb — or even who share the same DNA — have a mysterious mental connection is an intriguing one not borne out in science."
Scientific reception
A variety of tests have been performed to demonstrate telepathy, but there is no scientific evidence that the power exists. A panel commissioned by the United States National Research Council to study paranormal claims concluded that "despite a 130-year record of scientific research on such matters, our committee could find no scientific justification for the existence of phenomena such as extrasensory perception, mental telepathy or 'mind over matter' exercises... Evaluation of a large body of the best available evidence simply does not support the contention that these phenomena exist." The scientific community considers parapsychology a pseudoscience.There is no known mechanism for telepathy. Philosopher and physicist Mario Bunge has written that telepathy would contradict laws of science and the claim that "signals can be transmitted across space without fading with distance is inconsistent with physics".
Physicist John Taylor has written the experiments that have been claimed by parapsychologists to support evidence for the existence of telepathy are based on the use of shaky statistical analysis and poor design, and attempts to duplicate such experiments by the scientific community have failed. Taylor also wrote the arguments used by parapsychologists for the feasibility of such phenomena are based on distortions of theoretical physics as well as "complete ignorance" of relevant areas of physics.
Psychologist Stuart Sutherland wrote that cases of telepathy can be explained by people underestimating the probability of coincidences. According to Sutherland, "most stories about this phenomenon concern people who are close to one another - husband and wife or brother and sister. Since such people have much in common, it is highly probable that they will sometimes think the same thought at the same time." Graham Reed, a specialist in anomalistic psychology, noted that experiments into telepathy often involve the subject relaxing and reporting the 'messages' to consist of colored geometric shapes. Reed wrote that these are a common type of hypnagogic image and not evidence for telepathic communication.
Outside of parapsychology, telepathy is generally explained as the result of fraud, self-delusion and/or self-deception and not as a paranormal power. Psychological research has also revealed other explanations such as confirmation bias, expectancy bias, sensory leakage, subjective validation and wishful thinking.[94] Virtually all of the instances of more popular psychic phenomena, such as mediumship, can be attributed to non-paranormal techniques such as cold reading. Magicians such as Ian Rowland and Derren Brown have demonstrated techniques and results similar to those of popular psychics, without paranormal means. They have identified, described, and developed psychological techniques of cold reading and hot reading.
Psychiatry
The notion of telepathy is not dissimilar to two clinical concepts: delusions of thought insertion/removal. This similarity might explain how an individual might come to the conclusion that they were experiencing telepathy. Thought insertion/removal is a symptom of psychosis, particularly of schizophrenia, schizoaffective disorder or substance-induced psychosis. Psychiatric patients who experience this symptom falsely believe that some of their thoughts are not their own and that others (e.g., other people, aliens, demons or fallen angels, or conspiring intelligence agencies) are putting thoughts into their minds (thought insertion). Some patients feel as if thoughts are being taken out of their minds or deleted (thought removal). Along with other symptoms of psychosis, delusions of thought insertion may be reduced by antipsychotic medication. Psychiatrists and clinical psychologists believe and empirical findings support the idea that people with schizotypy and schizotypal personality disorder are particularly likely to believe in telepathy.
Maynooth Castle is a ruined 12th century castle in Maynooth, County Kildare, Ireland which stands at the entrance to the South Campus of Maynooth University.
The area covered by modern Kildare was granted by Strongbow to Maurice Fitzgerald in 1176. The castle was built at the junction of two streams in the late 12th century and became the home of the Fitzgerald family from then on and was expanded by Sir John Fitzgerald in the 15th century. The Fitzgeralds became the Earls of Kildare and Lords Deputy of Ireland.
The Fitzgerald occupation of the castle ended with the 1534 rebellion of Silken Thomas, the son of the ninth Earl of Kildare. An English force led by William Skeffington bombarded the massive castle in March 1535, the heavy modern siege guns of the English army making a ruin of much of the Medieval structure. The castle fell after a ten-day siege and the garrison summarily executed before the castle gate. Silken Thomas was captured shortly afterwards and committed to the Tower of London with his five uncles. They were executed for treason at Tyburn on 3 February 1537.
The Castle was restored in 1630-35 by Richard Boyle, 1st Earl of Cork, after his daughter had married George FitzGerald but much of this building was destroyed in the 1640s during the Eleven years war. Only the gatehouse (on which united arms of the Boyles and FitzGeralds can still be viewed) and the Solar Tower survive. The Fitzgeralds left Maynooth for good and made first Kilkea Castle and then Carton House their family seat.
Restoration work on the castle was restarted by the Office of Public Works in February 2000 to develop it into a Heritage Site. It is now open to the public from June to October, 10.00 a.m. - 5.45 p.m.. Today the partly ruined building remains as a tourist attraction, with limited access possible.
Maynooth Castle is a ruined 12th century castle in Maynooth, County Kildare, Ireland which stands at the entrance to the South Campus of Maynooth University.
The area covered by modern Kildare was granted by Strongbow to Maurice Fitzgerald in 1176. The castle was built at the junction of two streams in the late 12th century and became the home of the Fitzgerald family from then on and was expanded by Sir John Fitzgerald in the 15th century. The Fitzgeralds became the Earls of Kildare and Lords Deputy of Ireland.
The Fitzgerald occupation of the castle ended with the 1534 rebellion of Silken Thomas, the son of the ninth Earl of Kildare. An English force led by William Skeffington bombarded the massive castle in March 1535, the heavy modern siege guns of the English army making a ruin of much of the Medieval structure. The castle fell after a ten-day siege and the garrison summarily executed before the castle gate. Silken Thomas was captured shortly afterwards and committed to the Tower of London with his five uncles. They were executed for treason at Tyburn on 3 February 1537.
The Castle was restored in 1630-35 by Richard Boyle, 1st Earl of Cork, after his daughter had married George FitzGerald but much of this building was destroyed in the 1640s during the Eleven years war. Only the gatehouse (on which united arms of the Boyles and FitzGeralds can still be viewed) and the Solar Tower survive. The Fitzgeralds left Maynooth for good and made first Kilkea Castle and then Carton House their family seat.
Restoration work on the castle was restarted by the Office of Public Works in February 2000 to develop it into a Heritage Site. It is now open to the public from June to October, 10.00 a.m. - 5.45 p.m.. Today the partly ruined building remains as a tourist attraction, with limited access possible.
British Real Photograph postcard. Photo: Metro-Goldwyn-Mayer Pictures (MGM).
Canadian actress Marie Dressler (1868-1934) began her career in the theatre and became famous as a comedy actress. In the early sound film era, Dressler rose to become one of Hollywood's biggest stars. In 1931 she won the Oscar for Best Actress in a Leading Role for her performance in Min and Bill (1931).
Marie Dressler was born Leila Marie Koerber in Cobourg in the Canadian province of Ontario, in 1868. She was one of the two daughters of Anna (née Henderson), a musician, and Alexander Rudolph Körber, a former German officer and music teacher. Her father was the organist at St. Peter's Anglican Church in Cobourg, where as a child Marie would sing and assist in operating the organ. The Koerber family eventually moved to the United States, where Alexander Koerber is known to have worked as a piano teacher in the late 1870s and early 1880s. At 14, Marie left home and entered the theatre. Dressler adopted the name of an aunt as her stage name because her father objected to her using the name Koerber. She built a career in travelling theatre troupes, where she learned to appreciate her talent for making people laugh. In 1992, she debuted on Broadway in 'Waldemar, the Robber of the Rhine', written by Maurice Barrymore, which only lasted five weeks. In 1896, Dressler landed her first starring role as Flo in George Lederer's production of 'The Lady Slavey' at the Casino Theatre on Broadway, co-starring British dancer Dan Daly. It was a great success, playing for two years at the Casino. Dressler became known for her hilarious facial expressions, seriocomic reactions, and double takes. With her large, strong body, she could improvise routines in which she would carry Daly, to the delight of the audience.
In 1900, Marie Dressler married theatrical manager George Hoeppert. Her marriage to Hoeppert gave Dressler U.S. citizenship. They had a daughter who died in infancy and divorced in 1906. In 1907, she met Maine businessman James Henry "Jim" Dalton, who was married and she went to live with him. They would stay together until his death in 1922. The two moved to London, where Dressler performed at the Palace Theatre of Varieties for $1500 per week. Back in the US, Dressler starred in the play 'Tillie's nightmare' (1910) by A. Baldwin Sloane and Edgar Smith. A few years later, Keystone producer Mack Sennett made a film version, Tillie's Punctured Romance (Mack Sennett, 1914). The comedy which also starred Mabel Normand, Charlie Chaplin, and the Keystone Kops, became the first film Dressler starred in. It was also the first full-length, six-reel slapstick comedy ever. In the following years, she made several comedies including two Tillie sequels but she mostly worked on stage in New York City. During World War I, along with other celebrities, she helped sell Liberty bonds. In 1919, she helped organise the first union for stage chorus players. For this, she was blacklisted and suffered great material hardship for years. Dressler was reduced to living on her savings while sharing an apartment with friend Nella Webb. Only many years later, the then 59-year-old Dressler made a comeback. Thanks to director Allan Dwan, Dressler played a supporting role in The Joy Girl (Allan Dwan, 1927) starring Olive Borden. Her good friend, screenwriter Frances Marion, who had cared for her during the hard years, got her a contract with the MGM studio. Her first MGM feature was The Callahans and the Murphys (George W. Hill, 1927), a rowdy silent comedy co-starring Dressler with another former Mack Sennett comedian, Polly Moran, as a couple of feuding tenement housewives. Dressler and Moran formed a popular screen couple in several films. Another success was the hilarious screwball comedy The Patsy (King Vidor, 1928) in which she played Marion Davies' mother. Her popularity rose and eventually, the advent of sound film made her a major film star.
Although Greta Garbo was the star of Anna Christie (Clarence Brown, 1930), Marie Dressler also received rave reviews for her role as a bitter old prostitute in the film. Dressler's rumbling voice could handle both sympathetic scenes and snappy comebacks. In 1931, Dressler received an Academy Award for Best Actress for her role in Min and Bill (George W. Hill, 1930) alongside Wallace Beery. Beery was a good 20 years younger than Dressler but played her husband in the film. Min and Bill (1931) was one of the most financially successful films of the year. After this success, Dressler and Beery's footprints were inscribed on the cement forecourt in front of the Chinese Theatre in Hollywood with the words "America's New Sweethearts, Min and Bill". She was nominated again in 1932 for her role in Emma (Clarence Brown, 1932) but ultimately did not win the Oscar this time. In 1933, she starred in the popular comedy Dinner at Eight (George Cukor, 1933), the film adaptation of a successful Broadway play by George S. Kaufman and Edna Ferber.v She played an ageing but vivacious former stage actress alongside John Barrymore, Jean Harlow and Wallace Beery. Tugboat Annie (Mervyn LeRoy, 1933), which reunited her again with Wallace Beery, became one of the most successful films of the year for MGM. Marie was at the top of her career. For the years 1932 and 1933, the Motion Picture Herald Box Office Ranking, which was based on annual representative surveys of US cinema operators, listed her as the country's highest-grossing star. In early 1934 she was diagnosed with terminal cancer. Louis B. Mayer gave her a new, financially lucrative contract to bolster her morale. Coming to movie stardom late, Dressler had no pretensions and a delightful sense of humour. Once, when visiting William Randolph Hearst's California palace San Simeon, a monkey pelted her with some of his excrement. Dressler responded, "Oh, a critic!" At the age of 65, Marie Dressler died of cancer in 1934 in Santa Barbara, California. She was buried at Forest Lawn Memorial Park Cemetery in Glendale. The first of her two autobiographies, 'The Life Story of an Ugly Duckling', was published in 1924. A second book, 'My Own Story', "as told to Mildred Harrington", appeared a few months after her death. Since 1960, a star on the Hollywood Walk of Fame, at 1559 Vine Street, commemorates the actress.
Sources: Wikipedia (Dutch, German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1602, 1961. Honor Blackman in The Delavine Affair (Douglas Peirce, 1954).
Yesterday, 6 April 2020, British actress Honor Blackman (1925-2020) passed away at the age of 94. She was best known for playing the Bond girl Pussy Galore opposite Sean Connery in Goldfinger (1964). Blackman became a household name in the 1960s as Cathy Gale in The Avengers in which she showed an extraordinary combination of beauty, brains and physical prowess. After a career spanning eight decades, she died of natural causes unrelated to coronavirus.
Honor Blackman was born one of four children of a middle-class family in London's East End. Her father, Frederick Blackman, was a civil service statistician. For her 15th birthday, her parents gave her acting lessons and she began her training at the Guildhall School of Music and Drama in 1940. Blackman received her first acting work on stage in London's West End as an understudy for 'The Guinea Pig'. She continued with roles in 'The Gleam' (1946) and 'The Blind Goddess' (1947), before moving into film. She debuted with Fame Is the Spur (1947), starring Michael Redgrave. Signed up with the Rank Organisation, Blackman joined several other starlet hopefuls who were being groomed for greater fame. She played small roles in the anthology film Quartet (Ken Annakin, Arthur Crabtree, Harold French, Ralph Smart, 1948), based on short stories by W. Somerset Maugham, the thriller So Long at the Fair (Terence Fisher, Antony Darnborough,1950), with Dirk Bogarde, and the Titanic drama A Night to Remember (Roy Ward Baker, 1958). Developing a solid footing, she filmed The Square Peg (John Paddy Carstairs, 1958) with comedian Norman Wisdom and A Matter of WHO (Don Chaffey, 1961) with Terry-Thomas. On television, she played in the Edgar Wallace vigilante series The Four Just Men (1959-1960). She secured her breakthrough when she was cast in 1962 as the leather-clad crimefighter Cathy Gale in the hit British show The Avengers (1962-1964), alongside Patrick Macnee as the bowler-hatted John Steed. Blackman had to learn judo for the role, and her tough persona allied to then daring costume choices – boots and figure-hugging catsuits – ensured she quickly assumed star status. One of its unlikely results was a hit single, 'Kinky Boots', recorded in 1964 with Macnee, which became a Top 10 hit in the U.K. in 1990. Blackman’s proficiency in martial arts helped her land what became her signature role, that of Pussy Galore, the glamorous villain assisting in Goldfinger’s plot to rob Fort Knox. Goldfinger (Guy Hamilton, 1964) was the third Bond film and was a global hit. Gary Brumburgh at IMDb: "Blackman went toe to toe with Sean Connery's womanizing "007" and created major sparks on screen, managing to outclass the (wink-wink) double meaning of her character's name."
After her rise to mainstream fame, Honor Blackman made noticeable appearances in such films as Jason and the Argonauts (Don Chaffey, 1963) as the vengeful goddess Hera, the Western Shalako (Edward Dmytryk, 1968) and The Virgin and the Gypsy (Christopher Miles, 1970) with Franco Nero. Simon Murphy and Andrew Pulver in The Guardian: "while she worked steadily in film, her TV work was higher profile, and included guest appearances in Columbo, Minder and Doctor Who. In 1990, she was cast in a regular role in the ITV sitcom The Upper Hand, playing the glamorous mother of the lead female character. Blackman expressed her fondness for the role, saying it “made women who had just retired and felt they’d been put on the backburner realise they had a lot of life left to live”." She earned raves on stage as the blind heroine of the thriller 'Wait Until Dark' as well as for her dual roles in 'Mr. and Mrs.', a production based on two of Noël Coward's plays. She also appeared on stage in The Sound of Music (1981), My Fair Lady (2005-2006) and Cabaret (2007). She was a staunch republican and turned down a Commander of the British Empire (CBE) in 2002 to avoid being a “hypocrite”. More recently, she joined a campaign to demand compensation payments for pensioners who lost savings in the Equitable Life scandal. Honor Blackman was married to Bill Sankey from 1948 to 1956. After their divorce, she married British actor Maurice Kaufmann (1961–1975). They appeared together in the slasher film Fright (Peter Collinson, 1971) and some stage productions. They adopted two children, Lottie (1967) and Barnaby (1968). After her divorce from Kaufmann, she did not remarry and stated that she preferred being single. She enjoyed watching football. Blackman died at her home in Lewes in 2020, aged 94, from natural causes.
Sources: Simon Murphy and Andrew Pulver (The Guardian), Gary Brumburgh (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard by Raphael Tuck & Sons, no. 10. Photo: Gaumont-British. Collection: Marlene Pilaete.
Evelyn Laye (1900–1996) was one of England's most popular stars of musical revue and operetta during the 1920s. She did a few screen appearances in both London and Hollywood, including in the classic musical Evensong (1934).
Elsie Evelyn Lay was born in Bloomsbury, London, in 1900 .Her parents, Gilbert Laye and Evelyn Stewart, were both actors and Evelyn was already treading the boards at the age of two. Her father managed the Palace Theatre in Brighton and this was where Evelyn first made a name for herself as Chinese servant Nang-Ping in Mr. Wu in 1915. Her London stage debut followed in 1916 in the revue Honi Soit at the East Ham Palace in 1916. The first few years of her career she mainly played in musical comedy and operetta, including the aviation musical Going Up (1918-1919). She had her first West End success in 1920 with The Shop Girl, in which she was backed by a chorus of real guardsmen as she sang ‘The Guards’ Parade’. Among her other successes during the 1920s were Phi-Phi (1922), Madame Pompadour (1923) - her first show for C.B. Cochran, Betty in Mayfair (1925-1926), Merely Molly (1926-1927), Blue Eyes (1928) and Lilac Time. Cochran called her ‘the fairest prima donna this side of heaven’ In the cinema she made her debut in the British comedy thriller The Luck of the Navy (Fred Paul, 1927). She married the comedian Sonnie Hale in 1926. Laye received widespread public sympathy when Hale left her for the actress Jessie Matthews in 1928. She subsequently wed actor Frank Lawton in 1934, with whom she remained married until his death in 1969. In 1929, Evelyn Laye made her Broadway debut in the American première of Noël Coward's Bitter Sweet. Her song I'll See you Again became her trademark signature piece. Her performance attracted the attention of film producer Samuel Goldwyn, who promptly brought her to Hollywood. She appeared in such early Hollywood film musicals as One Heavenly Night (George Fitzmaurice, 1931). I.S. Mowis at IMDb: “The ridiculously contrived story and silly dialogue made this one of the worst flops of 1931, not helped by the wooden performance of Laye's co-star, John Boles. Although New York Times critic Mordaunt Hall, in his January 10 review reserved sole praise for Laye's singing and performance, Goldwyn washed his hands of the whole affair and Evelyn returned to England.”
Back in London, Evelyn Laye continued acting in pantomimes such as The Sleeping Beauty and Cinderella. She also appeared to great acclaim in the British film musicals Waltz Time (Wilhelm Thiele, 1933) co-starring Fritz Schulz, Princess Charming (Maurice Elvey, 1934) and Evensong (Victor Saville, 1934) with Fritz Kortner. She did another film in Hollywood, the film operetta The Night Is Young (Dudley Murphy, 1935), with Ramon Novarro. But again without success. During the second half of the 1930s, Laye was a ‘ravishing’ Helen of Troy in Helen!, appeared with the young John Mills in Give Me A Ring, co-starred with Viennese tenor Richard Tauber in Paganini, and returned to Broadway in 1937 with Jack Buchanan and Adele Dixon for Between The Devil. The show made history when it was presented for one night at the National Theatre in New York on the occasion of President Roosevelt’s birthday, thereby becoming the first American Command Performance. She spent most of the war years as entertainments director of the Royal Navy, performing frequently for the troops. After the Second World War, she had less success, but in 1954, she returned to the West End in the musical Wedding in Paris. She also acted several times opposite husband Frank Lawton, including in the sitcom My Husband and I (1956). Other stage successes included Silver Wedding (1957) with Lawton, The Amorous Prawn (1959) and Phil the Fluter (1969). Later films include the horror film Theatre of Death (Samuel Gallu, 1967) starring Christopher Lee, the drama Say Hello to Yesterday (Alvin Rakoff 1970) as the mother of Jean Simmons, and the unsuccessful drama Never Never Land (Paul Annett, 1980) starring Petula Clark. She also did a good deal of television work. Laye was awarded a CBE (Commander of the Order of the British Empire) in 1973 for her services to drama. One of her last plays was Noel Coward's Semi-Monde (1987-1988), at the Royalty Theatre in London, with fellow cast members Kenneth Branagh and Judi Dench. At the age of 92, she made her farewell tour of Britain with the nostalgia show Glamorous Nights At Drury Lane, and received standing ovations.. Later that year, she was paid a tribute at the London Palladium, led by actor John Mills. Evelyn Laye died in a nursing home in Pimlico, Central London from respiratory failure in 1996. She was 95.
Sources: I.S. Mowis (IMDb), AllMusic, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by Editions P.I., Paris, no. 690. Photo: Universal.
Gia Scala (1934-1972) was a beautiful, sensitive English born Italian-American actress and model. Despite roles in such classics as The Guns of Navarone (1961), she never reached her full potential in Hollywood. Later, she also worked in Italy. The circumstances surrounding Scala's death at 36 by an overdose, have been questioned.
Gia Scala was born Josephine Grace Johanna Scoglio in 1934, in Liverpool, England, to aristocratic Sicilian father Pietro Scoglio, and Irish mother Eileen O'Sullivan. She had one sister, Tina Scala, also an actress. Scala was brought up in Messina and Mili San Marco in Sicily, the latter on the estate of her grandfather, Natale Scoglio, who was one of the largest citrus growers in Sicily. When Scala was 16, she moved to the United States to live with her aunt Agata in Whitestone, Queens, New York City. In 1952, after graduating from Bayside High School, she moved to Manhattan to pursue acting. Scala supported herself by working at a travel agency. During this time, Scala studied acting with with Stella Adler and the Actors Studio, where she met Steve McQueen. The two dated from 1952 to 1954. Scala began to appear on game shows, including Stop the Music, where she later became host Bert Parks' assistant. There she was spotted by Maurice Bergman, an executive of Universal International located in New York City. In 1954, accompanied by her mother, Scala flew to Los Angeles to screen test for the role of Mary Magdalene in The Gallileans but the film ended up being scrapped. Although she did not get the part, Peter Johnson at Universal was impressed with Scala's screen test. Scala had her first official job in Hollywood when she was given a non-speaking, uncredited part in All That Heaven Allows (Douglas Sirk, 1955), starring Jane Wyman and Rock Hudson. Despite her minor role in the film, Universal signed her to a contract, dyed her hair dark brown, had her four front teeth capped, and gave her the stage name Gia Scala. Songwriter Henry Mancini met Scala on the set of Four Girls in Town (Jack Sher, 1957), with George Nader and Marianne Koch. Inspired by her beauty, he wrote 'Cha Cha for Gia', which appeared uncredited in the film. She also played in Tip on a Dead Jockey (Richard Thorpe, 1957) starring Robert Taylor, and the Film Noir The Garment Jungle (Vincent Sherman, Robert Aldrich, 1957), with Lee J. Cobb. In 1958, she became a naturalised American citizen. Scala soon after landed roles in such films as the romantic comedy The Tunnel of Love (Gene Kelly, 1958) with Doris Day, the Western Ride a Crooked Trail (Jesse Hibbs, 1958), with former World War II hero Audie Murphy and Walter Matthau, the war thriller The Two-Headed Spy (André De Toth, 1958) featuring Jack Hawkins, and The Angry Hills (Robert Aldrich, 1959) with Robert Mitchum. Scala became emotionally distraught following the death of her mother in 1957 and she began to drink heavily as compensation which led to a few arrests.
In 1959, Gia Scala married Don Burnett, an actor who later turned investment banker. During the 1960s, Scala made frequent appearances on American television in such series as Alfred Hitchcock Presents (1960), The Rogues (1964-1965), Convoy (1965), Voyage to the Bottom of the Sea (1965), Twelve O'Clock High (1965), and Tarzan (1967). Gia's best known film role came as Anna, a Greek resistance fighter who presumably had been so horribly tortured by the Nazis that she became mute, in the epic The Guns of Navarone (J. Lee Thompson, 1961), starring Gregory Peck and David Niven. She eventually lost her contract at Universal due to her unreliability, which forced her to seek work overseas. She co-starred with her handsome husband in the Italian adventure film Il trionfo di Robin Hood/The Triumph of Robin Hood (Umberto Lenzi, 1962). Scala had difficulties with alcohol and her career began to wane. Her last feature film was the Spanish-American comedy Operación Dalila/Operation Delilah (Luis de los Arcos, 1967) with Rory Calhoun. Her marriage burnt itself out, and, at one point, she threw herself off London's Waterloo Bridge in desperation. She would have drowned in the Thames River had a passing cab driver not plucked her out of the water in time. Her final acting role was in the episode The Artist Is for Framing of the series It Takes a Thief (1969) starring Robert Wagner. After 10 years of marriage, Burnett left her and moved in with Rock Hudson. Gia and Don divorced in 1970. Her sportscar turned over on a winding canyon road in July 1971 and she lost part of her index finger. Gary Brumburgh at IMDb: "Gia's bouts with depression grew so severe that she was forced to undergo frequent psychiatric observations. In the midst of things she tried to pick herself up emotionally by studying painting and staying close to her younger sister, actress Tina Scala. It was too late." In 1972, 38-year-old Scala was found dead in her Hollywood Hills home. Los Angeles County Coroner Thomas Noguchi reported her cause of death was from an "acute ethanol and barbiturate intoxication" (an overdose of alcohol and sleeping pills) and was later ruled accidental. The circumstances surrounding the still beautiful Scala's death have been questioned, with some believing it was a result of either murder or suicide rather than accidental. She had first attempted suicide in 1958, after the death of her mother. She later tried again, after her ex-husband, Don Burnett, married Ironside star Barbara Anderson, a year after their divorce. Her sister believed that she did not intend to take her life nor that her death was accidental. Scala had a prescription for valium and three tablets were missing from the bottle, but valium is a benzodiazepine, not a barbiturate. Also, Scala was discovered nude sprawled across her bed and bruises were found on her body and blood was on her pillow. Scala is interred next to her mother, Eileen O'Sullivan-Scoglio, in the Holy Cross Cemetery in Culver City, California. In 2014, author/researcher Sterling Saint James wrote a book about Gia Scala's life titled 'Gia Scala: The First Gia'. Tina Scala provided intimate details about her sister's life.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
One of the best horror cards of the 1950s, the classic Curse of the Demon lobby #5, featuring a stunning close-up of the monster; ironically, this scene with the actual demon was added by the producers, over the objections of the film's director, Jacques Tourneur, who wanted to keep the threat more mysterious and unseen.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
This atmospheric British film, about a psychologist investigating a devil worshipping cult, features one of the most memorable creatures to come from horror films of the 1950s. The incredible monster showcased on this frightening one sheet is actually based on a woodcut print from a 1650s book on demonology. And even though the demon appears on this one sheet and in the film, director Jacques Tourneur didn't want to depict it, feeling that the mystery of what it looked like outweighed showing it.
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
The FitzGerald - FitzMaurice dynasty is a Cambro-Norman and Anglo-Norman, and later Hiberno-Norman, aristocratic and royal dynasty. They have been peers of Ireland since at least the 13th century, and are described in the Annals of the Four Masters as being "more Irish than the Irish themselves" or Galls, due to assimilation with the native Gaelic aristocratic and popular culture.
The dynasty has also been referred to as the Geraldines and the main branches of the family are:
The Fitzmaurices and FitzGeralds of Kildare (Earls of Kildare from 1316, later Marquesses of Kildare and from 1766 Dukes of Leinster and Premier Peers of Ireland). The current head is Maurice FitzGerald, 9th Duke of Leinster.
The Fitzmaurices and FitzGeralds of Desmond (Barons Desmond, later Earls of Desmond).
Saint Patrick's Saltire or Saint Patrick's Cross is a red saltire (X-shaped cross) on a white field, used to represent the island of Ireland or Saint Patrick, the patron saint of Ireland. In heraldic language, it may be blazoned Argent, a saltire gules. Saint Patrick's Flag (Bratach Naomh Pádraig) is a flag composed of Saint Patrick's Saltire.
The red saltire's association with Saint Patrick dates from the 1780s, when the Order of Saint Patrick adopted it as an emblem. This was a British chivalric order established in 1783 by George III. It has been suggested that it derives from the arms of the powerful Geraldine or FitzGerald dynasty. Most Irish nationalists reject its use to represent Ireland as a "British invention".
After its adoption by the Order of Saint Patrick, it began to be used by other institutions. When the 1800 Act of Union joined the Kingdom of Ireland with the Kingdom of Great Britain, the saltire was added to the British flag to form the Union Flag still used by the United Kingdom. The saltire has occasionally served unofficially to represent Northern Ireland.
Italian postcard, no. 526.
Gia Scala (1934-1972) was a beautiful, sensitive English born Italian-American actress and model. Despite roles in such classics as The Guns of Navarone (1961), she never reached her full potential in Hollywood. Later, she also worked in Italy. The circumstances surrounding Scala's death at 36 by an overdose, have been questioned.
Gia Scala was born Josephine Grace Johanna Scoglio in 1934, in Liverpool, England, to aristocratic Sicilian father Pietro Scoglio, and Irish mother Eileen O'Sullivan. She had one sister, Tina Scala, also an actress. Scala was brought up in Messina and Mili San Marco in Sicily, the latter on the estate of her grandfather, Natale Scoglio, who was one of the largest citrus growers in Sicily. When Scala was 16, she moved to the United States to live with her aunt Agata in Whitestone, Queens, New York City. In 1952, after graduating from Bayside High School, she moved to Manhattan to pursue acting. Scala supported herself by working at a travel agency. During this time, Scala studied acting with with Stella Adler and the Actors Studio, where she met Steve McQueen. The two dated from 1952 to 1954. Scala began to appear on game shows, including Stop the Music, where she later became host Bert Parks' assistant. There she was spotted by Maurice Bergman, an executive of Universal International located in New York City. In 1954, accompanied by her mother, Scala flew to Los Angeles to screen test for the role of Mary Magdalene in The Gallileans but the film ended up being scrapped. Although she did not get the part, Peter Johnson at Universal was impressed with Scala's screen test. Scala had her first official job in Hollywood when she was given a non-speaking, uncredited part in All That Heaven Allows (Douglas Sirk, 1955), starring Jane Wyman and Rock Hudson. Despite her minor role in the film, Universal signed her to a contract, dyed her hair dark brown, had her four front teeth capped, and gave her the stage name Gia Scala. Songwriter Henry Mancini met Scala on the set of Four Girls in Town (Jack Sher, 1957), with George Nader and Marianne Koch. Inspired by her beauty, he wrote 'Cha Cha for Gia', which appeared uncredited in the film. She also played in Tip on a Dead Jockey (Richard Thorpe, 1957) starring Robert Taylor, and the Film Noir The Garment Jungle (Vincent Sherman, Robert Aldrich, 1957), with Lee J. Cobb. In 1958, she became a naturalised American citizen. Scala soon after landed roles in such films as the romantic comedy The Tunnel of Love (Gene Kelly, 1958) with Doris Day, the Western Ride a Crooked Trail (Jesse Hibbs, 1958), with former World War II hero Audie Murphy and Walter Matthau, the war thriller The Two-Headed Spy (André De Toth, 1958) featuring Jack Hawkins, and The Angry Hills (Robert Aldrich, 1959) with Robert Mitchum. Scala became emotionally distraught following the death of her mother in 1957 and she began to drink heavily as compensation which led to a few arrests.
In 1959, Gia Scala married Don Burnett, an actor who later turned investment banker. During the 1960s, Scala made frequent appearances on American television in such series as Alfred Hitchcock Presents (1960), The Rogues (1964-1965), Convoy (1965), Voyage to the Bottom of the Sea (1965), Twelve O'Clock High (1965), and Tarzan (1967). Gia's best known film role came as Anna, a Greek resistance fighter who presumably had been so horribly tortured by the Nazis that she became mute, in the epic The Guns of Navarone (J. Lee Thompson, 1961), starring Gregory Peck and David Niven. She eventually lost her contract at Universal due to her unreliability, which forced her to seek work overseas. She co-starred with her handsome husband in the Italian adventure film Il trionfo di Robin Hood/The Triumph of Robin Hood (Umberto Lenzi, 1962). Scala had difficulties with alcohol and her career began to wane. Her last feature film was the Spanish-American comedy Operación Dalila/Operation Delilah (Luis de los Arcos, 1967) with Rory Calhoun. Her marriage burnt itself out, and, at one point, she threw herself off London's Waterloo Bridge in desperation. She would have drowned in the Thames River had a passing cab driver not plucked her out of the water in time. Her final acting role was in the episode The Artist Is for Framing of the series It Takes a Thief (1969) starring Robert Wagner. After 10 years of marriage, Burnett left her and moved in with Rock Hudson. Gia and Don divorced in 1970. Her sportscar turned over on a winding canyon road in July 1971 and she lost part of her index finger. Gary Brumburgh at IMDb: "Gia's bouts with depression grew so severe that she was forced to undergo frequent psychiatric observations. In the midst of things she tried to pick herself up emotionally by studying painting and staying close to her younger sister, actress Tina Scala. It was too late." In 1972, 38-year-old Scala was found dead in her Hollywood Hills home. Los Angeles County Coroner Thomas Noguchi reported her cause of death was from an "acute ethanol and barbiturate intoxication" (an overdose of alcohol and sleeping pills) and was later ruled accidental. The circumstances surrounding the still beautiful Scala's death have been questioned, with some believing it was a result of either murder or suicide rather than accidental. She had first attempted suicide in 1958, after the death of her mother. She later tried again, after her ex-husband, Don Burnett, married Ironside star Barbara Anderson, a year after their divorce. Her sister believed that she did not intend to take her life nor that her death was accidental. Scala had a prescription for valium and three tablets were missing from the bottle, but valium is a benzodiazepine, not a barbiturate. Also, Scala was discovered nude sprawled across her bed and bruises were found on her body and blood was on her pillow. Scala is interred next to her mother, Eileen O'Sullivan-Scoglio, in the Holy Cross Cemetery in Culver City, California. In 2014, author/researcher Sterling Saint James wrote a book about Gia Scala's life titled 'Gia Scala: The First Gia'. Tina Scala provided intimate details about her sister's life.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Paving for the way for later occult classics like Rosemary’s Baby and The Wicker Man, Night of the Demon is a spooky tale of witchcraft in modern Britain. With Jacques Tourneur’s film opening the BFI’s Monster Weekend, curator Vic Pratt explains why it’s a masterpiece of fright.
Vic Pratt
Wednesday, 21 August 2013
Night of the Demon (1957)
Night of the Demon screens on 29 August as part of the BFI’s Monster Weekend at the British Museum.
Gothic: The Dark Heart of Film is a major four-month film season at BFI Southbank and across the UK from October 2013 to January 2014.
I’ve loved Night of the Demon (1957) since I first watched it on telly many moons ago with my Dad. I was just a kid at the time, and yes, it may have been past my bedtime, so the thrill of staying up late to see it might have meant I enjoyed it all the more. But ever since then, it’s been a firm favourite of mine.
Looking back at it with an adult eye, you can see that it’s a film that belongs on any decent foundation course in cinematic horror. Beautifully constructed and ingeniously fashioned by master film-craftsmen, it remains a haunting, chillingly plausible tale of witchcraft and the occult, and the conflict between rationality and superstition.
But back when I was a fresh-faced child, I didn’t care about that. I was far more interested in the creepy demon of the title. That writhing, nasty-faced, woodcut-like creature – his arrival heralded by strange squealing strains, unsettling jangling noises, smoky footprints, and bizarre star-spangled puffs of smoke – captured my youthful imagination.
I didn’t know it at the time, but the film was directed by a master of spooky, suspenseful, atmospheric cinema, the great Jacques Tourneur. I found out about him later on, as a teenager. Tourneur’s shadowy, moody films – which seemed to mix Gothic themes with film noir-ish imagery – had an immediate appeal.
French born, but later active in the USA, he shot a string of low-budget classics in the 1940s for Val Lewton’s B-picture unit at RKO. If that had been that, and he’d packed it in then, his reputation would already have been assured. The man who’d made Cat People (1942) and I Walked with a Zombie (1943) certainly had nothing to prove. But Tourneur was not a man to rest on his laurels. He carried on, moved into bigger budget productions, and, some years later, shot a Gothic chiller about modern-day witchcraft in England. It was called Night of the Demon. And it might even be the best of the bunch.
The film was adapted from M.R. James’s short story ‘Casting the Runes’ by Hitchcock collaborator Charles Bennett, and it grips from the very beginning. Dana Andrews, playing sceptical American psychologist Holden, scoffs when he’s passed a cursed piece of parchment in the British Museum reading room by genial occultist Dr Karswell (masterfully played by Niall MacGinnis). It means that he’s scheduled to die at the demon’s hand within four days. Holden doesn’t believe it. But – having spotted that monster in the first reel – we viewers know better than the sometimes irritatingly sure-of-himself scientist. And so Holden is dragged ever further into a web of devilry, while perceptive Joanna (the wonderful Peggy Cummins) races against time to convince him that it’s not all just flim-flam.
But you can see why Holden takes some convincing. While Karswell really is the possessor of strange powers, he acts like a show-off schoolboy conjuror spoiling the summer fete. A petulant, overgrown rich-kid know-all who lives with his mother, occasionally dabbling as a children’s entertainer, he’s a modern-day sorcerer who really doesn’t understand the seriousness of the dark forces at his command – and doesn’t much care either.
In one splendid scene, set at his grand country house, merely to demonstrate his powers to the resolutely sceptical Holden, Karswell conjures up a whirlwind out of nowhere, and smiles smugly as terrified children – whom he entertained, dressed as a clown, moments earlier – run screaming across the grounds of his stately pile. “A medieval witch’s speciality: a wind storm,” he gloats. He’s ruined their party.
Shot in broad daylight, this eerie, darkly humorous scene demonstrates that good Gothic doesn’t need to take place at night, or even in a creepy castle; and that Tourneur is a master of mood, whatever the setting. And something tells me our old friend Alfred Hitchcock watched it closely: it foreshadows a somewhat similar silly-sinister sequence in The Birds (1963) where a flap of feathered beasts suddenly dive bomb the children to spoil yet another tea-party on the lawn.
A disrupted children’s party was a million miles away from the censor-shocking, blood-spattered Hammer horrors that were poised to take the world by storm at the end of the 1950s; but this film, though perhaps harking back to an earlier era, was no less brilliant than those.
Despite the monster, Night of the Demon is a cerebral piece: it chills viewers intelligently, slowly, and fills them with an ominous sense of impending dread and looming, inevitable disaster, leavened with dark, dry dashes of humour and irony – tactics that, once again, bring to mind a certain Mr Hitchcock. And what’s more, it makes witchcraft creepily contemporary. Modern-day malevolence of this kind would be the centrepiece of numerous films still to come, such as Night of the Eagle (1962), Rosemary’s Baby (1968) and The Wicker Man (1973), to name but a few.
Night of the Demon has now been remastered by the BFI National Archive, and the full-length British version now stands ready to be unleashed on cinema screens once more. If you haven’t seen it before, you should. And while that old demon lurking in the shadows at the centre of it all has had some bad press over the years – many critics think we meet him too early, or even that we shouldn’t meet him at all – my childhood self would beg to differ. He had quite an effect on me in my formative years, and my adult self will hear nothing bad said about him. He belongs exactly where he is, forever swirling malevolently in the smoke, at the heart of Night of the Demon.
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Paving for the way for later occult classics like Rosemary’s Baby and The Wicker Man, Night of the Demon is a spooky tale of witchcraft in modern Britain. With Jacques Tourneur’s film opening the BFI’s Monster Weekend, curator Vic Pratt explains why it’s a masterpiece of fright.
Vic Pratt
Wednesday, 21 August 2013
Night of the Demon (1957)
Night of the Demon screens on 29 August as part of the BFI’s Monster Weekend at the British Museum.
Gothic: The Dark Heart of Film is a major four-month film season at BFI Southbank and across the UK from October 2013 to January 2014.
I’ve loved Night of the Demon (1957) since I first watched it on telly many moons ago with my Dad. I was just a kid at the time, and yes, it may have been past my bedtime, so the thrill of staying up late to see it might have meant I enjoyed it all the more. But ever since then, it’s been a firm favourite of mine.
Looking back at it with an adult eye, you can see that it’s a film that belongs on any decent foundation course in cinematic horror. Beautifully constructed and ingeniously fashioned by master film-craftsmen, it remains a haunting, chillingly plausible tale of witchcraft and the occult, and the conflict between rationality and superstition.
But back when I was a fresh-faced child, I didn’t care about that. I was far more interested in the creepy demon of the title. That writhing, nasty-faced, woodcut-like creature – his arrival heralded by strange squealing strains, unsettling jangling noises, smoky footprints, and bizarre star-spangled puffs of smoke – captured my youthful imagination.
I didn’t know it at the time, but the film was directed by a master of spooky, suspenseful, atmospheric cinema, the great Jacques Tourneur. I found out about him later on, as a teenager. Tourneur’s shadowy, moody films – which seemed to mix Gothic themes with film noir-ish imagery – had an immediate appeal.
French born, but later active in the USA, he shot a string of low-budget classics in the 1940s for Val Lewton’s B-picture unit at RKO. If that had been that, and he’d packed it in then, his reputation would already have been assured. The man who’d made Cat People (1942) and I Walked with a Zombie (1943) certainly had nothing to prove. But Tourneur was not a man to rest on his laurels. He carried on, moved into bigger budget productions, and, some years later, shot a Gothic chiller about modern-day witchcraft in England. It was called Night of the Demon. And it might even be the best of the bunch.
The film was adapted from M.R. James’s short story ‘Casting the Runes’ by Hitchcock collaborator Charles Bennett, and it grips from the very beginning. Dana Andrews, playing sceptical American psychologist Holden, scoffs when he’s passed a cursed piece of parchment in the British Museum reading room by genial occultist Dr Karswell (masterfully played by Niall MacGinnis). It means that he’s scheduled to die at the demon’s hand within four days. Holden doesn’t believe it. But – having spotted that monster in the first reel – we viewers know better than the sometimes irritatingly sure-of-himself scientist. And so Holden is dragged ever further into a web of devilry, while perceptive Joanna (the wonderful Peggy Cummins) races against time to convince him that it’s not all just flim-flam.
But you can see why Holden takes some convincing. While Karswell really is the possessor of strange powers, he acts like a show-off schoolboy conjuror spoiling the summer fete. A petulant, overgrown rich-kid know-all who lives with his mother, occasionally dabbling as a children’s entertainer, he’s a modern-day sorcerer who really doesn’t understand the seriousness of the dark forces at his command – and doesn’t much care either.
In one splendid scene, set at his grand country house, merely to demonstrate his powers to the resolutely sceptical Holden, Karswell conjures up a whirlwind out of nowhere, and smiles smugly as terrified children – whom he entertained, dressed as a clown, moments earlier – run screaming across the grounds of his stately pile. “A medieval witch’s speciality: a wind storm,” he gloats. He’s ruined their party.
Shot in broad daylight, this eerie, darkly humorous scene demonstrates that good Gothic doesn’t need to take place at night, or even in a creepy castle; and that Tourneur is a master of mood, whatever the setting. And something tells me our old friend Alfred Hitchcock watched it closely: it foreshadows a somewhat similar silly-sinister sequence in The Birds (1963) where a flap of feathered beasts suddenly dive bomb the children to spoil yet another tea-party on the lawn.
A disrupted children’s party was a million miles away from the censor-shocking, blood-spattered Hammer horrors that were poised to take the world by storm at the end of the 1950s; but this film, though perhaps harking back to an earlier era, was no less brilliant than those.
Despite the monster, Night of the Demon is a cerebral piece: it chills viewers intelligently, slowly, and fills them with an ominous sense of impending dread and looming, inevitable disaster, leavened with dark, dry dashes of humour and irony – tactics that, once again, bring to mind a certain Mr Hitchcock. And what’s more, it makes witchcraft creepily contemporary. Modern-day malevolence of this kind would be the centrepiece of numerous films still to come, such as Night of the Eagle (1962), Rosemary’s Baby (1968) and The Wicker Man (1973), to name but a few.
Night of the Demon has now been remastered by the BFI National Archive, and the full-length British version now stands ready to be unleashed on cinema screens once more. If you haven’t seen it before, you should. And while that old demon lurking in the shadows at the centre of it all has had some bad press over the years – many critics think we meet him too early, or even that we shouldn’t meet him at all – my childhood self would beg to differ. He had quite an effect on me in my formative years, and my adult self will hear nothing bad said about him. He belongs exactly where he is, forever swirling malevolently in the smoke, at the heart of Night of the Demon.
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
St Martin Ludgate, Ludgate Hill, London
An ebay acquisition. 1920s colour postcard posted in Kentish Town NW5 at 8.15pm on 14th November 1924. It was sent to Monsieur et Madame Le Brach, 214 Dalkeith Road, Edinburgh.
Dear M & P
I received your most welcome letter yesterday also money with many thanks. You really shouldn't have sent the money. I really had no thought of going to Ipswich. (hadn't?) dreamt of it. Well I have written to Mrs Haven saying I will be down for the week-end. I her she'll be pleased to see me. I have been to 1 or 2 shops for a place, but there is no vacancy. Maur. is taking to the theatre tonight to see Peg o' my Heart. He sends his love to you both. I will get the things you want on Thursday. Well Mam and Pap, cheerio, fondest love, my love to Mrs Rooke, Jeanette xx
The missing words and occasional errors are perhaps a sign that the card was written in haste. The musical comedy that Jeanette and Maurice went to see, Peg o' my Heart, had first been performed before the First World War, in 1913, when it opened at the Comedy Theatre, today the Harold Pinter Theatre, in Panton Street, Westminster. The hugely popular tune Peg o' my Heart came from the show. It would have been very well known by 1924.
Wikipedia tells me that the song, performed by Max Harris and his Novelty Trio (based on a version by The Harmonicats), was used as the theme of the BBC miniseries The Singing Detective (1986). When recording engineer Bill Putnam recorded The Harmonicats version of the song, he became the first person to use artificial reverberation creatively on a pop recording, with the use of the first reverb chamber, which had been set up in the studio's bathroom. Celtic punk band Dropkick Murphys covered the song on their 2011 album, Going Out In Style. Their version features a guest appearance by Bruce Springsteen. In the 2010 ITV drama Downton Abbey, episode 4 season 1 features William, the second footman, playing "Peg o' My Heart" on the piano in the servants' hall.
Here are the Harmonicats performing the tune on youtube.
Peg o' my Heart was made into a movie in 1933 starring Marion Davies and Onslow Stephens: Peg and her father live a simple life in an Irish fishing village. One day Sir Gerald arrives at the village to tell Pat that Peg is heir to estate of her grandfather, who hated Pat. The upshot of the will is that she must go to England for 3 years to learn to be a lady and that Pat can never see her again. Pat does not tell Peg about his part of the will and sends her to live with Mrs. Chichester for her education. Peg soon finds that Alaric needs to marry her, but she wants Gerald who is engaged to Ethyl who wants Brent whose wife will not divorce him. (IMDB)
There are two churches abutting directly onto the street along the northern side of Fleet Street and Ludgate Hill, and St Martin's proximity to the great west front of St Paul's Cathedral erases any dount you may have had that it was completely destroyed in the Great Fire of 1666. It was rebuilt by Christopher Wren between 1677 and 1686. Looking from Ludgate Circus, Wren's perky spirelet is dwarfed by his great replacement cathedral beyond. The tower, and that of St Augustine Watling Street on the other side of the Cathedral, were deliberately intended as foils to the great dome, their diminutive spires creating the illusion that the dome is larger and more distant.
St Martin's frontage might lead you to expect that this is a 'west' front turned around ninety degrees so that the church faces north, like the other, St Dunstan in the West. In fact, you step into a narrow narthex, and the stairs lead you up into the south side of the nave. At first sight, the interior is rather unexciting - dark and gloomy even - but St Martin suffered less damage from the Blitz than any other City church, and so what you see today is essentially Wren's interior, albeit augmented by the Georgians and Victorians. It would be possible to entertain a romantic notion that the little church had been sheltered by its giant neighbour, but of course Christ Church Newgate Street and St Augustine Watling Street, which were similarly close, were both destroyed, and the interior of St Vedast alias Foster at the east end of the cathedral was gutted in the fire storm.
The grand west gallery dominates one end, with a large candelabra hovering over the furnishings, some of which came from St Mary Magdalen in Fish Lane, demolished in the 19th Century. Once you know that St Martin is a great survivor, you become more sympathetic to the atmosphere of the interior, dusty as it is and creaking with age. Why, this might be the very church of which Betjeman reminisced in Summoned by Bells:
'A single bell would tinkle down a lane:
My echoing steps would track the source of sound -
A cassocked verger, bell-rope in his hands,
called me to high box pews, to cedar wood
(Like incense where no incense ever burned),
To ticking gallery clock, and charity bench,
And free seats for the poor, and altar-piece -
Gilded Commandment boards - and sword-rests made
For long-discarded aldermanic pomp.
A hidden organist sent reedy notes
To flute around the plasterwork. I stood,
And from the sea of pews a single head
With cherries nodding on a black straw hat
Rose in a neighbouring pew. The caretaker?
Or the sole resident parishioner?
And so once more, as for three hundred years,
This carven wood, these grey memorial'd walls
Heard once again the Book of Common Prayer,
While somewhere at the back the verger, now
Turned Parish Clerk, would rumble out "Amen".'
(c) Simon Knott, December 2015
Dutch postcard by 't Sticht, Utrecht, no. AX 6262. Gert Fröbe, Honor Blackman, Martin Benson and Sean Connery in Goldfinger (Guy Hamilton, 1964).
Yesterday, 6 April 2020, British actress Honor Blackman (1925-2020) passed away at the age of 94. She was best known for playing the Bond girl Pussy Galore opposite Sean Connery in Goldfinger (1964). Blackman became a household name in the 1960s as Cathy Gale in The Avengers in which she showed an extraordinary combination of beauty, brains and physical prowess. After a career spanning eight decades, she died of natural causes unrelated to coronavirus.
Honor Blackman was born one of four children of a middle-class family in London's East End. Her father, Frederick Blackman, was a civil service statistician. For her 15th birthday, her parents gave her acting lessons and she began her training at the Guildhall School of Music and Drama in 1940. Blackman received her first acting work on stage in London's West End as an understudy for 'The Guinea Pig'. She continued with roles in 'The Gleam' (1946) and 'The Blind Goddess' (1947), before moving into film. She debuted with Fame Is the Spur (1947), starring Michael Redgrave. Signed up with the Rank Organisation, Blackman joined several other starlet hopefuls who were being groomed for greater fame. She played small roles in the anthology film Quartet (Ken Annakin, Arthur Crabtree, Harold French, Ralph Smart, 1948), based on short stories by W. Somerset Maugham, the thriller So Long at the Fair (Terence Fisher, Antony Darnborough,1950), with Dirk Bogarde, and the Titanic drama A Night to Remember (Roy Ward Baker, 1958). Developing a solid footing, she filmed The Square Peg (John Paddy Carstairs, 1958) with comedian Norman Wisdom and A Matter of WHO (Don Chaffey, 1961) with Terry-Thomas. On television, she played in the Edgar Wallace vigilante series The Four Just Men (1959-1960). She secured her breakthrough when she was cast in 1962 as the leather-clad crimefighter Cathy Gale in the hit British show The Avengers (1962-1964), alongside Patrick Macnee as the bowler-hatted John Steed. Blackman had to learn judo for the role, and her tough persona allied to then daring costume choices – boots and figure-hugging catsuits – ensured she quickly assumed star status. One of its unlikely results was a hit single, 'Kinky Boots', recorded in 1964 with Macnee, which became a Top 10 hit in the U.K. in 1990. Blackman’s proficiency in martial arts helped her land what became her signature role, that of Pussy Galore, the glamorous villain assisting in Goldfinger’s plot to rob Fort Knox. Goldfinger (Guy Hamilton, 1964) was the third Bond film and was a global hit. Gary Brumburgh at IMDb: "Blackman went toe to toe with Sean Connery's womanizing "007" and created major sparks on screen, managing to outclass the (wink-wink) double meaning of her character's name."
After her rise to mainstream fame, Honor Blackman made noticeable appearances in such films as Jason and the Argonauts (Don Chaffey, 1963) as the vengeful goddess Hera, the Western Shalako (Edward Dmytryk, 1968) and The Virgin and the Gypsy (Christopher Miles, 1970) with Franco Nero. Simon Murphy and Andrew Pulver in The Guardian: "while she worked steadily in film, her TV work was higher profile, and included guest appearances in Columbo, Minder and Doctor Who. In 1990, she was cast in a regular role in the ITV sitcom The Upper Hand, playing the glamorous mother of the lead female character. Blackman expressed her fondness for the role, saying it “made women who had just retired and felt they’d been put on the backburner realise they had a lot of life left to live”." She earned raves on stage as the blind heroine of the thriller 'Wait Until Dark' as well as for her dual roles in 'Mr. and Mrs.', a production based on two of Noël Coward's plays. She also appeared on stage in The Sound of Music (1981), My Fair Lady (2005-2006) and Cabaret (2007). She was a staunch republican and turned down a Commander of the British Empire (CBE) in 2002 to avoid being a “hypocrite”. More recently, she joined a campaign to demand compensation payments for pensioners who lost savings in the Equitable Life scandal. Honor Blackman was married to Bill Sankey from 1948 to 1956. After their divorce, she married British actor Maurice Kaufmann (1961–1975). They appeared together in the slasher film Fright (Peter Collinson, 1971) and some stage productions. They adopted two children, Lottie (1967) and Barnaby (1968). After her divorce from Kaufmann, she did not remarry and stated that she preferred being single. She enjoyed watching football. Blackman died at her home in Lewes in 2020, aged 94, from natural causes.
Sources: Simon Murphy and Andrew Pulver (The Guardian), Gary Brumburgh (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
"I was stripped of part of my life with no warning, and I had to find out through social media. 21st century capitalism. It's hard to know where I go from here." Susie Gaynor McGowan.
At 6.00pm on Friday 12 June 2015, employees of Clerys department store in Dublin were told that the business was closing. They were given an hour to gather personal belongings and were then escorted to the exit by hired security personnel.
Clerys—dating back 162 years and owned since 2012 by Gordon Brothers Group, an American venture capital company—had been secretly sold in the dead of night. The business was split into retail and property sections prior to the deal going through. The retail section was sold for €1 and duly declared bankrupt, thus denying the employees and others of their rightful dues. The Clerys building was then sold separately.
Gordon Brothers Group walked away with a handsome profit from the property transaction and instantly washed their hands of all responsibility for their former employees. Those employees—some of whom had spent a lifetime in Clerys—lost all of their accumulated redundancy entitlements and were eventually paid minimum statutory redundancy by the Irish government.
The Clerys building was bought by Natrium Ltd. (a consortium consisting of D2 Private, controlled by property developer Deirdre Foley, with John Skelly and Ronan Daly) and Cheyne Capital, London. Both companies have steadfastly refused to meet the former Clerys employees or government representatives.
The former Clerys employees are now campaigning for a change in the law that will protect others who may find themselves in a similar situation.
Justice for Clerys Workers: www.facebook.com/justiceforclerysworkers
Lens: Pentax SMC 75mm
Film: Kodak Tri-X 400 pushed to 800.
This portrait was taken as part of the Certificate in Photography and Digital Imaging evening course at the National College of Art and Design (NCAD) in Dublin.
Starring Richard Garland, Pamela Duncan , Maurice Manson ,Mel Welles and Allison Hayes .
Produced and directed by Roger Corman during the height of his "low-budget" period, this tale is essentially a time-travel by hypnosis story about a woman who journeys back to see her past life as a witch.
The king of the drive-in horror movies, Roger Corman, made this classic horror film about two researchers who send a woman back in time to her former life. While there, she finds that she was imprisoned in a tower, awaiting execution for being condemned as a witch. Allison Hayes played the dual role and was known for her many horror and science fiction pictures of the 1950s.
synopsis
Legendary shlockmeister Roger Corman and long-time collaborator Charles B. Griffith attempted to cash in on the popular 1950s surge in Bridey Murphy reincarnation mania with this confusing and throughly weird thriller. It begins with researcher Richard Garland hypnotizing streetwalker Pamela Duncan in an attempt to record her past-life experiences as a condemned witch in the Dark Ages. After numerous silly attempts by Garland to save her -- including regressing himself into the same period, where, by remarkable coincidence, he also lived as a soldier -- Duncan decides not to alter the course of history, and she resigns herself to her fate. Despite the spooky ambience, a cast of Corman regulars (including Mel Welles and Allison Hayes), and some clever plot twists -- including one which finds the tables turned on our meddling scientist -- Griffith's static and talky screenplay is so absurdly crammed with half-baked metaphysical musings that it becomes almost impossible to discern the plot.
We open with Satan (Richard Devon) introducing himself. Next, we meet Diana Love (Pamela Duncan) entering the scene through a thick fog. She is a streetwalker and agrees to accompany a man to the American Institute of Psychical Research office. In a very shabby office we meet Quintus Ratcliff (Val Dufour), who was the man who engaged Diana's services. Quintus has been away in Tibet for the last seven years. We meet Professor Ulbrecht Olinger (Maurice Manson). Quintus was one of the professor's students, and not a very good student--he failed him. Quintus talks the professor into conducting an experiment in regression hypnosis. He intends to hypnotize Diana back to a previous life. He intends to keep her under for two or more days. The professor is reluctant to get involved, for both legal and ethical reasons, but eventually agrees. He first examines Diana medically, specifically to see if her heart is sound, then he takes a brief medical history.
Quintus hypnotizes Diana. He is taking her back in time. In her first observation, she speaks French. Quintus takes her back even further in time to explore earlier past lives. Diana starts to pull on her bracelet. Quintus and the professor look on baffled at her behavior. Next we are transported back in time and see what Diana (now Helene in her time) is experiencing. She is chained in a dungeon and is trying to remove the manacle on her wrist. We meet the torturer and dungeon master, Gobbo, the Jailer (Aaron Saxon). He proceeds to verbally torment Helene. He tells her that she is to be beheaded soon. Helene has been accused of being a witch. She manages to knock her jailer out, take his keys and escape.
Back in the office, Quintus is explaining that while Diana is in her trance, in the here and now, her past life is being played out in real time. Helene exits the dungeon with guards chasing her. She encounters a knight on horseback who begins to chase her through the woods. Helene stops to catch her breath, she encounters the Gravedigger Smolkin (Mel Welles) singing a macabre little ditty. She enters his hearse and hides in the coffin with the body Smolkin is taking for burial. The knight on horseback is Pendragon (Richard Garland) and he questions Smolkin if he "has seen the witch Helene?" He demands to examine the contents of the coffin, but all he finds is the body of an old man with a beard. Helene is hiding beneath the body. Pendragon reminds the gravedigger that coffins must be sealed, and it is nailed shut immediately. Smolkin heads off to the graveyard to finish his job.
A pair of owls, in a nearby tree, transform into lizards (or iguanas) then transform again into an Imp (Billy Barty) and a black cat. The cat then transforms into Livia the Witch (Allison Hayes). They observe the knight and she engages him in conversation. Pendragon tells Livia he is trying to prove Helene innocent of witchcraft, and seeks Smolkin to get his evidence. Livia is in love with Pendragon. After Pendragon departs, Livia transforms back into a cat and goes back to her tree to talk to her Imp.
Helene struggles to excape from the coffin. Pendragon meets Smolkin at the graveyard and questions him about his bewitchment. Did Helene do it? Smolkin cannot answer the question. Pendragon departs, and Smolkin carries the coffin to the hole, but he hears a cry from inside and releases Helene. Helene denies bewitching him and tells him that at dawn she and two others accused of witchcraft are to be executed. If she can hide for an additional day, she will have a full year to prove her innocence. The witch's Sabbath is scheduled for midnight in this very graveyard.
Livia enters the Gabriel's Horn Inn and meets with Scroop, the Innkeeper (Bruno VeSota). He tells her he's prepared to repel witches from his establishment. Pendragon enters the Inn and walks upstairs to his room, ordering Scroop to bring him some ale. Livia brings him his pitcher of ale. They talk, and she kisses him. She reminds Pendragon that Helene will die in the morning.
Smolkin takes Helene to the deepest part of the forest and directs her to a cottage where she will be safe for the night. There she meets the owner, Meg Maud, a witch (Dorothy Neumann) and screams. We are back in the office, and Diana is screaming. The professor demands Quintus wake her, but Quintus refuses. He suggests that the shock of waking her could kill her. Meg Maud opens the door to the cottage and invites Helene inside.
Meanwhile, back at the Inn, Scroop gives Pendragon the plans to the prison tower to aid in Helene's escape. He doesn't know she isn't there. Livia looks on, bemused. Helene explains to Meg that she managed her escape with the help of her future self, Diana Love, and learns that it was Livia that accused her of witchcraft. Meg heads over to the Inn to confer with Scroop. She tells Pendragon to go over to her cottage immediately. Pendragon leaves, and Meg heads upstairs to confront Livia, who has transformed herself back into a cat. When Meg enters, Livia has resumed human form. Livia reveals that she intends to marry Pendragon. Pendragon meets Helene at the cottage and they head back to the Inn. Smolkin finishes burying the corpse. Livia arrives and they discuss the witch's Sabbath that takes place at midnight.
Back in the office, Helene through Diana explains to Quintus and the professor that she will die soon. Diana has altered the past. The professor notices a bruise on Dianas forearm, and Quintus concludes the regression is both mental and physical. He proposes his own hypnosis to go back to Helens past life and correct their mistake. Meg and Helene leave the Inn and return to Meg's cottage. Livia arrives at the Inn to get Helene, but missing her, she collects a freshly severed head she needs for the Sabbath. It is Scroop's head. Smolkin tells Meg that Helene is in great danger from Livia and her Imp.
Quintus explains to the professor that if Helene does not die at the appointed time in the past, Diana and all the other lives she will live will never happen. Quintus must go back and make sure Helene dies at her appointed time and place. Livia promises Pendragon that she will use her powers to release Helene. Using black magic and witchcraft is the only way to save her--she reveals herself as a witch. Pendragon agrees, but Livia tells him the price is his soul. He must enter into a bargain with the devil at the Sabbath that midnight. He agrees.
Quintus, back in the office, is hooked up to some electrical apparatus. He and Diana are wired up and ready. The professor is very reluctant to participate. He hypnotizes Quintus to synchronize their brain waves. It works, and Quintus is transported back in time. He assumes the identity of a knight, steals his armor, and sets off to find Helene.
Meg Maud leaves for the Sabbath to observe. At the graveyard, the ceremony begins with a dance. Livia and Pendragon arrive, while Meg Maud looks on, unobserved. Livia offers up the severed head of Scroop and Satan appears. He is collecting souls and makes all interested parties sign his book. The first to sign is a leper (Richard "Dick" Miller). He signs, and is transformed back to normal, but now has a pitch fork tattoo on his hand. Livia presents Pendragon to Satan. Before Pendragon can sign the book, Quinus stops him. Satan recognizes Quintus, and tells him he has slipped the bounds of time. Quintus convinces Pendragon to follow him back to Meg Maud's cottage to be reunited with Helene. Pendragon learns of Livia's treachery and the role Quintus plays in all this. Quintus explains his mission to Meg Maud, while Smolkin, Helene, and Pendragon head for the woods. Livia arrives with Quintus, Meg, and Satan in the woods. There, Helene is presented with her choice--death now and future lives, or life now and no life for all her future selves. Each of the assembled offer their advise, even the voices of her future selves chime in.
Helene makes her choice, which is to die, and runs off. Pendragon confronts Livia and kills her with his knife. Helene arrives just in time for the headsman to take her head. Diana wakes up from her trance and explains to the professor that she is grateful to Helene and will make the effort to change her life. All that remains of Quintus, in the present, is an empty suit of clothes. Quintus is left with the Devil, who explains that his link to the future was with Helene, and now that she is dead, he is stuck in the past. We close with Satan taunting Quintus and laughing.
Apparently this church was rescued from closure by nuns from Tennessee in the USA.
Some years ago the Dominican Friars in Ireland announced they had embarked on a process of reorganising its commitments in Ireland because of falling numbers and would be withdrawing from Limerick. As a result of their decision St Saviour’s Church, Glentworth Street, which has an 800-year association with Limerick, was due to close but thanks to the Dominican Sisters of St Cecilia it will remain operational as a church.
On the 4th. of July 2016 the last Mass held by the Dominican Order took place. Soon after the Limerick Diocese took over the running of religious services with a Mass at 1pm each day while the nuns moved into the building later in the summer of 2016.
This Gothic Revival Church, though much altered from the earlier Gothic designs of the James Pain, has a strong presence in the area. It was begun for Prior Fr. Joseph Harrigan and consectated 6th July 1816. The repairs and alteration in 1860 were carried out by J.J. McCarthy. The contractor for that work was John Ryan. The architectural composition and carved limestone detailing, which is a composite of Pain's original design and later alterations, most notably that of William Wallace in the 1860s, is testimony to the skill of the architects involved and the craftsmanship of the artisans involved in its construction.
Wallace heightened the exterior and interior by 20 feet with the addition of a clerestory and rose window in the 1860s. George Goldie designed a new chancel, high altar, reredos, tabernacle and east window between 1863-66. The sculptor for the altar was Bolton of Worchester; the sculptor of the reredos was Patrick Scannell of Cork Marble Works. The stained glass was by William Wailes of Newcastle. In 1870 Goldie and Child remodelled the interior and exterior and the work was supervised by Maurice Alphonsus Hennessy, CE, Limerick. The builders were McCarthy and Guerin. In 1896 and 1899 the stalls and the railings to the Sacred Heart Chapel were designed by George Coppinger Ashlin. In 1927 the communion rails and gates were designed by Ashlin and Coleman.
The church terminates the view from Pery Square to the east, while the south elevation facing onto Dominick Street dominates the view from the east. At any point on Baker's Place the contribution of this limestone church to the streetscape is further enhanced by the Tait Memorial Clock and the former priory, now the Mid-Western Health Board Offices on Pery Street. Saint Michael's Church of Ireland Church, which terminates the view of Pery Street to the west, adds to the prominence of these ecclesiastical buildings within the Georgian district of Pery Square.
A bronze and stainless steel angel reaches out from the bow of a ship built at the side of the Mission to Seafarers building. The figure is the symbol of the Seafarers' Mission, a religious charity set up in the 18th Century to provide sailors with shelter and comfort. Find it at Prince's Dock Street, off Pilot Street and just north of Clarendon Dock.
Harron was born and grew up in Derry, Northern Ireland. He studied sculpture at the Ulster College of Art and Design in Belfast.
Much of his work is public art sculpture and he has works sited in Northern Ireland and in the Republic of Ireland. Two of his most acclaimed commissions are Reconcilition/Hands Across the Divide in Carlisle Square, Derry, overlooking the Craigavon Bridge crossing the River Foyle, and the Gaelic Chieftain, arguably his most experimental and impressive piece sited in the Curlew Mountains, County Roscommon. This statue overlooks the site of the Battle of Curlew Pass, fought in August 1599, when a Gaelic Irish force under Hugh Roe O'Donnell defeated an English column during the Nine Years War.
His work Let the Dance Begin, dating from 2000, is sited near the Lifford Bridge in Strabane, County Tyrone and was commissioned by the Strabane Lifford Development Commission. It features 5 semi-abstract figures (a fiddler, a flautist, a drummer and two dancers) on the theme of music and dance, each 4 metres high and is made of stainless steel, bronze and ceramic tile mosaic. It is one of the largest pieces of public art in Ireland.
The Workers is a monument made from stainless steel and stone and is located at The Dry Arch Roundabout in Letterkenny. The monument was created in 2001 and commemorates a generation of men who worked on building the original bridge and train track at the Dry Arch. He also created the The Rabble Children monument in Letterkenny.
He also has work sited in the United Kingdom and the United States, where he created the Irish Famine Memorial on Cambridge Common, Cambridge, Massachusetts, which was dedicated on 23 July 1997.
"Left heartbroken on loss of Clerys and our jobs." Nuala Noone.
At 6.00pm on Friday 12 June 2015, employees of Clerys department store in Dublin were told that the business was closing. They were given an hour to gather personal belongings and were then escorted to the exit by hired security personnel.
Clerys—dating back 162 years and owned since 2012 by Gordon Brothers Group, an American venture capital company—had been secretly sold in the dead of night. The business was split into retail and property sections prior to the deal going through. The retail section was sold for €1 and duly declared bankrupt, thus denying the employees and others of their rightful dues. The Clerys building was then sold separately.
Gordon Brothers Group walked away with a handsome profit from the property transaction and instantly washed their hands of all responsibility for their former employees. Those employees—some of whom had spent a lifetime in Clerys—lost all of their accumulated redundancy entitlements and were eventually paid minimum statutory redundancy by the Irish government.
The Clerys building was bought by Natrium Ltd. (a consortium consisting of D2 Private, controlled by property developer Deirdre Foley, with John Skelly and Ronan Daly) and Cheyne Capital, London. Both companies have steadfastly refused to meet the former Clerys employees or government representatives.
The former Clerys employees are now campaigning for a change in the law that will protect others who may find themselves in a similar situation.
Justice for Clerys Workers: www.facebook.com/justiceforclerysworkers
Lens: Pentax SMC 75mm
Film: Kodak Tri-X 400 pushed to 800.
This portrait was taken as part of the Certificate in Photography and Digital Imaging evening course at the National College of Art and Design (NCAD) in Dublin.
This image was taken on a dark and dreary December afternoon outside the Department of Jobs, Enterprise and Innovation on Kildare Street. The Clerys workers protested here on a weekly basis in an attempt to get a hearing from Minister Richard Bruton.
At 6.00pm on Friday 12 June 2015, employees of Clerys department store in Dublin were told that the business was closing. They were given an hour to gather personal belongings and were then escorted to the exit by hired security personnel.
Clerys—dating back 162 years and owned since 2012 by Gordon Brothers Group, an American venture capital company—had been secretly sold in the dead of night. The business was split into retail and property sections prior to the deal going through. The retail section was sold for €1 and duly declared bankrupt, thus denying the employees and others of their rightful dues. The Clerys building was then sold separately.
Gordon Brothers Group walked away with a handsome profit from the property transaction and instantly washed their hands of all responsibility for their former employees. Those employees—some of whom had spent a lifetime in Clerys—lost all of their accumulated redundancy entitlements and were eventually paid minimum statutory redundancy by the Irish government.
The Clerys building was bought by Natrium Ltd. (a consortium consisting of D2 Private, controlled by property developer Deirdre Foley, with John Skelly and Ronan Daly) and Cheyne Capital, London. Both companies have steadfastly refused to meet the former Clerys employees or government representatives.
The former Clerys employees are now campaigning for a change in the law that will protect others who may find themselves in a similar situation.
Justice for Clerys Workers: www.facebook.com/justiceforclerysworkers
Lens: Pentax SMC 75mm
Film: Kodak Tri-X 400 pushed to 800.
This portrait was taken as part of the Certificate in Photography and Digital Imaging evening course at the National College of Art and Design (NCAD) in Dublin.
PAGE 1 of 2
See also:
a) 2010 Army Run results for Ottawa & area runners;
c) 2011 Army Run photos by a runner.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
.
Sept. 14, 2011. For the 21.1 km (13 mile) half-marathon race, the following local runners have registered with the Running Room for the Sept. 18th Canada Army Run in Ottawa. The list is sorted by community (Ottawa first) and then by first name.
* On Sept. 18th, 16,000 runners participated in the 21.1 km and 5 km races.
Part A. Ottawa
Part B. Other Communities (e.g., Gatineau, Kanata, Nepean, Orleans)
A. Ottawa
1,….Adriana Zeleney
2,….Adrien Barrieau
3,….Adrienne Mertin
4,….Ajay Singh
5,….Al Okroy
6,….Al Stewart
7,….Alain Therriault
8,….Alain Vermette
9,….Alan Chaffe
10,….Alan Chan
11,….Alan Yeadon
12,….Alex Renwick
13,….Alex Turner
14,….Alexandra Averbeck
15,….Alice Kwong
16,….Alicia Chénier
17,….Alison McCray
18,….Alla Laporte
19,….Allan Crisford
20,….Allan Gauci
21,….Allison Gracie
22,….Allison Grimsey
23,….Allison Meek
24,….Allison Sephton
25,….Allister Hain
26,….Amanda van beinum
27,….Amber Tower
28,….Amy Glover
29,….Anais Lussier-Labelle
30,….Andre Dion
31,….andre hiotis
32,….Andrea Karklins
33,….Andrea Lau
34,….Andrea Letham
35,….Andrea Matthews
36,….Andrea Mills
37,….Andrée Morin
38,….Andree-Anne Girard
39,….Andrew Butson
40,….Andrew Mendes
41,….Andrew Ng
42,….andrew staples
43,….Andrew Young
44,….Angela Feurstein
45,….Angela Hardy
46,….Angela Koskie
47,….Angela Lamb
48,….Angela Marcantonio
49,….Angy Dauth
50,….Anika Clark
51,….Anita Choquette
52,….Ann Gregory
53,….Ann Lanthier
54,….Ann Marie Fyfe
55,….Anna Hoefnagels
56,….Anna Pham
57,….Anne Bowker
58,….Anne McNamara
59,….Anne Pearce
60,….Annie Oger
61,….Ann-Marie Reid
62,….Anthea Garrick Menard
63,….April Dickson
64,….Arleigh Romyn
65,….Ashlee Linton
66,….Ashley Butcher
67,….Audrey Taylor
68,….Azhra McMahon
69,….Barbara Burkhard
70,….Barbara Campbell
71,….Barbara Dundas
72,….Barbara Gibbon
73,….Barbara Jovaisas
74,….Barbara Mingie
75,….Bart Bakker
76,….Ben Tobali
77,….Ben-Zion Caspi
78,….Bernard Charlebois
79,….Betty Bulman
80,….Bill McEachern
81,….Bill Salminen
82,….Bill Wilson
83,….Blake Davis
84,….Bob McCulloch
85,….Bob McGillivray
86,….Bob MUISE
87,….Bonnie Mechefske
88,….Brad Lobregt
89,….Bradley Conley
90,….Bradley Davis
91,….Brenda Bethune
92,….Brent Tower
93,….Brian Davis
94,….Brian O'Higgins
95,….Brian Sanford
96,….Brian Senecal
97,….Brigitte Martel
98,….Brittany Hunt
99,….Bruce Jackson
100,….Bruce Muise
101,….Bryan Morris
102,….Caitlin O'Higgins
103,….Cameron Beare
104,….Cameron Fraser
105,….Carole Harrison
106,….Carolyn Frank
107,….Cassandra Chouinard
108,….Cassandra Lively
109,….Cassandra Lombardo
110,….Cassie Hodgins
111,….Catherine Caron
112,….Catherine Khordoc
113,….Catherine Peirce
114,….Catherine Pound
115,….Catherine St. Louis
116,….Catherine Wallace
117,….Cathy Takahashi
118,….Chanel Huard
119,….Chantal Campbell
120,….Chantal Lacroix
121,….Chantal Pilon
122,….Charity Dowdell
123,….Charlene Mathias
124,….Chelsea MacDonell
125,….Cheryl Birker
126,….Cheryl McIntyre
127,….Chloe MacDonell
128,….Chris Bright
129,….Chris Gardner
130,….Chris Hale
131,….Chris Liebenberg
132,….Chris Moule
133,….Chris Nestor
134,….Chris Renwick
135,….Chris Salter
136,….Chris Sutherland
137,….Chris Weicker
138,….Christene White
139,….Christian Del Valle
140,….Christiane Laperrière
141,….Christie Swann
142,….Christina Gubbels
143,….Christina Jutzi
144,….Christina Martinez
145,….Christina Mullally
146,….Christine Geraghty
147,….Christine Hodge
148,….Christine Robbins
149,….Christine Smith
150,….Christopher Farrell
151,….Cindy Maraj
152,….Claire Samson
153,….Claude Béland
154,….Claude Papineau
155,….Claudia Rutherford
156,….Colleen Bigelow
157,….Connie Acelvari
158,….Constance Craig
159,….Cori Dinovitzer
160,….Corinna Simmons
161,….Cory Martin
162,….Court Curry
163,….Courtney Ka;bflsiech
164,….Courtney Powless
165,….Craig Carney
166,….Craig Mantle
167,….Craig Rosario
168,….Curtis McGrath
169,….Dan Shea
170,….Dan St-Arnaud
171,….Daniel Guerrette
172,….Darlene Goodwin
173,….Darlene Hackett
174,….Darlene Joyce
175,….Darlene Sabourin
176,….Darryl Bilodeau
177,….Dave Bergeron
178,….Dave Dawson
179,….Dave Goods
180,….Dave Saville
181,….Dave Yarker
182,….David Gagnon
183,….David Gregory
184,….David Gulas
185,….David Jackson
186,….David Perry
187,….David Rain
188,….David Thomson
189,….David Tobin
190,….Dawn Montgomery
191,….Dawn Styan
192,….Dawna LaBonte-Parkhill
193,….Dean Justus
194,….Deb Tully
195,….Debbie Carrick
196,….Debbie Ling
197,….Debby Duford
198,….Deborah Newhook
199,….Deborah Potter
200,….Dee Sullivan
201,….Deidre Kelly
202,….Demi Kotsovos
203,….Denise Couillard
204,….Denise Senecal
205,….Denise Walter
206,….Dennis Bulman
207,….Derek Wasmund
208,….Devon Forde
209,….Devon Scott
210,….Diana Crawford
211,….Diana Harrison
212,….Diana Seidl
213,….Diane Mackinder
214,….Dick Gunstone
215,….Dillon Vahey
216,….Don Andersen
217,….Dona Hill
218,….Donald Cottrell
219,….Donald Waldock
220,….Doreen Lipovski
221,….Doris McLean
222,….Doug Eagle
223,….Douglas Cooper
224,….Douglas Loader
225,….Drew Clipperton
226,….Dung Bui
227,….Dvora Rotenberg
228,….Edith Knight
229,….Edward Vonk
230,….Eileen harris
231,….Eileen Tosky-McKinnon
232,….Elaine Rufiange
233,….Eleanor Ford
234,….Eleanore Brickell
235,….Elisabeth Baechlin
236,….Elizabeth Rose
237,….Elke Keating
238,….Ellen Carter
239,….Ellen Lamarre
240,….Ellen O'Halloran
241,….Elyse Pratt-Johnson
242,….Emilie Lavigne
243,….Emily Joyce
244,….Emily Larocque
245,….Emma Morris
246,….Emmanuelle Arnould-Lalonde
247,….Enjoli Stevens
248,….Eric Arnold
249,….Eric Burpee
250,….Eric Charland
251,….Eric Sewell
252,….Eric Weaver
253,….Erik Laflamme
254,….Erin Beasley
255,….Erin Collins
256,….Evamarie Weicker
257,….Evan Clarke
258,….Evan May
259,….Fannie Gouault
260,….Fiona Da Costa
261,….Frances Enns
262,….Frances Muldoon
263,….Francesca Craig
264,….Francesca Macdonald
265,….Francine Gaulin
266,….Francisco Fernandes de Sousa
267,….Francisco Salazar
268,….Francois Dumaine
269,….Francoise Mulligan
270,….Frank D'Angelo
271,….Frank Gildenhaar
272,….Gabe Batstone
273,….Gabriela Balajova
274,….Gabrielle Nadeau
275,….Gail Baker-Gregory
276,….Gary McKenna
277,….Gary Wilkes
278,….Gavin Lemoine
279,….Genevieve Cholette
280,….Genevieve Le Jeune
281,….Gennifer Stainforth
282,….Geoff Cooper
283,….Geoff Dunkley
284,….Geoff Dunn
285,….Geoffrey Dudding
286,….Geoffrey Ford
287,….George Ferrier
288,….George Garrard
289,….George Tsuji
290,….Georges Rousselle
291,….Gil Brunette
292,….Gillian Andersen
293,….Gillianne Beaulieu
294,….Gina Charos
295,….Gisele Salazar
296,….Glen Gobel
297,….Glenn Cowan
298,….Gloria Baeza
299,….Gord Baldwin
300,….Gord Coulson
301,….Gord Maddison
302,….Grace Howland
303,….Greg Zinck
304,….Gregg Reddin
305,….Guy Pelletier
306,….Harold Geller
307,….Harry Fischer
308,….Hazen Harty
309,….Heather McCready
310,….Heather Nixon
311,….Heather Paulusse
312,….Heather Watts
313,….Hélène Nadeau
314,….Helen Francis
315,….Helene Boucher
316,….Helene Leduc
317,….Henri St-Martin
318,….Hidetaka Nishimura
319,….Hieu Nguyen
320,….Hilary Chaiton
321,….Hillary Rose
322,….Hollie Anderson
323,….Holly Johnson
324,….Hui Xu
325,….Iain Macdonald
326,….Ian Crawford
327,….Ian Graham
328,….Ian MacVicar
329,….Ian Malcolm
330,….Ian-Guy Dupuis
331,….Ilana Bleichert
332,….Iliana Oris Valiente
333,….Irène Dionne
334,….Irvin Hill
335,….Jack Gilmer
336,….Jacki Sachrajda
337,….Jacob Hardonk
338,….Jacqueline Roy
339,….Jacques Gobin
340,….James Campbell
341,….James Peters
342,….James Vannier
343,….James Zarull
344,….Jamie Bell
345,….Jamie Hurst
346,….Jane Gibson
347,….Jane Rooney
348,….Jane Schofield
349,….Jane Spiteri
350,….Janelle Denton
351,….Janet Cooper
352,….Janet Hardcastle
353,….Janet Nuutilainen
354,….Janet Sol
355,….Janice McCoy
356,….Jared Broughton
357,….Jasmine Lefebvre
358,….Jason Chouinard
359,….Jason Raymond
360,….Jason Stewart
361,….Jason Verner
362,….Jay Wheadon
363,….Jayme Pettit
364,….JD Adams
365,….Jean-Guy Perron
366,….JEannie Daly
367,….Jean-Philippe Dion
368,….Jean-Pierre Chénier
369,….Jeff Bardell
370,….Jeff Ross
371,….Jenna Lacharity
372,….Jenna Ladd
373,….Jennifer Balcom
374,….Jennifer Bergeron
375,….Jennifer Beyak
376,….Jennifer Blattman
377,….Jennifer Brenning
378,….Jennifer Bucknall
379,….Jennifer Dumoulin
380,….Jennifer Fergusson
381,….Jennifer Fraser
382,….Jennifer Harnden
383,….Jennifer Hood
384,….Jennifer Leblanc
385,….Jennifer Moores
386,….Jennifer Morse
387,….Jennifer Nutt
388,….Jennifer Shortall
389,….Jennifer Tighe
390,….Jennifer Wilson
391,….Jenny Bascur
392,….Jessica Brown
393,….Jessica Goldfarb
394,….Jessica Kight
395,….Jessica Roche
396,….Jessie Blanchette
397,….Jian Wu
398,….Jill Ainsworth
399,….Jill Marsh
400,….Jillian Osborne
401,….Jim Carter
402,….Jim Walsh
403,….JJ Wilson
404,….Joan Tourangeau
405,….Jo-Ann Brault
406,….Joann Garbig
407,….Jo-Anne Belliveau
408,….Joanne Bradley
409,….Joanne Ritchie
410,….Jocelyn Kearney
411,….Jodi Wilson
412,….Jody Bergen
413,….Jody McKinnon
414,….Joe Gunn
415,….Joel Allaert
416,….Joel Pennycook
417,….Joel Westheimer
418,….Joey Rogowy
419,….John Beaudoin
420,….John Brady
421,….John Cunningham
422,….John Horvath
423,….John Ledo
424,….John Lovell
425,….John Mitchell
426,….John Oliver
427,….Johnathan MacDonald
428,….Jolene Savoie
429,….Jonathan Godin
430,….Jonathon Connolly
431,….Joni Ogawa
432,….Jordan McLeod
433,….Josée Picard
434,….Josée Surprenant
435,….Josette Day
436,….Joshua Lemoine
437,….Judy Taylor
438,….Julia Barss
439,….Juliann Castell
440,….Julie Burke
441,….Julie Charlebois
442,….Julie Gourlay
443,….Julie Lafleche
444,….Julie Laplante
445,….Julie Lefebvre
446,….Julien Beauchamp
447,….Justin Ferns
448,….Justin Laroche
449,….Justin Pike
450,….Kaari Hukkala
451,….Kailena van de Nes
452,….Karen Foss
453,….Karen Jeffery
454,….Karen Marshall
455,….Karen Sauve
456,….Karen Welch
457,….Karine Circé
458,….Karine Moreau
459,….Karyn Curtis
460,….Kate Borowec
461,….Kate Dickson
462,….Kate Lewis
463,….Kate Sherwood
464,….Kate Sinnott
465,….Kate Swetnam
466,….Kate Thompson
467,….Kate Truglia
468,….Katharine Mullock
469,….Katherine Liston
470,….Katherine MacDonald
471,….Kathleen McNulty
472,….Kathlene Allen
473,….Kathryn Aubrey-Horvath
474,….Kathryn Burbridge
475,….Kathryn Scott
476,….Kathy Lewis
477,….Kathy McLaughlin
478,….Kathy Norris
479,….Kathy O'Brien
480,….Katie Tottenham
481,….Katrina Isacsson
482,….Katy Alp
483,….Katy Harrison
484,….Kazutoshi Nishizawa
485,….Keiko Umemoto
486,….Keith Mulligan
487,….Keith Savage
488,….Kelly Boyko
489,….Kelly Cooper
490,….Ken Gibson
491,….Ken McNair
492,….Kent Daboll
493,….Kerry Nolan
494,….Kevin Adams
495,….Kevin de Snayer
496,….Kevin Dulude
497,….Kevin Germundson
498,….Kevin O'Brien
499,….Kevin Wickens
500,….Khorina Ou
501,….Kim Benjamin
502,….Kim Moir
503,….Kim White
504,….kim Wilson
505,….Kimberly Rennie
506,….Kinza Slater
507,….Kiza Francis
508,….KP McNamara
509,….Krista Lewis
510,….Krista MacDonald
511,….Kristiana Stevens
512,….Kristin Le Saux-Farmer
513,….Kristin Macrae
514,….Kristina Dyck
515,….Kristyn Berube
516,….Kyle Villenuve
517,….Kym Martin
518,….Laen Hanson
519,….Larry Chamney
520,….Laura Cluney
521,….Laura Conway
522,….Laura Forbes
523,….Laura Rees
524,….Laura Smith
525,….Lauren Clarke
526,….Lauren Gamble
527,….Laurent Potiez
528,….Laurent Roy
529,….Laurie Bouolet
530,….Laurie Cairns
531,….Lawrence Matthews
532,….Lawrence Wong
533,….Leah Andrews
534,….Leah Carson
535,….Lee Wyndham
536,….Leigh Ann Butler
537,….Leigh Howe
538,….Leigh Perreault
539,….Lena Dikranian
540,….Lena Maione
541,….Lenore Macartney
542,….Leo Kadota
543,….Les Woolsey
544,….Lesley Mackay
545,….Leslie Dauncey
546,….Leslie Robertson
547,….Lester Mundt
548,….Lia Pirili
549,….Liam Kennedy
550,….Liang Chen
551,….Lidnina Rodriguez
552,….Liliana Morse
553,….Lillian Serrouya Thibault
554,….Lina Kastner
555,….Linda Doyle
556,….Linda Hall
557,….Lindsay Grace
558,….Lindsey Gresham
559,….Lisa Allen
560,….Lisa Butler
561,….Lisa Duffett
562,….Lisa Gibson
563,….Lisa Grison
564,….Lisa Hughes
565,….Lisa Julian
566,….Lise Arseneau
567,….Lise Perrier
568,….Liz O'Neill
569,….Lori Camilucci
570,….Lori Mockson
571,….Lorraine England
572,….Louise Gresham
573,….Louise Morin
574,….Lucas Smith
575,….Luce Blouin
576,….Lucie Villeneuve
577,….Lucy MacDonald
578,….Luke Wu
579,….Lynda Cronin
580,….Lynn Arnone
581,….Lynn Diggins
582,….Lynn Marchildon
583,….Lynn Nightingale
584,….lynn Sewell
585,….Lynne Russell
586,….Madeleine Gravel
587,….Malette Genevieve
588,….Mallory MacWilliams
589,….Malvern Ena
590,….Mandy Fisher
591,….Manon Bouchard
592,….Manon Therriault
593,….Marc Huot
594,….Marcelle Gauthier
595,….Margaret Michalski
596,….Maria Alvarez
597,….Maria Pooley
598,….Marie Mathe Drader
599,….Marie Poirier
600,….Marie Shinmoto
601,….Marie1980 Bonnet
602,….Marie-Catherine Labramboise
603,….Marielle Emond
604,….Marigold Edwards
605,….Marilyn Warren
606,….Mario Villemaire
607,….Marion May
608,….Marja Verloop
609,….Marjie Brown
610,….Mark McGill
611,….Mark Vanasse
612,….mark ward
613,….Marlena Coverston
614,….Marta Wajda
615,….Martha Tobin
616,….Martin Cheliak
617,….Martin Gerrits
618,….Martine Lalonde
619,….Mary Murphy
620,….Matt Dooley
621,….Matthew Cox
622,….Matthew Eglin
623,….Matthew Morash
624,….Matthew Whelen
625,….Matthew Whyte
626,….Matthew Wilcox
627,….Matus Culen
628,….Maureen Feagan
629,….Maureen Lamothe
630,….Maureen Nestor
631,….Maurice Desjardins
632,….Meagan Campbell
633,….Meaghan Stone
634,….Meghan Callahan
635,….Melanie Farrell
636,….Melissa Kampman
637,….Melissa Shaw
638,….Mercedeth Bowerman
639,….Michael Arts
640,….Michael Corneau
641,….Michael D'Asti
642,….Michael Grainger
643,….Michael Hewett
644,….Michael Holmes
645,….Michael McGinn
646,….Michael McLean
647,….Michael McMahon
648,….Michael Morin
649,….Michael Nagy
650,….Michel Bouchard
651,….Michelle Adkins
652,….Michelle Couture
653,….Michelle Day
654,….Michelle Keough
655,….Michelle Zidek
656,….Mikaela Malta
657,….Mike Chambers
658,….Mike Herzog
659,….Mike Hopper
660,….Mike Mazerolle
661,….Mike O'Flaherty
662,….Mike Saray
663,….Mike White
664,….Mikhail Gorbounov
665,….Monica Martinez
666,….Monique Cousineau
667,….Monique Loney
668,….Nancy C Green
669,….Nancy Faraday-Smith
670,….nancy green
671,….Nancy Kalil
672,….Nancy MacDonell
673,….Nancy Sullivan
674,….Natalie Fernandes
675,….Natalie Fraser
676,….Natalie Phan
677,….Natalie Sachrajda
678,….Natasha Carraro
679,….Nate Rotman
680,….Nathalie Gougeon
681,….Nathan MacWilliam
682,….Neiges Senechal
683,….Neil Mackinder
684,….Nelly Staudte-Blondeaux
685,….Nicole Duguay
686,….Nicole Slunder
687,….Nicole Vaillancourt
688,….Olivier Dumetz
689,….Olivier Fichet
690,….Olle de Bruin
691,….padma Parthasarathy
692,….Pamela Biron
693,….Pamela Cushing
694,….Pascal Ilboudo
695,….Pat Liston
696,….Patricia Horner
697,….Patricia Lovett
698,….Patricia Mcdonell
699,….Patrick Dauncey
700,….Patrick Gray
701,….Patrick Miron
702,….Patti Gamble
703,….Paul Krga
704,….Paul MacNeil
705,….Paul Williamson
706,….Peggy Gibson
707,….Perry Graham
708,….Peter Cantrell
709,….Peter Dinsdale
710,….Peter Fisher
711,….Peter Linkletter
712,….Peter Stapleton
713,….Phat Nguyen
714,….Phil Busby
715,….Philip Hunter
716,….Pierre Ingram
717,….PK Leung
718,….Prichya Sethchindapong
719,….Quinn Russell
720,….R Harman
721,….Rachel Abraham
722,….Rachel Pitcher
723,….Rachelle Watson
724,….Rajkumar Nagarajan
725,….Randy Guthro
726,….Randy McElligott
727,….Raymonde Langevin
728,….Rebeca Ricardo
729,….Rebecca Li
730,….Rebecca Powell
731,….Rebecca Shewfelt
732,….Renata Manchak
733,….rene danis
734,….Rene Hawkes
735,….Rene Yaraskavitch
736,….Renee Langille
737,….Rene-Louis Bourgeau
738,….Richard Campbell
739,….Richard Cronin
740,….Richard Dobson
741,….Richard Lewis
742,….Richard Roda
743,….richard wall
744,….Richard Whitlock
745,….Rick Goodwin
746,….Rick O'Grady
747,….Riley Hennessey
748,….Rita Hearty
749,….Rob Bolduc
750,….Rob Casey
751,….Rob Gilmour
752,….Robert Adolfson
753,….Robert Kalbfleisch
754,….Robert Miron
755,….Robert Richardson
756,….Robin Fox
757,….Robyn Handley
758,….Rocio Battisti
759,….Rockey Whitmore
760,….Rod Begg
761,….Roger Hunter
762,….Roger Langevin
763,….Ron Newhook
764,….Rose Parent
765,….Roxanne Harper
766,….Roxanne Hutchings
767,….Ruben Vroegop
768,….Rue Quizon
769,….Russell McDonnell
770,….Ruth Farey
771,….Ryan Hennessy
772,….Sabrina Avery
773,….Sabrina Quraeshi
774,….Sam Geller
775,….Samanta Jacques-Arsenault
776,….Samantha Hunter
777,….Samantha O'Neill
778,….Samy El-Jaby
779,….SANDRA Chong
780,….sandra harwood
781,….Sandra Kuchta
782,….Sandra Monaghan
783,….Sandra Monforton
784,….Sandra Moorman
785,….Sanjeev Bhanjana
786,….Sara Boucher
787,….Sarah Armstrong
788,….Sarah Gee
789,….Sarah Geiger
790,….Scott Rawlings
791,….Scott Tomlinson
792,….Sean Adams
793,….Sean McElhinney
794,….Sean O'Brien
795,….Sébastien Taillefer
796,….Shannon McMillan-Kunstadt
797,….Shari Goodfellow
798,….Shari Nurse
799,….sharon hiebert
800,….Sharon Murphy
801,….Sharon Tobin
802,….Shauna Hanratty
803,….Shawn Hollinger
804,….Shawn Osborne
805,….Shawn Pigeon
806,….Shawna Colbey
807,….Shawna Moffatt
808,….Shawnna Van Drunen
809,….Sheila Bondesen
810,….Shelley Chambers
811,….Shelly Stackpole
812,….Shonna Tuck
813,….Sierra Phillips
814,….Siobhan Jones
815,….sohaila moghadam
816,….Solita Pacheco
817,….Sophie Dazé
818,….Sophie Lebel
819,….soraya moghadam
820,….Stella Gaerke
821,….Stephane Castonguay
822,….Stephane Parent
823,….Stephanie Cote
824,….Stephanie Crisford
825,….Stephanie Earle
826,….stephanie jack
827,….Stephen Day
828,….Stephen Shew
829,….Stephen Wild
830,….Stephen Woroszczuk
831,….Steve Astels
832,….Steve Boivin
833,….Steve Campbell
834,….Steve Gleddie
835,….Steve Inkpen
836,….Steve Morin
837,….Steve Moritsugu
838,….Steven Dixon
839,….Steven Molnar
840,….Stuart Palmer
841,….Sue MacPherson
842,….Suleena Duhaime
843,….Susan Foran
844,….Susan Ford
845,….Susan Gershman
846,….Susan Harvey
847,….Susan Johnston
848,….Susan Leslie
849,….Susan Lovell
850,….Susan Mak Chin
851,….Susan McLeod
852,….Susan Nally
853,….Susan Oneid
854,….Susan Ostergaard
855,….Susan Trimble
856,….Susan Ward
857,….Susan Whitmore
858,….Susan Wynne
859,….Suzanne Sinnamon
860,….Svetlana Ulitsky
861,….Sylvain Huard
862,….Sylvain Lachance
863,….Sylvia Duffy
864,….Sylvie Bourassa-Muise
865,….Sylvie Corbin
866,….Takuya Tazawa
867,….Tal Elharrar
868,….Tamara Marshall
869,….Tammy Frye
870,….Tania Bennett
871,….Tanya Richard
872,….Tara MacDougall
873,….Tara Painter
874,….Tara Ward
875,….Tara Wong
876,….Tarjinder Kainth
877,….Ted Damen
878,….Terri Bolster
879,….Terry Godbold
880,….Terry McDermott
881,….Terry Monger
882,….Thea Worthylake
883,….Theresa Robertson
884,….Thomas Bujaki
885,….Thomas Harrison
886,….Thomas Ryan
887,….Thuy (Twee) Tran
888,….Tiffanie Seguin
889,….Tina Fallis
890,….Tobin Kennedy
891,….Tod Strickland
892,….Tom Morris
893,….Tom Pierson
894,….Tony McLaughlin
895,….Tracy Chubaty
896,….Tracy Corneau
897,….Tracy Ferne
898,….Tracy Gagnon
899,….Tricia Brown
900,….Valerie Oickle
901,….Valerie Saunders
902,….Vanessa Buchanan
903,….vanessa mendoza
904,….Vanessa Pierson
905,….Victor Krawczuk
906,….Victoria Graham
907,….Victoria Keaney
908,….Wade Smith
909,….Warren Isfan
910,….Wendy Lee
911,….wendy statham
912,….Will Summers
913,….Willem Stevens
914,….William Chisholm
915,….William Godfrey
916,….William Simmering
917,….wilma Berti
918,….Yannick Sirois
919,….Youna Zhang
920,….Yulia Maistrovski
921,….Yvonne McKinnon
922,….Zachary Chrumka
END OF OTTAWA
B. Other Communities
923,….Leslee Davis Einmann,….A
924,….Terry Koronewski,….Alexandria
925,….Andrea Bird,….Almonte
926,….Daphne Lainson,….Almonte
927,….Jason Lainson,….Almonte
928,….Jenny Sheffield,….Almonte
929,….Karen Stillman,….Almonte
930,….Connie Palubiskie,….Arnprior
931,….Emily Sheffield,….Arnprior
932,….Jenn Hunt,….Arnprior
933,….Melissa Needham,….Arnprior
934,….Mike Poirier,….Arnprior
935,….Peter O'Gorman,….Arnprior
936,….Trish Heffernan,….Arnprior
937,….Avril Van Aert,….Ashton
938,….Nicholas Saray,….Ashton
939,….Peter Cottreau,….Ashton
940,….Rod Clow,….Athens
941,….Terri Gray,….Athens
942,….Erin Kingdom,….Aylmer
943,….Luc Lacombe,….Aylmer
944,….Jean-Pierre Sauve,….Beachburg
945,….Lynne Blackburn,….Bourget
946,….Raymond Lalande,….Bourget
947,….Dianne Dillon-Samson,….Brockville
948,….murray regush,….Brockville
949,….Alex McDermott,….Cantley
950,….Carol Jr Groulx,….Cantley
951,….Guy Beaulieu,….Cantley
952,….marie-claude côté,….cantley
953,….Pierre-Yves Authier,….Cantley
954,….Bruce Rafuse,….Carleton place
955,….Chris Loder,….Carleton Place
956,….Jenni Kerteston,….Carleton Place
957,….Jennifer Derksen,….Carleton Place
958,….megan thomson,….carleton place
959,….Natasha Foster,….Carleton Place
960,….Pascale Michaud,….Carleton Place
961,….Rob Illingworth,….Carleton Place
962,….Anna Li,….Carp
963,….Dayle Mulligan,….Carp
964,….Gerard Rumleskie,….Carp
965,….Kathy Fischer,….Carp
966,….Lyne Michaud,….Carp
967,….Murray Stonebridge,….Carp
968,….Nancy Wawia Robb,….Carp
969,….André Paris,….Casselman
970,….bob sweetlove,….casselman
971,….Danielle Carrière-Paris,….Casselman
972,….mary sweetlove,….Casselman
973,….Judy Bragg,….Chalk River
974,….Christine Tardiff-Mullen,….Chelsea
975,….Ian Hunter,….Chelsea
976,….Julie Dupuis,….Chelsea
977,….Natasha Stobert….Chelsea
978,….Patty Chevalier Samm,….Chelsea
979,….Ray Folkins,….Chelsea
980,….Richard Gilker,….Chelsea
981,….James Duncan,….Clayton
982,….Andrea Bailey-tait,….Cornwall
983,….Carl Brida,….Cornwall
984,….cathy bourgon,….cornwall
985,….Craig Henry,….Cornwall
986,….Deborah Furniss,….Cornwall
987,….Garth Wigle,….Cornwall
988,….Geneviève Lajoie,….Cornwall
989,….Jane McLaren,….Cornwall
990,….Jenna Martineau,….Cornwall
991,….Joanne Filliol,….Cornwall
992,….Kathleen Hay,….Cornwall
993,….Mathieu Bruyere,….Cornwall
994,….Matthew Smith,….Cornwall
995,….Terry Quenneville,….Cornwall
996,….Carl Vaillancourt,….crysler
997,….Debra Kennette,….Crysler
998,….Bruce Bell,….Cumberland
999,….Craig McHugh,….Cumberland
1000,….Greg Morris,….cumberland
1001,….Hailey Bell,….Cumberland
1002,….Jacinthe Choquet,….Cumberland
1003,….Leslie Anne Patry,….Cumberland
1004,….Monique Garneau,….Cumberland
1005,….natalie tate,….cumberland
1006,….Janet Campbell,….Dunrobin
1007,….Lois Jacobs,….Dunrobin
1008,….Russel Long,….Dunrobin
1009,….Tara Sosnowski,….Elizabethtown
1010,….Andy Dalcourt,….Embrun
1011,….Celin Alexiuk,….Embrun
1012,….Eric Deschamps,….Embrun
1013,….Gregory Harper,….Embrun
1014,….Julie Wallace,….Embrun
1015,….Martine Quinn,….Embrun
1016,….Paul Roy,….Embrun
1017,….Rachelle Quinn,….Embrun
1018,….Richard Quinn,….Embrun
1019,….Pierre Denis,….Emburn
1020,….Bill Sheppard,….Gananoque
1021,….Pierre Doucette,….Gananoque
1022,….Roberta Abbott,….Gananoque
1023,….Steacy Kavaner,….Gananoque
GATINEAU
1024,….Alain Rollin
1025,….Alexander Schwab
1026,….Alexandre Farley
1027,….Allan Wilson
1028,….André Brissette
1029,….André Mollema
1030,….Andre Schutten
1031,….Anik Benoit
1032,….Anik Lacasse
1033,….Anne-Marie Chapman
1034,….Annick Lafontaine
1035,….Annick Nault
1036,….Annie Cloutier
1037,….Annie Paradis
1038,….Anthony Rose
1039,….Benoit Gagnon
1040,….Benoit Genest
1041,….Benoit Guérette
1042,….Bernard Audy
1043,….Blair Mehan
1044,….Brian Sharpe
1045,….Bruno Lafreniere
1046,….Candida Cianci
1047,….Chantal Larocque
1048,….chantal potvin
1049,….Chantale Lussier-Ley
1050,….Charles Vigneault
1051,….Christopher Saunders
1052,….Claude Tremblay
1053,….Dan Mayer
1054,….Danika Lavallee
1055,….David Georgieff
1056,….David Sewell
1057,….Debbie Joanisse
1058,….Debra Ferderber
1059,….Diane Ouellette
1060,….Dominique Babin
1061,….Elizabeth Sousa
1062,….Eric Silins
1063,….Fannie Bisson
1064,….Francoise Bessette
1065,….Gabrielle Drouin
1066,….Genevieve Sabourin
1067,….Gilles Thériault
1068,….Guylaine Proulx
1069,….Hélène Belleau
1070,….Helene Tremblay-Allen
1071,….isabelle deslandes
1072,….Isabelle Léger
1073,….Isabelle Phaneuf
1074,….Jacob Roberts
1075,….Jaime McGillivray
1076,….james buell
1077,….Jean Guenette
1078,….Jeffrey Muller
1079,….Jennifer Smith
1080,….Jinny Williamson
1081,….Johanne Branchaud
1082,….Johanne Di Tomasso
1083,….Josée Lafontaine
1084,….Julie Fortin
1085,….Julie Myers
1086,….Julie Piche
1087,….Julie-Anne Macdonald
1088,….Karine Lamarre
1089,….Kate Smith
1090,….Kent Hugh
1091,….Kevin Quesnel
1092,….Kim Paine
1093,….Laurent Bellard
1094,….Leisa McGillivray
1095,….Loïc Le Bihan
1096,….Louis Simon
1097,….Lucie Lalonde
1098,….Lynn Melancon
1099,….magali couture
1100,….Manon Lachance
1101,….Marc Allaire
1102,….Marc Martin
1103,….Marie-Eve Bergevin-Scott
1104,….Mark Ellison
1105,….Mark Schindel
1106,….Martin Yshikawa
1107,….Martine Dupuis
1108,….martine pellerin
1109,….Mélanie Lauzon
1110,….Mélanie Vivier
1111,….Michel Brown
1112,….Michel Lapointe
1113,….Michelle Aubie
1114,….Miguel Gagnon
1115,….Mikaly Gagnon
1116,….nancy jane russell
1117,….Nancy Jean
1118,….Natacha Mustaikis
1119,….Nathalie Brunet
1120,….Nell van Walsum
1121,….Noel Paine
1122,….Patrice Forget
1123,….Patrice Gaudreault
1124,….patricia le bihan
1125,….Paul Gould
1126,….Peter Balogh
1127,….Philippe Boutin
1128,….Philippe Jr Ngassam
1129,….Pier Enright
1130,….Raymond Desjardins
1131,….Raymonde D'Amour
1132,….Raynald Côté
1133,….Rejean Lacroix
1134,….Sandra Roberts
1135,….Simon Larouche
1136,….Sonia Béland
1137,….Stéphane Siegrist
1138,….Stéphanie Dicaire
1139,….Suzanne Ramsay
1140,….Sylvain Marier
1141,….tayeb mesbah
1142,….Thomas Cort
1143,….Valerie Parent
1144,….Veronique Tremblay
1145,….vincent bolduc
1146,….Virginie Corneau
1147,….Wayne Saunders
1148,….Yves Phaneuf
1149,….Zoë Couture
END OF GATINEAU
1150,….Catherine Clifford,….Gloucester
1151,….Chantal Dupuis,….Gloucester
1152,….Christine Newman Coulson,….Gloucester
1153,….David Sinclair,….Gloucester
1154,….Jeannie LeBlanc,….Gloucester
1155,….Roberta Battisti-Valle,….Gloucester
1156,….Ryan Luck,….Gloucester
1157,….Samuel Valle,….Gloucester
1158,….Virginia Mofford,….Gloucester
1159,….Barbra Draper,….Gracefield
1160,….An Vo,….Greely
1161,….Angele Vanderlaan,….Greely
1162,….Anthony Wielemaker,….Greely
1163,….Debbie McLeod,….Greely
1164,….Jennifer Frechette,….Greely
1165,….Joseph Boucher,….Greely
1166,….Lana Pieroway,….Greely
1167,….Linda Corke,….Greely
1168,….paula christiansen,….Greely
1169,….Ricky Grisel,….Greely
1170,….Sean Burrows,….Greely
1171,….Sonya Thornley,….Greely
1172,….Sarah Waddell,….Hammond
1173,….Lorne Thomas,….Hawkesbury
1174,….Karen Keeler,….Iroquois
1175,….Keira Cameron,….Iroquois
KANATA
1176,….Adrian Salt
1177,….Aimée Riggs-Willey
1178,….Al Doyle
1179,….Alan Doody
1180,….Alexei Novikov
1181,….Allyssia Villeneuve
1182,….Alyson Maynard
1183,….Anne Collis
1184,….Ben Schmidt
1185,….Bernie Armour
1186,….Bill Gilchrist
1187,….Billy Seaman
1188,….Bobbie Nevin
1189,….Brian Smith
1190,….Carleen Hicks
1191,….Carmen Davidson
1192,….Caron Fitzpatrick
1193,….Cecilia Jorgenson
1194,….Chantal Kaye
1195,….Chris McCallum
1196,….Cindy Seaman
1197,….Colleen Gilchrist
1198,….Colleen Kilty
1199,….Dan Kelly
1200,….David Bohn
1201,….Debbie Olive
1202,….Deby Knowlton
1203,….Derek Andersen
1204,….Deryl Rasquinha
1205,….Don Lonie
1206,….Erin Waterfall
1207,….Greg Dow
1208,….Harvey Chatterton
1209,….Ian Marrs
1210,….James Fairlie
1211,….Jan Donak
1212,….Janet Smith
1213,….Jeff Zhao
1214,….Jennifer Barr
1215,….Jennifer Upson
1216,….Jim Lambley
1217,….Joan McFaul
1218,….Joshua Tolmie
1219,….Karen Hanna
1220,….Karen Ramsay
1221,….Karen Zerr
1222,….Kathleen Westbury
1223,….Keith Aguinaga
1224,….Kelly abb Davis
1225,….Kenneth Klassen
1226,….Kevin Rankin
1227,….Kimberley Bohn
1228,….Kimberley Robinson
1229,….Kindell Tolmie
1230,….Lanny Underhill
1231,….Leanne Pelley
1232,….Lee-Anne Clare
1233,….Loretta Masaro
1234,….Luisa De Amicis
1235,….Mark Calder
1236,….Martine Dumas
1237,….Mary Anne Jackson-Hughes
1238,….Michel Fleury
1239,….Michelle Calder
1240,….Nancy Dow
1241,….Naomi Morbey
1242,….Natalie Reid-Matte
1243,….Natasha Riddiford
1244,….Neil Marshall
1245,….neil Maxwell
1246,….Pamela Ford
1247,….Paul Sabourin
1248,….Peter Clark
1249,….Phil Blanchfield
1250,….Pierrette McCartney
1251,….Raymond Wong
1252,….Rebecca Campbell
1253,….Rick Wynen
1254,….Ron Pumphrey
1255,….Sarah Currie
1256,….Sasha Richards
1257,….Shannon Moore
1258,….Sharon Fine
1259,….Sheri Cayouette
1260,….Sherri Nevin
1261,….Sridhar Erukulla
1262,….Susan Brimmell
1263,….Susan Korporal
1264,….Tanis Roadhouse
1265,….Terri Scott
1266,….Theresa Marshall
1267,….Tom Auger
1268,….Tracey Dunfield
1269,….Wei Zhou
1270,….William Greenfield
1271,….William Jorgenson
1272,….Yvonne Relf
END OF KANATA
1273,….Alexandra Pontbriand,….Kemptville
1274,….Alicia Hutton,….Kemptville
1275,….Dave Springer,….Kemptville
1276,….David Hutton,….Kemptville
1277,….Fiona Tracey,….Kemptville
1278,….James Pede,….Kemptville
1279,….Joanne Desormeaux,….Kemptville
1280,….Kahy-ann Gibson,….Kemptville
1281,….Michelle Crook,….Kemptville
1282,….Roxanne Harrington,….Kemptville
1283,….Stephanie Rose,….Kemptville
1284,….Teena Dacey,….Kemptville
1285,….Tricia McRae,….Kemptville
1286,….Ron Stadnyk,….Kinburn
1287,….Sean McTernan,….Kinburn
1288,….Dan Keaney,….Lanark
1289,….Debbie Keaney,….Lanark
1290,….Scott Shaver,….Lanark
1291,….Lisa Paradis,….Limoges
1292,….Shanna Delorme,….Limoges
1293,….Matthew Dyer,….Luskville
1294,….Nicholas Sturgeon,….Luskville
1295,….Brian Carpenter,….Maberly
1296,….Dawn Kennedy,….Maitland
1297,….Scott Clucas,….Maitland
1298,….Cat Oakley,….Manotick
1299,….Dennis Blinn,….Manotick
1300,….Fiona Valliere,….Manotick
1301,….Marie Norris,….Manotick
1302,….Mark Seaman,….Manotick
1303,….Nick MacDonald,….Manotick
1304,….Tracey Major,….Manotick
1305,….Heather Purdy,….Martintown
1306,….Alysun Lillico,….Masham
1307,….Jennifer Selwyn,….Masham
1308,….Bruce Bourgeault,….Metcalfe
1309,….Craig Killin,….Metcalfe
1310,….Diane Coupal,….Metcalfe
1311,….Erika Morris,….Metcalfe
1312,….Fran Gaudet,….Metcalfe
1313,….Kazimierz Krzyzanowski,….Metcalfe
1314,….Peter Klein,….Metcalfe
1315,….Scott Robertson,….Metcalfe
1316,….doug wilson,….Morrisburg
1317,….Kasey Bennett,….Morrisburg
1318,….shari keyes,….Morrisburg
1319,….Adam Sulis,….Mountain
1320,….Raymond Sherrer,….Mountain
1321,….ada gorrie,….Munster
1322,….Angela Walsh,….Navan
1323,….Carole Charlebois,….Navan
1324,….Kathy Goff,….Navan
NEPEAN
1325,….Aaron Doering
1326,….Abrinna Doering
1327,….Alexei Pogrebtsov
1328,….Amy Fan
1329,….Amy Kutyma
1330,….Andrea McDonald
1331,….Andrew Johnston
1332,….angad sandhu
1333,….Bernadette Bernard
1334,….Caroline Bachynski
1335,….Caroline Bredeson
1336,….Carolyn Perkins
1337,….Chantelle Woods
1338,….Chris Bredeson
1339,….Chris Fitzgerald
1340,….Christopher Hill
1341,….Claudio Sicoli
1342,….Colleen Bird
1343,….Corrina Morehouse
1344,….Cynthia Field-Rose
1345,….Dan Lacasse
1346,….Darryl Sitland
1347,….David Reid
1348,….David Ross
1349,….Diane Ferguson
1350,….Dionne Wilson
1351,….Donna McKibbon
1352,….Doug Simpson
1353,….Erik Youngson
1354,….Face Wallace
1355,….Fallon Carrier
1356,….Gary Bazdell
1357,….Gary Guymer
1358,….Gary Miles
1359,….Gary Thomas
1360,….George Heron
1361,….Gerry Blathwayt
1362,….Hieu Nguyen
1363,….Jack Kwan
1364,….Jane Hext
1365,….Janice Richard
1366,….Jason Feist
1367,….Jennifer McDonell
1368,….Jennilee Gavina
1369,….Jessica McKittrick
1370,….Joanie Ouellette
1371,….Jo-Anne Janigan
1372,….John Hall
1373,….Joseph Emas
1374,….Judy Tubman-Reid
1375,….Julie White
1376,….Karleen Heer
1377,….Kathryn Hill
1378,….Katie Squires
1379,….Kelly MacGregor
1380,….Kevin LaRoche
1381,….Laura Clark
1382,….Laura McLellan
1383,….Leslie Doering
1384,….Leslie Rodgers
1385,….Lillian Hayward
1386,….Linda Billyard
1387,….Linda Koenders
1388,….Maria Marcantonio
1389,….Martin Glennon
1390,….martin jobin
1391,….Martyn Hodgson
1392,….Maureen Corrigan
1393,….Melanie White
1394,….Mike Horne
1395,….Miranda Dulmage
1396,….M-J Malcolm
1397,….Patrick Murnaghan
1398,….Patti-Lynn Dougan
1399,….Paul Bush
1400,….Peter Bayne
1401,….Ramon Lashley
1402,….Renee Leahy
1403,….Richard Thomas
1404,….Roslyn Dacey
1405,….Ruth Glenwright
1406,….Ryan Ellement
1407,….Ryan Holmes
1408,….Ryan Squires
1409,….Sandra Lett
1410,….Shannon Matheson
1411,….Shelley Doering
1412,….Sheyla Dussault
1413,….Stephanie Dunne
1414,….Tania Falls
1415,….Tannia Shamas
1416,….Tim Sandwell
1417,….Tom Blackwell
1418,….tony blake
1419,….Tracy Murray
1420,….Vance White
END OF NEPEAN
1421,….Joanne McFall Smith,….North Gower
1422,….Keith Colwell,….North Gower
1423,….Natalie Smith,….North Gower
ORLEANS
1424,….Ab Ettinger
1425,….adam menzies
1426,….Alain Brulé
1427,….Alexandra Gaudes
1428,….Anita Taylor
1429,….Anke Berndt
1430,….Anne McCarthy
1431,….Annie Elizabeth Gauthier
1432,….Barry Lightowlers
1433,….Benoit Lecuyer
1434,….Brent Kelly
1435,….Brent Smyth
1436,….Brian Wiens
1437,….Camille Poirier
1438,….Carmen Saumure
1439,….Carole Gaudes
1440,….Casey Martin
1441,….Charles Momy
1442,….Charles Sincennes
1443,….Cheryl Glazier
1444,….Chris Morrison
1445,….Christina Michaud
1446,….Christine Baird
1447,….CIndy Ettinger
1448,….Colleen Boicey
1449,….Cynthia Taylor
1450,….Daniel Morency
1451,….Danielle Poisson
1452,….Dave King
1453,….David Cameron
1454,….David Leeder
1455,….David Tischhauser
1456,….David Young
1457,….Deborah Baldwin
1458,….Diane Gauthier
1459,….Diane Levesque
1460,….Don Lavictoire
1461,….Eann Hodges
1462,….Edith Chartrand
1463,….Elise Grenier
1464,….Eric Christensen
1465,….Ernie Yip
1466,….Frank Barrett
1467,….Fred Saikaly
1468,….Glenda Davies
1469,….Helene Boyer
1470,….Hinesh Chauhan
1471,….James Waite
1472,….Jason Roberts
1473,….Jean Lavictoire
1474,….Jean-Noel Gilbert
1475,….Jean-Pierre Contant
1476,….Jeff Danforth
1477,….Jennifer Caldbick
1478,….Jennifer Chauhan
1479,….Jennifer Schenkel
1480,….Jo Nuttall
1481,….Joanne Henry
1482,….Jo-Anne Matheson
1483,….Josee Pothier
1484,….Judy Thomson
1485,….Karen Minna
1486,….Kathleen Danforth
1487,….Kathryn McNicoll
1488,….Kathy Wiens
1489,….Kevin Beaudette
1490,….Kevin Piccott
1491,….Kristina Perrier
1492,….Kristy Singleton
1493,….Laura Regnier
1494,….Linda LeBlanc
1495,….Lissa Allaire
1496,….Lois Simms-Baldwin
1497,….Lucie Mainguy
1498,….Lyne Orser
1499,….Lynn Galarneau
1500,….Malcolm Parsons
1501,….Marc-Andre Blanke
1502,….Marie-Josee Homsy
1503,….Marie-Josee Legault
1504,….Marieve Lavigne
1505,….Marshall Clark
1506,….Max LeBreton
1507,….Melanie Trumpower
1508,….Michael Brown
1509,….Michelle Cote
1510,….Michelle Momy
1511,….Michelle Ward
1512,….Miranda Guiney
1513,….Moira Carriere
1514,….Nadine Tischhauser
1515,….Nancy Camacho
1516,….Nancy Neilson
1517,….Nancy Roberge
1518,….Nathalie Gougeon
1519,….Nathan Lightowlers
1520,….Nicole Boyer
1521,….Paul Holmes
1522,….Paul Menard
1523,….Peter Belair
1524,….Priya Chopra
1525,….Rachel Taylor
1526,….Ralph Hodgins
1527,….Richard Loewen
1528,….Roanna Casey
1529,….Robert Sauve
1530,….Russ Kajganich
1531,….Russ Stewart
1532,….Sandra Cook
1533,….Sandra Craig-Browne
1534,….Sandy Clark
1535,….Sandy Moger
1536,….Scot Bryant
1537,….Serena McCauley
1538,….Serge Arseneault
1539,….Shawnda Parsons
1540,….Shayne Chamberlain
1541,….Sonia Laneuville
1542,….Sophie Hollingsworth
1543,….Stacey Grenier
1544,….Stan Baldwin
1545,….Stephane Montpetit
1546,….Stephanie Ducharme
1547,….Steve Lamontagne
1548,….Stuart Taylor
1549,….Susan Poisson
1550,….Tanja Scharf
1551,….Tara Redmond
1552,….Teresa Janz
1553,….Terry Brown
1554,….Terry Flynn
1555,….Theresa Momy
1556,….Todd Sloan
1557,….Tony Paoletti
1558,….Vivianne Gaudet
1559,….William Baldwin
1560,….william mcgowan
1561,….Yvon Gagnier
END OF ORLEANS
1562,….Denise Hudson,….Osgoode
1563,….Kevin Wylie,….Osgoode
1564,….Nancy Bleses,….Osgoode
1565,….Shaun Dunne,….Oxford Mills
1566,….Garry Hartlin,….Pembroke
1567,….Jennifer Tu,….Pembroke
1568,….john menzies,….Pembroke
1569,….Kathy Herault,….Pembroke
1570,….Leanne Van Bavel,….Pembroke
1571,….Michelle Moir,….Pembroke
1572,….Rene Sauve,….Pembroke
1573,….Rocky Peplinski,….Pembroke
1574,….Steven McCorkle,….Pembroke
1575,….Tammy Peplinski,….Pembroke
1576,….Vay Tu,….Pembroke
1577,….Sue Matte,….Perth
1578,….Susan Bulley,….Perth
1579,….Francis Gillespie,….Perth Road Village
This 1929 Dusenberg SJ with coachwork by Bohman & Schwartz is a previous Ault Park Concours d'Elegance 'Best of Show' winner. Duesenberg automobiles were offered from 1913 thru 1937. Industrialist E.L. Cord purchased the Indianapolis, IN, company in 1926 and hired Fred Duesenberg to design a luxury chassis and an engine that would be the best in the world.
The Duesenberg Model J was introduced at the New York Car Show of 1928. In unsupercharged form, the J produced a whopping 276 horsepower from a straight-8 engine with dual overhead camshafts, and was capable of a top speed of 119 mph, and 94 mph in 2nd gear. The supercharged version of the Model J, the SJ, could do 104 mph in second and have a top speed of 135-140 mph in third gear; and at a time when the best cars of the era would not exceed 100 mph. Prices ranged from $13,500 to $25,000.
Christian Bohman and Maurice Schwartz, located in Pasadena, California, were well known for their elegant coachwork during the 1930's and worked on creating bodies for many marques such as Cadillac, Cord, LeSalle, Buick, and Duesenberg. Both Bohman and Schwartz had been employees of the Walter M. Murphy Company before it was dissolved; when they found themselves without employment, they formed their own company in 1932 and continued until 1947.
This 1929 Dusenberg SJ has coachwork by Bohman & Schwartz.
The Model SJ, a supercharged version of the Model J, produced 320 horsepower. The supercharger was located beside the engine with the exhaust pipes beneath through the side panel of the hood through creased tubes. The name 'SJ' was never used by the Duesenberg Company to reference these models.
Source: www.conceptcarz.com/vehicle/z10193/Duesenberg-Model-SJ.aspx
High quality prints available here
NBA Playoffs 2011
NBA Players this Season:
A
Adrien, Jeff
Afflalo, Arron
Ajinca, Alexis
Alabi, Solomon
Aldrich, Cole
Aldridge, LaMarcus
Allen, Malik
Allen, Ray
Allen, Tony
Aminu, Al-Farouq
Amundson, Lou
Andersen, Chris
Andersen, David
Anderson, James
Anderson, Ryan
Anthony, Carmelo
Anthony, Joel
Arenas, Gilbert
Ariza, Trevor
Armstrong, Hilton
Arroyo, Carlos
Artest, Ron
Arthur, Darrell
Asik, Omer
Augustin, D.J.
• Return to top of directory
B
Babbitt, Luke
Balkman, Renaldo
Banks, Marcus
Barbosa, Leandro
Barea, Jose
Bargnani, Andrea
Barnes, Matt
Barron, Earl
Bass, Brandon
Battie, Tony
Battier, Shane
Batum, Nicolas
Bayless, Jerryd
Beasley, Michael
Beaubois, Rodrigue
Belinelli, Marco
Bell, Charlie
Bell, Raja
Bibby, Mike
Biedrins, Andris
Billups, Chauncey
Blair, DeJuan
Blake, Steve
Blakely, Marqus
Blatche, Andray
Bledsoe, Eric
Bogans, Keith
Bogut, Andrew
Bonner, Matt
Booker, Trevor
Boozer, Carlos
Bosh, Chris
Boykins, Earl
Brackins, Craig
Bradley, Avery
Brand, Elton
Brewer, Corey
Brewer, Ronnie
Brockman, Jon
Brooks, Aaron
Brown, Derrick
Brown, Kwame
Brown, Shannon
Bryant, Kobe
Budinger, Chase
Butler, Caron
Butler, Da'Sean
Butler, Rasual
Bynum, Andrew
Bynum, Will
• Return to top of directory
C
Calderon, Jose
Camby, Marcus
Caracter, Derrick
Cardinal, Brian
Carroll, Matt
Carter, Anthony
Carter, Vince
Casspi, Omri
Chalmers, Mario
Chandler, Tyson
Chandler, Wilson
Childress, Josh
Clark, Earl
Collins, Jason
Collison, Darren
Collison, Nick
Conley, Mike
Cook, Brian
Cook, Daequan
Cousin, Marcus
Cousins, DeMarcus
Crawford, Jamal
Crawford, Jordan
Cunningham, Dante
Curry, Stephen
• Return to top of directory
D
Dalembert, Samuel
Dampier, Erick
Daniels, Antonio
Daniels, Marquis
Davis, Baron
Davis, Ed
Davis, Glen
Daye, Austin
Delfino, Carlos
Deng, Luol
DeRozan, DeMar
Diaw, Boris
Diogu, Ike
Diop, DeSagana
Dooling, Keyon
Dorsey, Joey
Douglas, Toney
Douglas-Roberts, Chris
Dowdell, Zabian
Dragic, Goran
Dudley, Jared
Duhon, Chris
Duncan, Tim
Dunleavy, Mike
Durant, Kevin
• Return to top of directory
E
Ebanks, Devin
Ellington, Wayne
Ellis, Monta
Elson, Francisco
Ely, Melvin
Erden, Semih
Evans, Jeremy
Evans, Maurice
Evans, Reggie
Evans, Tyreke
Ewing Jr., Patrick
Eyenga, Christian
• Return to top of directory
F
Farmar, Jordan
Favors, Derrick
Felton, Raymond
Fernandez, Rudy
Fesenko, Kyrylo
Fields, Landry
Fisher, Derek
Flynn, Jonny
Forbes, Gary
Ford, T.J.
Foster, Jeff
Foye, Randy
Frye, Channing
• Return to top of directory
G
Gadzuric, Dan
Gaines, Sundiata
Gallinari, Danilo
Garcia, Francisco
Garnett, Kevin
Gasol, Marc
Gasol, Pau
Gay, Rudy
Gee, Alonzo
George, Paul
Gibson, Daniel
Gibson, Taj
Ginobili, Manu
Gomes, Ryan
Gooden, Drew
Gordon, Ben
Gordon, Eric
Gortat, Marcin
Graham, Joey
Graham, Stephen
Granger, Danny
Gray, Aaron
Green, Danny
Green, Jeff
Green, Willie
Greene, Donte
Griffin, Blake
• Return to top of directory
H
Haddadi, Hamed
Hamilton, Richard
Hansbrough, Tyler
Harangody, Luke
Harden, James
Harrington, Al
Harris, Devin
Harris, Manny
Haslem, Udonis
Hawes, Spencer
Hayes, Chuck
Hayward, Gordon
Hayward, Lazar
Haywood, Brendan
Henderson, Gerald
Henry, Xavier
Hibbert, Roy
Hickson, J.J.
Hill, George
Hill, Grant
Hill, Jordan
Hinrich, Kirk
Holiday, Jrue
Hollins, Ryan
Horford, Al
House, Eddie
Howard, Dwight
Howard, Josh
Howard, Juwan
Humphries, Kris
• Return to top of directory
I
Ibaka, Serge
Iguodala, Andre
Ilgauskas, Zydrunas
Ilunga-Mbenga, Didier
Ilyasova, Ersan
Ivey, Royal
• Return to top of directory
J
Jack, Jarrett
Jackson, Darnell
Jackson, Stephen
James, Damion
James, LeBron
Jamison, Antawn
Jeffers, Othyus
Jefferson, Al
Jefferson, Richard
Jeffries, Jared
Jennings, Brandon
Jerebko, Jonas
Jeter, Eugene
Johnson, Amir
Johnson, Armon
Johnson, Chris
Johnson, James
Johnson, Joe
Johnson, Trey
Johnson, Wesley
Jones, Dahntay
Jones, Dominique
Jones, James
Jones, Solomon
Jordan, DeAndre
• Return to top of directory
K
Kaman, Chris
Kapono, Jason
Kidd, Jason
Kirilenko, Andrei
Kleiza, Linas
Korver, Kyle
Koufos, Kosta
Krstic, Nenad
• Return to top of directory
L
Landry, Carl
Law, Acie
Lawal, Gani
Lawson, Ty
Lee, Courtney
Lee, David
Lewis, Rashard
Lin, Jeremy
Livingston, Shaun
Lopez, Brook
Lopez, Robin
Love, Kevin
Lowry, Kyle
Lucas, John III
• Return to top of directory
M
Maggette, Corey
Magloire, Jamaal
Mahinmi, Ian
Marion, Shawn
Martin, Kenyon
Martin, Kevin
Mason Jr., Roger
Matthews, Wesley
Maxiell, Jason
Maynor, Eric
Mayo, O.J.
Mbah a Moute, Luc
McDyess, Antonio
McGee, JaVale
McGrady, Tracy
McGuire, Dominic
McRoberts, Josh
Meeks, Jodie
Miles, C.J.
Milicic, Darko
Miller, Andre
Miller, Brad
Miller, Mike
Mills, Patrick
Millsap, Paul
Mohammed, Nazr
Monroe, Greg
Moon, Jamario
Morrow, Anthony
Mozgov, Timofey
Mullens, Byron
Murphy, Troy
• Return to top of directory
N
N'Diaye, Hamady
Najera, Eduardo
Nash, Steve
Neal, Gary
Nelson, Jameer
Nene
Noah, Joakim
Nocioni, Andres
Novak, Steve
Nowitzki, Dirk
• Return to top of directory
O
O'Neal, Jermaine
O'Neal, Shaquille
Oden, Greg
Odom, Lamar
Okafor, Emeka
Okur, Mehmet
Orton, Daniel
Outlaw, Travis
Owens, Larry
• Return to top of directory
P
Pachulia, Zaza
Pargo, Jannero
Parker, Anthony
Parker, Tony
Patterson, Patrick
Paul, Chris
Pavlovic, Aleksandar
Pekovic, Nikola
Perkins, Kendrick
Petro, Johan
Pierce, Paul
Pietrus, Mickael
Pittman, Dexter
Pondexter, Quincy
Posey, James
Powe, Leon
Powell, Josh
Price, A.J.
Price, Ronnie
Prince, Tayshaun
Przybilla, Joel
• Return to top of directory
Q
Quinn, Chris
• Return to top of directory
R
Radmanovic, Vladimir
Randolph, Anthony
Randolph, Zach
Ratliff, Theo
Rautins, Andy
Redd, Michael
Redick, J.J.
Richardson, Jason
Richardson, Quentin
Ridnour, Luke
Robinson, Nate
Rolle, Magnum
Rondo, Rajon
Rose, Derrick
Roy, Brandon
Rush, Brandon
• Return to top of directory
S
Salmons, John
Samuels, Samardo
Sanders, Larry
Scalabrine, Brian
Scola, Luis
Sefolosha, Thabo
Seraphin, Kevin
Sessions, Ramon
Shakur, Mustafa
Siler, Garret
Smith, Craig
Smith, Ish
Smith, J.R.
Smith, Jason
Smith, Joe
Smith, Josh
Songaila, Darius
Speights, Marreese
Splitter, Tiago
Stephenson, Lance
Stevenson, DeShawn
Stojakovic, Peja
Stoudemire, Amar'e
Stuckey, Rodney
Summers, DaJuan
Sy, Pape
• Return to top of directory
T
Taylor, Jermaine
Teague, Jeff
Telfair, Sebastian
Temple, Garrett
Terry, Jason
Thabeet, Hasheem
Thomas, Etan
Thomas, Kurt
Thomas, Tyrus
Thompson, Jason
Thornton, Al
Thornton, Marcus
Tolliver, Anthony
Turiaf, Ronny
Turkoglu, Hedo
Turner, Evan
• Return to top of directory
U
Udoh, Ekpe
Udrih, Beno
Uzoh, Ben
• Return to top of directory
V
Vaden, Robert
Varejao, Anderson
Vasquez, Greivis
Villanueva, Charlie
Vujacic, Sasha
• Return to top of directory
W
Wade, Dwyane
Wafer, Von
Walker, Bill
Wall, John
Wallace, Ben
Wallace, Gerald
Walton, Luke
Warren, Willie
Warrick, Hakim
Watson, C.J.
Watson, Earl
Webster, Martell
Weems, Sonny
West, David
West, Delonte
West, Mario
Westbrook, Russell
White, DJ
White, Terrico
Whiteside, Hassan
Wilcox, Chris
Wilkins, Damien
Williams, Deron
Williams, Elliot
Williams, Louis
Williams, Marvin
Williams, Mo
Williams, Reggie
Williams, Shawne
Williams, Shelden
Williams, Terrence
Wright, Brandan
Wright, Dorell
Wright, Julian
• Return to top of directory
Y
Yao Ming
Yi Jianlian
Young, Nick
Young, Sam
Young, Thaddeus
Apparently this church was rescued from closure by nuns from Tennessee in the USA.
Some years ago the Dominican Friars in Ireland announced they had embarked on a process of reorganising its commitments in Ireland because of falling numbers and would be withdrawing from Limerick. As a result of their decision St Saviour’s Church, Glentworth Street, which has an 800-year association with Limerick, was due to close but thanks to the Dominican Sisters of St Cecilia it will remain operational as a church.
On the 4th. of July 2016 the last Mass held by the Dominican Order took place. Soon after the Limerick Diocese took over the running of religious services with a Mass at 1pm each day while the nuns moved into the building later in the summer of 2016.
This Gothic Revival Church, though much altered from the earlier Gothic designs of the James Pain, has a strong presence in the area. It was begun for Prior Fr. Joseph Harrigan and consectated 6th July 1816. The repairs and alteration in 1860 were carried out by J.J. McCarthy. The contractor for that work was John Ryan. The architectural composition and carved limestone detailing, which is a composite of Pain's original design and later alterations, most notably that of William Wallace in the 1860s, is testimony to the skill of the architects involved and the craftsmanship of the artisans involved in its construction.
Wallace heightened the exterior and interior by 20 feet with the addition of a clerestory and rose window in the 1860s. George Goldie designed a new chancel, high altar, reredos, tabernacle and east window between 1863-66. The sculptor for the altar was Bolton of Worchester; the sculptor of the reredos was Patrick Scannell of Cork Marble Works. The stained glass was by William Wailes of Newcastle. In 1870 Goldie and Child remodelled the interior and exterior and the work was supervised by Maurice Alphonsus Hennessy, CE, Limerick. The builders were McCarthy and Guerin. In 1896 and 1899 the stalls and the railings to the Sacred Heart Chapel were designed by George Coppinger Ashlin. In 1927 the communion rails and gates were designed by Ashlin and Coleman.
The church terminates the view from Pery Square to the east, while the south elevation facing onto Dominick Street dominates the view from the east. At any point on Baker's Place the contribution of this limestone church to the streetscape is further enhanced by the Tait Memorial Clock and the former priory, now the Mid-Western Health Board Offices on Pery Street. Saint Michael's Church of Ireland Church, which terminates the view of Pery Street to the west, adds to the prominence of these ecclesiastical buildings within the Georgian district of Pery Square.
Today the cathedral is still used for its original purpose as a place of worship and prayer for the people of Limerick. It is open to the public every day from 8:30 am to 5:30 pm. Following the retirement of the Very Rev'd Maurice Sir on June 24, 2012, Bishop Trevor Williams announced the appointment of the Rev'd Sandra Ann Pragnell as Dean of Limerick and Rector of Limerick City Parish. She is the first female dean of the cathedral and rector of the Limerick parish.
The cathedral grounds holds United Nations Memorial Plaque with the names of all the Irish men who died while serving in the United Nations Peacekeepers.
The Hollywood Walk of Fame is a landmark which consists of more than 2,773 five-pointed terrazzo-and-brass stars embedded in the sidewalks along 15 blocks of Hollywood Boulevard and three blocks of Vine Street in Hollywood, California. The stars are monuments to achievement in the entertainment industry, bearing the names of a mix of actors, directors, producers, musicians, theatrical/musical groups, fictional characters, and others.
The Walk of Fame is administered by the Hollywood Chamber of Commerce, who hold the trademark rights, and maintained by the self-financing Hollywood Historic Trust. It is a popular tourist attraction, receiving an estimated 10 million annual visitors in 2010.
The Walk of Fame runs 1.3 miles (2.1 km) east to west on Hollywood Boulevard, from Gower Street to the Hollywood and La Brea Gateway at La Brea Avenue, plus a short segment on Marshfield Way that runs diagonally between Hollywood Boulevard and La Brea; and 0.4 miles (0.64 km) north to south on Vine Street between Yucca Street and Sunset Boulevard. According to a 2003 report by the market research firm NPO Plog Research, the Walk attracts about 10 million visitors annually—more than the Sunset Strip, the TCL Chinese Theatre (formerly Grauman's), the Queen Mary, and the Los Angeles County Museum of Art combined—and has played an important role in making tourism the largest industry in Los Angeles County.
As of 2023, the Walk of Fame comprises 2,752 stars, which are spaced at 6-foot (1.8 m) intervals. The monuments are coral-pink terrazzo five-point stars rimmed with brass (not bronze, an oft-repeated inaccuracy) inlaid into a charcoal-colored terrazzo background. The name of the honoree is inlaid in brass block letters in the upper portion of each star. Below the inscription, in the lower half of the star field, a round inlaid brass emblem indicates the category of the honoree's contributions. The emblems symbolize six categories within the entertainment industry:
Circular 4-inch brass plaque showing a side view of a classic movie camera. Classic film camera representing motion pictures.
Circular 4-inch brass plaque with a tube-type television with twin aerials. Television receiver representing broadcast television.
Circular 4-inch brass plaque with a top view of phonograph disc and pickup arm. Phonograph record representing audio recording or music.
Circular 4-inch brass plaque with an antique studio-style microphone. Radio microphone representing broadcast radio.
Circular 4-inch brass plaque with the classic theatrical comedy/tragedy masks. Comedy/tragedy masks representing theater/live performance (added in 1984).
[image needed] Athletic trophy representing sports entertainment (added in 2023).
Of all the stars on the Walk to date, 47% have been awarded in the motion pictures category, 24% in television, 17% in audio recording or music, 10% in radio, fewer than 2% in theater/live performance, and fewer than 1% in sports entertainment. According to the Hollywood Chamber of Commerce, approximately 20 new stars are added to the Walk each year.
Locations of individual stars are not necessarily arbitrary. Stars of many particularly well-known celebrities are found in front of the TCL (formerly Grauman's) Chinese Theatre. Oscar-winners' stars are usually placed near the Dolby Theatre,[citation needed] site of the annual Academy Awards presentations. Locations are occasionally chosen for ironic or humorous reasons: Mike Myers's star lies in front of an adult store called the International Love Boutique, an association with his Austin Powers roles; Roger Moore's star and Daniel Craig's star are located at 7007 Hollywood Boulevard in recognition of their titular role in the James Bond 007 film series; Ed O'Neill's star is located outside a shoe store in reference to his character's occupation on the TV show Married ... with Children; and The Dead End Kids' star is located at the corner of LaBrea and Hollywood Boulevard.
Honorees may request a specific location for their star, although final decisions remain with the Chamber. Jay Leno, for example, requested a spot near the corner of Hollywood Blvd. and Highland Ave. because he was twice picked up at that location by police for vagrancy (though never actually charged) shortly after his arrival in Hollywood. George Carlin chose to have his star placed in front of the KDAY radio station near the corner of Sunset Blvd. and Vine St., where he first gained national recognition. Lin-Manuel Miranda chose a site in front of the Pantages Theatre where his musicals, In The Heights and Hamilton, played. Carol Burnett explained her choice in her 1986 memoir: While working as an usherette at the historic Warner Brothers Theatre (now the Hollywood Pacific Theatre) during the 1951 run of Alfred Hitchcock's film Strangers on a Train, she took it upon herself to advise a couple arriving during the final few minutes of a showing to wait for the next showing, to avoid seeing (and spoiling) the ending. The theater manager fired her on the spot for "insubordination" and humiliated her by stripping the epaulets from her uniform in the theater lobby. Twenty-six years later, at her request, Burnett's star was placed at the corner of Hollywood and Wilcox—in front of the theater.
Special category stars recognize various contributions by corporate entities, service organizations, and special honorees, and display emblems unique to those honorees. For example, former Los Angeles mayor Tom Bradley's star displays the Seal of the City of Los Angeles; the Los Angeles Police Department (LAPD) star emblem is a replica of a Hollywood Division badge; and stars representing corporations, such as Victoria's Secret and the Los Angeles Dodgers, display the honoree's corporate logo. The "Friends of the Walk of Fame" monuments are charcoal terrazzo squares rimmed by miniature pink terrazzo stars displaying the five standard category emblems, along with the sponsor's corporate logo, with the sponsor's name and contribution in inlaid brass block lettering. Special stars and Friends monuments are granted by the Hollywood Chamber of Commerce or the Hollywood Historic Trust, but are not part of the Walk of Fame proper and are located nearby on private property.
The monuments for the Apollo 11 mission to the Moon are uniquely shaped: Four identical circular moons, each bearing the names of the three astronauts (Neil A. Armstrong, Edwin E. Aldrin Jr., and Michael Collins), the date of the first Moon landing ("7/20/69"), and the words "Apollo XI", are set on each of the four corners of the intersection of Hollywood and Vine.
The Hollywood Chamber of Commerce credits E.M. Stuart, its volunteer president in 1953, with the original idea for creating a Walk of Fame. Stuart reportedly proposed the Walk as a means to "maintain the glory of a community whose name means glamour and excitement in the four corners of the world". Harry Sugarman, another Chamber member and president of the Hollywood Improvement Association, received credit in an independent account. A committee was formed to flesh out the idea, and an architectural firm was retained to develop specific proposals. By 1955, the basic concept and general design had been agreed upon, and plans were submitted to the Los Angeles City Council.
Multiple accounts exist for the origin of the star concept. According to one, the historic Hollywood Hotel, which stood for more than 50 years on Hollywood Boulevard at the site now occupied by the Ovation Hollywood complex and the Dolby (formerly Kodak) Theatre—displayed stars on its dining room ceiling above the tables favored by its most famous celebrity patrons, and that may have served as an early inspiration. By another account, the stars were "inspired ... by Sugarman's Tropics Restaurant drinks menu, which featured celebrity photos framed in gold stars".
In February 1956, a prototype was unveiled featuring a caricature of an example honoree (John Wayne, by some accounts) inside a blue star on a brown background. However, caricatures proved too expensive and difficult to execute in brass with the technology available at the time; and the brown and blue motif was vetoed by Charles E. Toberman, the legendary real estate developer known as "Mr. Hollywood", because the colors clashed with a new building he was erecting on Hollywood Boulevard.
By March 1956, the final design and coral-and-charcoal color scheme had been approved. Between the spring of 1956 and the fall of 1957, 1,558 honorees were selected by committees representing the four major branches of the entertainment industry at that time: motion pictures, television, audio recording, and radio. The committees met at the Brown Derby restaurant,[32] and they included such prominent names as Cecil B. DeMille, Samuel Goldwyn, Jesse L. Lasky, Walt Disney, Hal Roach, Mack Sennett, and Walter Lantz.
A requirement stipulated by the original audio recording committee (and later rescinded) specified minimum sales of one million records or 250,000 albums for all music category nominees. The committee soon realized that many important recording artists would be excluded from the Walk by that requirement. As a result, the National Academy of Recording Arts and Sciences was formed to create a separate award for the music industry, leading to the first Grammy Awards in 1959.
Construction of the Walk began in 1958, but two lawsuits delayed completion. The first lawsuit was filed by local property owners challenging the legality of the $1.25 million tax assessment (equivalent to $13 million in 2022) levied upon them to pay for the Walk, along with new street lighting and trees. In October 1959, the assessment was ruled legal. The second lawsuit, filed by Charles Chaplin Jr., sought damages for the exclusion of his father, whose nomination had been withdrawn due to pressure from multiple quarters (see Controversial additions). Chaplin's suit was dismissed in 1960, paving the way for completion of the project.
While Joanne Woodward is often singled out as the first person to receive a star on the Walk of Fame—possibly because she was the first to be photographed with it—the original stars were installed as a continuous project, with no individual ceremonies. Woodward's name was one of eight drawn at random from the original 1,558 and inscribed on eight prototype stars that were built while litigation was holding up permanent construction. The eight prototypes were installed temporarily on the northwest corner of Hollywood Boulevard and Highland Avenue in August 1958 to generate publicity and to demonstrate how the Walk would eventually look. The other seven names were Olive Borden, Ronald Colman, Louise Fazenda, Preston Foster, Burt Lancaster, Edward Sedgwick, and Ernest Torrence. Official groundbreaking took place on February 8, 1960. On March 28, 1960, the first permanent star, director Stanley Kramer's, was completed on the easternmost end of the new Walk near the intersection of Hollywood and Gower.
Although the Walk was originally conceived in part to encourage redevelopment of Hollywood Boulevard, the 1960s and 1970s were periods of protracted urban decay in the Hollywood area as residents moved to nearby suburbs. After the initial installation of approximately 1,500 stars in 1960 and 1961, eight years passed without the addition of a new star. In 1962, the Los Angeles City Council passed an ordinance naming the Hollywood Chamber of Commerce "the agent to advise the City" about adding names to the Walk, and the Chamber, over the following six years, devised rules, procedures, and financing methods to do so. In December 1968, Richard D. Zanuck was awarded the first star in eight years in a presentation ceremony hosted by Danny Thomas. In July 1978, the city of Los Angeles designated the Hollywood Walk of Fame a Los Angeles Historic-Cultural Monument.
Radio personality, television producer, and Chamber member Johnny Grant is generally credited with implementing the changes that resuscitated the Walk and established it as a significant tourist attraction. Beginning in 1968, Grant stimulated publicity and encouraged international press coverage by requiring that each recipient personally attend his or her star's unveiling ceremony. Grant later recalled that "it was tough to get people to come accept a star" until the neighborhood finally began its recovery in the 1980s.
In 1980, Grant instituted a fee of $2,500 (equivalent to $8,879 in 2022), payable by the person or entity nominating the recipient, to fund the Walk of Fame's upkeep and minimize further taxpayer burden. The fee has increased incrementally over time. By 2002, it had reached $15,000 (equivalent to $24,405 in 2022), and stood at $30,000 in 2012 (equivalent to $38,240 in 2022). As of 2023, the fee was $75,000, about nine times the original amount adjusted for inflation.
Grant was himself awarded a star in 1980 for his television work. In 2002, he received a second star in the "special" category to acknowledge his pivotal role in improving and popularizing the Walk. He was also named chairman of the Selection Committee and Honorary Mayor of Hollywood (a ceremonial position previously held by Art Linkletter and Monty Hall, among others). He remained in both offices from 1980 until his death in 2008 and hosted the great majority of unveiling ceremonies during that period. His unique special-category star, with its emblem depicting a stylized "Great Seal of the City of Hollywood", is located at the entrance to the Dolby Theatre adjacent to Johnny Grant Way.
In 1984, a fifth category, Live Theatre, was added to acknowledge contributions from the live performance branch of the entertainment industry, and a second row of stars was created on each sidewalk to alternate with the existing stars.
In 1994, the Walk of Fame was extended one block to the west on Hollywood Boulevard, from Sycamore Avenue to North LaBrea Avenue (plus the short segment of Marshfield Way that connects Hollywood and La Brea), where it now ends at the silver "Four Ladies of Hollywood" gazebo and the special "Walk of Fame" star. At the same time, Sophia Loren was honored with the 2,000th star on the Walk.
During construction of tunnels for the Los Angeles subway system in 1996, the Metropolitan Transportation Authority (MTA) removed and stored more than 300 stars. Controversy arose when the MTA proposed a money-saving measure of jackhammering the 3-by-3-foot terrazzo pads, preserving only the brass lettering, surrounds, and medallions, then pouring new terrazzo after the tunnels were completed; but the Cultural Heritage Commission ruled that the star pads were to be removed intact.
In 2023, a sixth category, Sports Entertainment, was added to acknowledge contributions of athletes to the entertainment industry.
In 2008, a long-term restoration project began with an evaluation of all 2,365 stars on the Walk at the time, each receiving a letter grade of A, B, C, D, or F. Honorees whose stars received F grades, indicating the most severe damage, were Joan Collins, Peter Frampton, Dick Van Patten, Paul Douglas, Andrew L. Stone, Willard Waterman, Richard Boleslavsky, Ellen Drew, Frank Crumit, and Bobby Sherwood. Fifty celebrities' stars received "D" grades. The damage ranged from minor cosmetic flaws caused by normal weathering to holes and fissures severe enough to constitute a walking hazard. Plans were made to repair or replace at least 778 stars at an estimated cost of over $4 million.
The restoration is a collaboration among the Hollywood Chamber of Commerce and various Los Angeles city and county governmental offices, along with the MTA, which operates the Metro B Line that runs beneath the Walk, since earth movement due to the presence of the subway line is thought to be partly responsible for the damage.
To encourage supplemental funding for the project by corporate sponsors, the "Friends of Walk of Fame" program was inaugurated, with donors recognized through honorary plaques adjacent to the Walk of Fame in front of the Dolby Theatre. The program has received some criticism; Alana Semuels of the Los Angeles Times described it as "just the latest corporate attempt to buy some good buzz", and quoted a brand strategist who said, "I think Johnny Grant would roll over in his grave".
Los Angeles introduced the "Heart of Hollywood Master Plan", which promotes the idea of closing Hollywood Boulevard to traffic and creating a pedestrian zone from La Brea Avenue to Highland Avenue, citing an increase in pedestrian traffic including tourism, weekly movie premieres and award shows closures, including ten days for the Academy Award ceremony at the Dolby Theatre. In June 2019, the city of Los Angeles commissioned Gensler Architects to provide a master plan for a $4 million renovation to improve and "update the streetscape concept" for the Walk of Fame. Los Angeles city councilmember Mitch O'Farrell released the draft master plan designed by Gensler and Studio-MLA in January 2020. It proposed widening the sidewalks, adding bike lanes, new landscaping, sidewalk dining, removing lanes of car traffic and street parking between the Pantages Theater (Gower Street) at the east and The Emerson Theatre (La Brea Avenue) at the west end of the boulevard. The approved phase one includes removing the parking lanes between Orange Drive and Gower Street, adding street furnishings with benches, tables and chairs with sidewalk widening. Phase two is in the schematic stage. Phase two is planned for 2024 and will include closing down the boulevard to two lanes, adding landscaping with shade trees and five public plazas made up of art deco designed street pavers and kiosks. Planned to be completed by 2026, funding is being raised for the $50 million project.
Each year an average of 200 nominations are submitted to the Hollywood Chamber of Commerce Walk of Fame selection committee. Anyone, including fans, can nominate anyone active in the field of entertainment as long as the nominee or their management approves the nomination. Nominees must have a minimum of five years' experience in the category for which they are nominated and a history of "charitable contributions". Posthumous nominees must have been deceased at least five years. At a meeting each June, the committee selects approximately 20 to 24 celebrities to receive stars on the Walk of Fame. One posthumous award is given each year as well. The nominations of those not selected are rolled over to the following year for reconsideration; those not selected two years in a row are dropped, and must be renominated to receive further consideration. Living recipients must agree to personally attend a presentation ceremony within two years of selection. If the ceremony is not scheduled within two years, a new application must be submitted. A relative of deceased recipients must attend posthumous presentations. Presentation ceremonies are open to the public.
A fee of $75,000 (as of 2023), payable at time of selection, is collected to pay for the creation and installation of the star, as well as general maintenance of the Walk of Fame. The fee is usually paid by the nominating organization, which may be a fan club, film studio, record company, broadcaster, or other sponsor involved with the prospective honoree. The Starz cable network, for example, paid for Dennis Hopper's star as part of the promotion for its series Crash.
Actor Matt Damon's star under construction, showing the brass star-shaped rim, exposed wire grid foundation, brass letters attached to two horizontal brackets, and the Motion Picture emblem, prior to pouring of pink terrazzo
Actor Matt Damon's star under construction, August 2007
Traditionally, the identities of selection committee members, other than its chairman, have not been made public in order to minimize conflicts of interest and to discourage lobbying by celebrities and their representatives (a significant problem during the original selections in the late 1950s). However, in 1999, in response to intensifying charges of secrecy in the selection process, the Chamber disclosed the members' names: Johnny Grant, the longtime chair and representative of the television category; Earl Lestz, president of Paramount Studio Group (motion pictures); Stan Spero, retired manager with broadcast stations KMPC and KABC (radio); Kate Nelson, owner of the Palace Theatre (live performance); and Mary Lou Dudas, vice president of A&M Records (recording industry). Since that 1999 announcement, the chamber has revealed only that Lestz (who received his own star in 2004) became chairman after Grant died in 2008. Their current official position is that "each of the five categories is represented by someone with expertise in that field".
In 2010, Lestz was replaced as chairman by John Pavlik, former Director of Communications for the Academy of Motion Picture Arts and Sciences. While no public announcement was made to that effect, he was identified as chairman in the Chamber's press release announcing the 2011 star recipients. In 2016, the chair, according to the Chamber's 2016 selection announcement, was film producer Maureen Schultz. In 2023, the selection committee chair was radio personality Ellen K.
Moon Landing monument, with square pink terrazzo surround (not the usual charcoal color), with light gray terrazzo Moon disk showing TV emblem at top and the brass lettering "Neil A. Armstrong, Edwin E. Aldrin and Michael Collins, 7/20/69, Apollo XI"
One of the four monuments recognizing the Apollo 11 astronauts at the corners of Hollywood and Vine
Walk of Fame rules prohibit consideration of nominees whose contributions fall outside the six major entertainment categories, but the selection committee has been known to adjust interpretations of its rules to justify a selection. The Walk's four round Moon landing monuments at the corners of Hollywood and Vine, for example, officially recognize the Apollo 11 astronauts for "contributions to the television industry." Johnny Grant acknowledged, in 2005, that classifying the first Moon landing as a television entertainment event was "a bit of a stretch". Magic Johnson was added to the motion picture category based on his ownership of the Magic Johnson Theatre chain, citing as precedent Sid Grauman, builder of Grauman's Chinese Theatre.
Muhammad Ali's star was granted after the committee decided that boxing could be considered a form of "live performance". Its placement on a wall of the Dolby Theatre makes it the only star mounted on a vertical surface, acceding to Ali's request that his name not be walked upon, as he shared his name with the Prophet Muhammad.
All living honorees have been required since 1968 to personally attend their star's unveiling, and approximately 40 have declined the honor due to this condition. The only recipient to date who failed to appear after agreeing to do so was Barbra Streisand, in 1976. Her star was unveiled anyway, near the intersection of Hollywood and Highland. Streisand did attend when her husband, James Brolin, unveiled his star in 1998 two blocks to the east.
Entertainers with multiple stars
The original selection committees chose to recognize some notable entertainers' contributions in multiple categories with multiple stars.
Gene Autry is the only honoree with stars in all five categories.
Bob Hope, Mickey Rooney, Roy Rogers, and Tony Martin each have stars in four categories; Rooney has three of his own and a fourth with his eighth wife, Jan Chamberlin,[87][88] while Rogers also has three of his own, and a fourth with his band, Sons of the Pioneers.
Thirty-three honorees, including Bing Crosby, Frank Sinatra, Jo Stafford, Dean Martin, Dinah Shore, Gale Storm, Danny Kaye, Douglas Fairbanks Jr., and Jack Benny, have stars in three categories.
Over a dozen have two stars:
Dolly Parton, for her solo work and part of the trio made up of her, Emmylou Harris and Linda Ronstadt;[91]
Michael Jackson, as a soloist and as a member of The Jacksons;
Diana Ross, as a member of The Supremes and for her solo work;
Smokey Robinson, as a solo artist and as a member of The Miracles;
John Lennon, Paul McCartney, George Harrison, and Ringo Starr as individuals and as members of The Beatles.
George Eastman is the only honoree with two stars in the same category for the same achievement, the invention of roll film.
Walt Disney, has stars in two different categories for his work in both film and television; in addition, Mickey Mouse (who was originally voiced by Walt Disney) and Disneyland have stars.
Bette Davis has one star each for film and television.
Alfred Hitchcock has stars in two different categories for his work in both film and television.
Jean Hersholt, for film and radio
Hattie McDaniel, for film and radio
Judy Garland, one for motion pictures and another for recording
Arlene Francis, for radio and television
Cass Daley, for radio and television
Kermit the Frog, has an individual star for television and as a member of The Muppets for film.
Cher forfeited her opportunity to join this list by declining to schedule the mandatory personal appearance when she was selected in 1983. She did, however, attend the unveiling of the Sonny & Cher star in 1998, as a tribute to her recently deceased ex-husband, Sonny Bono.
Sixteen stars are identified with a one-word stage name (e.g., Liberace, Pink, Roseanne, and Slash). Clayton Moore is so inextricably linked with his Lone Ranger character, even though he played other roles during his career, that he is one of only two actors to have his character's name alongside his own on his star. The other is Tommy Riggs, whose star references his Betty Lou character. The largest group of individuals represented by a single star is the estimated 122 adults and 12 children collectively known as the Munchkins, from the landmark 1939 film The Wizard of Oz.
Two pairs of stars share identical names representing different people. There are two Harrison Ford stars, honoring the silent film actor (at 6665 Hollywood Boulevard), and the present-day actor (in front of the Dolby Theatre at 6801 Hollywood Boulevard). Two Michael Jackson stars represent the pop singer (at 6927 Hollywood Boulevard), and the radio personality (at 1597 Vine Street).
The Westmores received the first star honoring contributions in theatrical make-up.[citation needed] Other make-up artists on the walk are Max Factor, John Chambers and Rick Baker. Three stars recognize experts in special effects: Ray Harryhausen, Dennis Muren, and Stan Winston. Only two costume designers have received a star: eight-time Academy Award Winner Edith Head, and the first African-American to win an Oscar for costume design, Ruth E. Carter.
Sidney Sheldon is one of two novelists with a star, which he earned for writing screenplays for such films as The Bachelor and the Bobby-Soxer (1947) before becoming a novelist. The other is Ray Bradbury, whose books and stories have formed the basis of dozens of movies and television programs over a nearly 60-year period.
Nine inventors have stars on the Walk: George Eastman, inventor of roll film; Thomas Edison, inventor of the first true film projector and holder of numerous patents related to motion-picture technology; Lee de Forest, inventor of the triode vacuum tube, which played an important role in the development of radio and television broadcasts, and Phonofilm, which made sound films possible; Herbert Kalmus, inventor of Technicolor; Auguste and Louis Lumière, inventors of important components of the motion picture camera; Mark Serrurier, inventor of the technology used for film editing; Hedy Lamarr, co-inventor of a frequency-hopping radio guidance system that was a precursor to Wi-Fi networks and cellular telephone systems; and Ray Dolby, co-developer of the first video tape recorder and inventor of the Dolby noise-reduction system.
A few star recipients moved on after their entertainment careers to political notability. Two Presidents of the United States, Ronald Reagan (40th President) and Donald Trump (45th President), have stars on the Walk. Reagan is also one of two Governors of California with a star; the other is Arnold Schwarzenegger. One U.S. senator (George Murphy) and two members of the U.S. House of Representatives (Helen Gahagan and Sonny Bono) have stars. Ignacy Paderewski, who served as Prime Minister of Poland between the World Wars, is the only European head of government represented. Film and stage actor Albert Dekker served one term in the California State Assembly during the 1940s.
On its 50th anniversary in 2005, Disneyland received a star near Disney's Soda Fountain on Hollywood Boulevard. Stars for commercial organizations are only considered for those with a Hollywood show business connection of at least 50 years' duration. While not technically part of the Walk itself (a city ordinance prohibits placing corporate names on sidewalks), the star was installed adjacent to it.
There are three dogs represented on the walk, Lassie, Rin Tin Tin, and Strongheart.
Charlie Chaplin is the only honoree to be selected twice for the same star on the Walk. He was unanimously voted into the initial group of 500 in 1956, but the Selection Committee ultimately excluded him, ostensibly due to questions regarding his morals (he had been charged with violating the Mann Act—and exonerated—during the White Slavery hysteria of the 1940s), but more likely due to his left-leaning political views. The rebuke prompted an unsuccessful lawsuit by his son, Charles Chaplin Jr. Chaplin's star was finally added to the Walk in 1972, the same year he received his Academy Award. Even then, 16 years later, the Chamber of Commerce received angry letters from across the country protesting its decision to include him.
The committee's Chaplin difficulties reportedly contributed to its decision in 1978 against awarding a star to Paul Robeson, the controversial opera singer, actor, athlete, writer, lawyer, and social activist. The resulting outcry from the entertainment industry, civic circles, local and national politicians, and many other quarters was so intense that the decision was reversed and Robeson was awarded a star in 1979.
In 1978, in honor of his 50th anniversary, Mickey Mouse became the first animated character to receive a star, and nearly twenty more followed over the next decades. Other fictional characters on the Walk include the Munchkins, the kaiju Godzilla, the live-action dog named Lassie, Pee-Wee Herman as portrayed by Paul Reubens, animated film characters such as Shrek and Snow White, and animated television characters including the Simpsons and the Rugrats.
Jim Henson is one of four puppeteers to have a star, but also has a further three stars dedicated to his creations: one for The Muppets as a whole, one for Kermit the Frog and one for Big Bird.
In 2010, Julia Louis-Dreyfus' star was constructed with the name "Julia Luis Dreyfus". The actress was reportedly amused, and the error was corrected. A similar mistake was made on Dick Van Dyke's star in 1993 ("Vandyke"), and rectified. Film and television actor Don Haggerty's star originally displayed the first name "Dan". The mistake was fixed, but years later the television actor Dan Haggerty (of Grizzly Adams fame, no relation to Don) also received a star. The confusion eventually sprouted an urban legend that Dan Haggerty was the only honoree to have a star removed from the Walk of Fame. For 28 years, the star intended to honor Mauritz Stiller, the Helsinki-born pioneer of Swedish film who brought Greta Garbo to the United States, read "Maurice Diller", possibly due to mistranscription of verbal dictation. The star was finally remade with the correct name in 1988.
Monty Woolley's star, showing a "TV" emblem, even though his category is "Motion Pictures"
"Motion Picture" category, "TV" emblem
Four stars remain misspelled: the opera star Lotte Lehmann (spelled "Lottie"); King Kong creator, director, and producer and Cinerama pioneer Merian C. Cooper ("Meriam"); cinematography pioneer Auguste Lumière ("August"); and radio comedienne Mary Livingstone ("Livingston").
Monty Woolley, the veteran film and stage actor best known for The Man Who Came to Dinner (1942) and the line "Time flies when you're having fun", is officially listed in the motion picture category, but his star on the Walk of Fame bears the television emblem. Woolley did appear on the small screen late in his career, but his TV contributions were eclipsed by his extensive stage, film, and radio work. Similarly, the star of film actress Carmen Miranda bears the TV emblem, although her official category is motion pictures. Radio and television talk show host Larry King is officially a television honoree, but his star displays a film camera.
Acts of vandalism on the Walk of Fame have ranged from profanity and political statements written on stars with markers and paint to damage with heavy tools. Vandals have also tried to chisel out the brass category emblems embedded in the stars below the names, and have even stolen a statue component of The Four Ladies of Hollywood. Closed circuit surveillance cameras have been installed on the stretch of Hollywood Boulevard between La Brea Avenue and Vine Street in an effort to discourage mischievous activities.
Four of the stars, which weigh about 300 pounds (140 kg) each, have been stolen from the Walk of Fame. In 2000, James Stewart's and Kirk Douglas' stars disappeared from their locations near the intersection of Hollywood and Vine, where they had been temporarily removed for a construction project. Police recovered them in the suburban community of South Gate when they arrested a man involved in an incident there and searched his house. The suspect was a construction worker employed on the Hollywood and Vine project. The stars had been badly damaged and had to be remade. One of Gene Autry's five stars was also stolen from a construction area. Another theft occurred in 2005 when thieves used a concrete saw to remove Gregory Peck's star from its Hollywood Boulevard site at the intersection of North El Centro Avenue, near North Gower. The star was replaced almost immediately, but the original was never recovered and the perpetrators never caught.
Donald Trump's star, obtained for his work as owner and producer of the Miss Universe pageant, has been vandalized multiple times. During the 2016 presidential election, a man named James Otis, who claims to be an heir to the Otis Elevator Company fortune, used a sledgehammer and a pickaxe to destroy all of the star's brass inlays. He readily admitted to the vandalism and was arrested and sentenced to three years' probation. The star was repaired and served as a site of pro-Trump demonstrations until it was destroyed a second time in July 2018 by a man named Austin Clay. Clay later surrendered himself to the police and was bailed out by James Otis. Clay was sentenced to one day in jail, three years of probation, and 20 days of community service. He also was ordered to attend psychological counseling and pay restitution of $9,404.46 to the Hollywood Chamber of Commerce. On December 18, 2018, the star was defaced with swastikas and other graffiti drawn in permanent marker, and it was vandalized yet again on October 2, 2020.
In August 2018, the West Hollywood City Council unanimously passed a resolution requesting permanent removal of the star due to repeated vandalism, according to Mayor John Duran. The resolution was completely symbolic, as West Hollywood has no jurisdiction over the Walk. Activist groups have also called for the removal of stars honoring individuals whose public and professional lives have become controversial, including Trump, Bill Cosby, Kevin Spacey, and Brett Ratner. In answer to these campaigns, the Hollywood Chamber of Commerce announced that because the Walk is a historical landmark, "once a star has been added ... it is considered a part of the historic fabric of the Hollywood Walk of Fame" and cannot be removed.
The Hollywood and La Brea Gateway is a 1993 cast stainless steel public art installation by architect Catherine Hardwicke.[ The sculpture, popularly known as The Four Ladies of Hollywood, was commissioned by the Los Angeles Community Redevelopment Agency Art Program as a tribute to the multi-ethnic women of the entertainment industry. The installation consists of a square stainless steel Art Deco-style structure or gazebo, with an arched roof supporting a circular dome that is topped by a central obelisk with descending neon block letters spelling "Hollywood" on each of its four sides. Atop the obelisk is a small gilded weather vane-style sculpture of Marilyn Monroe in her iconic billowing skirt pose from The Seven Year Itch. The corners of the domed structure are supported by four caryatids sculpted by Harl West representing African-American actress Dorothy Dandridge, Asian-American actress Anna May Wong, Mexican actress Dolores del Río, and Brooklyn-born actress Mae West. The installation stands at the western end of the Hollywood Walk of Fame at the corner of Hollywood Boulevard and North La Brea Avenue.
The gazebo was dedicated on February 1, 1994, to a mixed reception. Los Angeles Times art critic Christopher Knight called it "the most depressingly awful work of public art in recent years", representing the opposite of Hardwicke's intended tribute to women. "Sex, as a woman's historic gateway to Hollywood", he wrote, "couldn't be more explicitly described".
Independent writer and film producer Gail Choice called it a fitting tribute to a group of pioneering and courageous women who "carried a tremendous burden on their feminine shoulders". "Never in my wildest dreams did I believe I'd ever see women of color immortalized in such a creative and wonderful fashion." Hardwicke contended that critics had missed the "humor and symbolism" of the structure, which "embraces and pokes fun at the glamour, the polished metallic male form of the Oscar, and the pastiche of styles and dreams that pervades Tinseltown."
In June 2019, the Marilyn Monroe statue above the gazebo was stolen by Austin Clay, who had vandalized Donald Trump's star a year earlier.
Recording artist Michael Jackson's star, surrounded by flowers, candles, and cards, as observed about two weeks after his death in 2009
Michael Jackson's star, about two weeks after his death in 2009
Some fans show respect for star recipients both living and dead by laying flowers or other symbolic tributes at their stars. Others show their support in other ways; the star awarded to Julio Iglesias, for example, is kept in "pristine condition a devoted band of elderly women scrub and polish it once a month".
The Hollywood Chamber of Commerce has adopted the tradition of placing flower wreaths at the stars of newly deceased awardees; for example, Bette Davis in 1989, Katharine Hepburn in 2003, and Jackie Cooper in 2011. The stars of other deceased celebrities, such as Michael Jackson, Bruce Lee, Farrah Fawcett, Elizabeth Taylor Charles Aznavour, Richard Pryor, Ricardo Montalbán, James Doohan, Frank Sinatra, Robin Williams, Joan Rivers, George Harrison, Aretha Franklin, Stan Lee, and Betty White have become impromptu memorial and vigil sites as well, and some continue to receive anniversary remembrances.
California is a state in the Western United States, located along the Pacific Coast. With nearly 39.2 million residents across a total area of approximately 163,696 square miles (423,970 km2), it is the most populous U.S. state and the 3rd largest by area. It is also the most populated subnational entity in North America and the 34th most populous in the world. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second and fifth most populous urban regions respectively, with the former having more than 18.7 million residents and the latter having over 9.6 million. Sacramento is the state's capital, while Los Angeles is the most populous city in the state and the second most populous city in the country. San Francisco is the second most densely populated major city in the country. Los Angeles County is the country's most populous, while San Bernardino County is the largest county by area in the country. California borders Oregon to the north, Nevada and Arizona to the east, the Mexican state of Baja California to the south; and has a coastline along the Pacific Ocean to the west.
The economy of the state of California is the largest in the United States, with a $3.4 trillion gross state product (GSP) as of 2022. It is the largest sub-national economy in the world. If California were a sovereign nation, it would rank as the world's fifth-largest economy as of 2022, behind Germany and ahead of India, as well as the 37th most populous. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second- and third-largest urban economies ($1.0 trillion and $0.5 trillion respectively as of 2020). The San Francisco Bay Area Combined Statistical Area had the nation's highest gross domestic product per capita ($106,757) among large primary statistical areas in 2018, and is home to five of the world's ten largest companies by market capitalization and four of the world's ten richest people.
Prior to European colonization, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America and contained the highest Native American population density north of what is now Mexico. European exploration in the 16th and 17th centuries led to the colonization of California by the Spanish Empire. In 1804, it was included in Alta California province within the Viceroyalty of New Spain. The area became a part of Mexico in 1821, following its successful war for independence, but was ceded to the United States in 1848 after the Mexican–American War. The California Gold Rush started in 1848 and led to dramatic social and demographic changes, including large-scale immigration into California, a worldwide economic boom, and the California genocide of indigenous people. The western portion of Alta California was then organized and admitted as the 31st state on September 9, 1850, following the Compromise of 1850.
Notable contributions to popular culture, for example in entertainment and sports, have their origins in California. The state also has made noteworthy contributions in the fields of communication, information, innovation, environmentalism, economics, and politics. It is the home of Hollywood, the oldest and one of the largest film industries in the world, which has had a profound influence upon global entertainment. It is considered the origin of the hippie counterculture, beach and car culture, and the personal computer, among other innovations. The San Francisco Bay Area and the Greater Los Angeles Area are widely seen as the centers of the global technology and film industries, respectively. California's economy is very diverse: 58% of it is based on finance, government, real estate services, technology, and professional, scientific, and technical business services. Although it accounts for only 1.5% of the state's economy, California's agriculture industry has the highest output of any U.S. state. California's ports and harbors handle about a third of all U.S. imports, most originating in Pacific Rim international trade.
The state's extremely diverse geography ranges from the Pacific Coast and metropolitan areas in the west to the Sierra Nevada mountains in the east, and from the redwood and Douglas fir forests in the northwest to the Mojave Desert in the southeast. The Central Valley, a major agricultural area, dominates the state's center. California is well known for its warm Mediterranean climate and monsoon seasonal weather. The large size of the state results in climates that vary from moist temperate rainforest in the north to arid desert in the interior, as well as snowy alpine in the mountains.
Settled by successive waves of arrivals during at least the last 13,000 years, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America. Various estimates of the native population have ranged from 100,000 to 300,000. The indigenous peoples of California included more than 70 distinct ethnic groups, inhabiting environments from mountains and deserts to islands and redwood forests. These groups were also diverse in their political organization, with bands, tribes, villages, and on the resource-rich coasts, large chiefdoms, such as the Chumash, Pomo and Salinan. Trade, intermarriage and military alliances fostered social and economic relationships between many groups.
The first Europeans to explore the coast of California were the members of a Spanish maritime expedition led by Portuguese captain Juan Rodríguez Cabrillo in 1542. Cabrillo was commissioned by Antonio de Mendoza, the Viceroy of New Spain, to lead an expedition up the Pacific coast in search of trade opportunities; they entered San Diego Bay on September 28, 1542, and reached at least as far north as San Miguel Island. Privateer and explorer Francis Drake explored and claimed an undefined portion of the California coast in 1579, landing north of the future city of San Francisco. Sebastián Vizcaíno explored and mapped the coast of California in 1602 for New Spain, putting ashore in Monterey. Despite the on-the-ground explorations of California in the 16th century, Rodríguez's idea of California as an island persisted. Such depictions appeared on many European maps well into the 18th century.
The Portolá expedition of 1769-70 was a pivotal event in the Spanish colonization of California, resulting in the establishment of numerous missions, presidios, and pueblos. The military and civil contingent of the expedition was led by Gaspar de Portolá, who traveled over land from Sonora into California, while the religious component was headed by Junípero Serra, who came by sea from Baja California. In 1769, Portolá and Serra established Mission San Diego de Alcalá and the Presidio of San Diego, the first religious and military settlements founded by the Spanish in California. By the end of the expedition in 1770, they would establish the Presidio of Monterey and Mission San Carlos Borromeo de Carmelo on Monterey Bay.
After the Portolà expedition, Spanish missionaries led by Father-President Serra set out to establish 21 Spanish missions of California along El Camino Real ("The Royal Road") and along the Californian coast, 16 sites of which having been chosen during the Portolá expedition. Numerous major cities in California grew out of missions, including San Francisco (Mission San Francisco de Asís), San Diego (Mission San Diego de Alcalá), Ventura (Mission San Buenaventura), or Santa Barbara (Mission Santa Barbara), among others.
Juan Bautista de Anza led a similarly important expedition throughout California in 1775–76, which would extend deeper into the interior and north of California. The Anza expedition selected numerous sites for missions, presidios, and pueblos, which subsequently would be established by settlers. Gabriel Moraga, a member of the expedition, would also christen many of California's prominent rivers with their names in 1775–1776, such as the Sacramento River and the San Joaquin River. After the expedition, Gabriel's son, José Joaquín Moraga, would found the pueblo of San Jose in 1777, making it the first civilian-established city in California.
The Spanish founded Mission San Juan Capistrano in 1776, the third to be established of the Californian missions.
During this same period, sailors from the Russian Empire explored along the northern coast of California. In 1812, the Russian-American Company established a trading post and small fortification at Fort Ross on the North Coast. Fort Ross was primarily used to supply Russia's Alaskan colonies with food supplies. The settlement did not meet much success, failing to attract settlers or establish long term trade viability, and was abandoned by 1841.
During the War of Mexican Independence, Alta California was largely unaffected and uninvolved in the revolution, though many Californios supported independence from Spain, which many believed had neglected California and limited its development. Spain's trade monopoly on California had limited the trade prospects of Californians. Following Mexican independence, Californian ports were freely able to trade with foreign merchants. Governor Pablo Vicente de Solá presided over the transition from Spanish colonial rule to independent.
In 1821, the Mexican War of Independence gave the Mexican Empire (which included California) independence from Spain. For the next 25 years, Alta California remained a remote, sparsely populated, northwestern administrative district of the newly independent country of Mexico, which shortly after independence became a republic. The missions, which controlled most of the best land in the state, were secularized by 1834 and became the property of the Mexican government. The governor granted many square leagues of land to others with political influence. These huge ranchos or cattle ranches emerged as the dominant institutions of Mexican California. The ranchos developed under ownership by Californios (Hispanics native of California) who traded cowhides and tallow with Boston merchants. Beef did not become a commodity until the 1849 California Gold Rush.
From the 1820s, trappers and settlers from the United States and Canada began to arrive in Northern California. These new arrivals used the Siskiyou Trail, California Trail, Oregon Trail and Old Spanish Trail to cross the rugged mountains and harsh deserts in and surrounding California. The early government of the newly independent Mexico was highly unstable, and in a reflection of this, from 1831 onwards, California also experienced a series of armed disputes, both internal and with the central Mexican government. During this tumultuous political period Juan Bautista Alvarado was able to secure the governorship during 1836–1842. The military action which first brought Alvarado to power had momentarily declared California to be an independent state, and had been aided by Anglo-American residents of California, including Isaac Graham. In 1840, one hundred of those residents who did not have passports were arrested, leading to the Graham Affair, which was resolved in part with the intercession of Royal Navy officials.
One of the largest ranchers in California was John Marsh. After failing to obtain justice against squatters on his land from the Mexican courts, he determined that California should become part of the United States. Marsh conducted a letter-writing campaign espousing the California climate, the soil, and other reasons to settle there, as well as the best route to follow, which became known as "Marsh's route". His letters were read, reread, passed around, and printed in newspapers throughout the country, and started the first wagon trains rolling to California. He invited immigrants to stay on his ranch until they could get settled, and assisted in their obtaining passports.
After ushering in the period of organized emigration to California, Marsh became involved in a military battle between the much-hated Mexican general, Manuel Micheltorena and the California governor he had replaced, Juan Bautista Alvarado. The armies of each met at the Battle of Providencia near Los Angeles. Marsh had been forced against his will to join Micheltorena's army. Ignoring his superiors, during the battle, he signaled the other side for a parley. There were many settlers from the United States fighting on both sides. He convinced these men that they had no reason to be fighting each other. As a result of Marsh's actions, they abandoned the fight, Micheltorena was defeated, and California-born Pio Pico was returned to the governorship. This paved the way to California's ultimate acquisition by the United States.
In 1846, a group of American settlers in and around Sonoma rebelled against Mexican rule during the Bear Flag Revolt. Afterward, rebels raised the Bear Flag (featuring a bear, a star, a red stripe and the words "California Republic") at Sonoma. The Republic's only president was William B. Ide,[65] who played a pivotal role during the Bear Flag Revolt. This revolt by American settlers served as a prelude to the later American military invasion of California and was closely coordinated with nearby American military commanders.
The California Republic was short-lived; the same year marked the outbreak of the Mexican–American War (1846–48).
Commodore John D. Sloat of the United States Navy sailed into Monterey Bay in 1846 and began the U.S. military invasion of California, with Northern California capitulating in less than a month to the United States forces. In Southern California, Californios continued to resist American forces. Notable military engagements of the conquest include the Battle of San Pasqual and the Battle of Dominguez Rancho in Southern California, as well as the Battle of Olómpali and the Battle of Santa Clara in Northern California. After a series of defensive battles in the south, the Treaty of Cahuenga was signed by the Californios on January 13, 1847, securing a censure and establishing de facto American control in California.
Following the Treaty of Guadalupe Hidalgo (February 2, 1848) that ended the war, the westernmost portion of the annexed Mexican territory of Alta California soon became the American state of California, and the remainder of the old territory was then subdivided into the new American Territories of Arizona, Nevada, Colorado and Utah. The even more lightly populated and arid lower region of old Baja California remained as a part of Mexico. In 1846, the total settler population of the western part of the old Alta California had been estimated to be no more than 8,000, plus about 100,000 Native Americans, down from about 300,000 before Hispanic settlement in 1769.
In 1848, only one week before the official American annexation of the area, gold was discovered in California, this being an event which was to forever alter both the state's demographics and its finances. Soon afterward, a massive influx of immigration into the area resulted, as prospectors and miners arrived by the thousands. The population burgeoned with United States citizens, Europeans, Chinese and other immigrants during the great California Gold Rush. By the time of California's application for statehood in 1850, the settler population of California had multiplied to 100,000. By 1854, more than 300,000 settlers had come. Between 1847 and 1870, the population of San Francisco increased from 500 to 150,000.
The seat of government for California under Spanish and later Mexican rule had been located in Monterey from 1777 until 1845. Pio Pico, the last Mexican governor of Alta California, had briefly moved the capital to Los Angeles in 1845. The United States consulate had also been located in Monterey, under consul Thomas O. Larkin.
In 1849, a state Constitutional Convention was first held in Monterey. Among the first tasks of the convention was a decision on a location for the new state capital. The first full legislative sessions were held in San Jose (1850–1851). Subsequent locations included Vallejo (1852–1853), and nearby Benicia (1853–1854); these locations eventually proved to be inadequate as well. The capital has been located in Sacramento since 1854 with only a short break in 1862 when legislative sessions were held in San Francisco due to flooding in Sacramento. Once the state's Constitutional Convention had finalized its state constitution, it applied to the U.S. Congress for admission to statehood. On September 9, 1850, as part of the Compromise of 1850, California became a free state and September 9 a state holiday.
During the American Civil War (1861–1865), California sent gold shipments eastward to Washington in support of the Union. However, due to the existence of a large contingent of pro-South sympathizers within the state, the state was not able to muster any full military regiments to send eastwards to officially serve in the Union war effort. Still, several smaller military units within the Union army were unofficially associated with the state of California, such as the "California 100 Company", due to a majority of their members being from California.
At the time of California's admission into the Union, travel between California and the rest of the continental United States had been a time-consuming and dangerous feat. Nineteen years later, and seven years after it was greenlighted by President Lincoln, the First transcontinental railroad was completed in 1869. California was then reachable from the eastern States in a week's time.
Much of the state was extremely well suited to fruit cultivation and agriculture in general. Vast expanses of wheat, other cereal crops, vegetable crops, cotton, and nut and fruit trees were grown (including oranges in Southern California), and the foundation was laid for the state's prodigious agricultural production in the Central Valley and elsewhere.
In the nineteenth century, a large number of migrants from China traveled to the state as part of the Gold Rush or to seek work. Even though the Chinese proved indispensable in building the transcontinental railroad from California to Utah, perceived job competition with the Chinese led to anti-Chinese riots in the state, and eventually the US ended migration from China partially as a response to pressure from California with the 1882 Chinese Exclusion Act.
Under earlier Spanish and Mexican rule, California's original native population had precipitously declined, above all, from Eurasian diseases to which the indigenous people of California had not yet developed a natural immunity. Under its new American administration, California's harsh governmental policies towards its own indigenous people did not improve. As in other American states, many of the native inhabitants were soon forcibly removed from their lands by incoming American settlers such as miners, ranchers, and farmers. Although California had entered the American union as a free state, the "loitering or orphaned Indians" were de facto enslaved by their new Anglo-American masters under the 1853 Act for the Government and Protection of Indians. There were also massacres in which hundreds of indigenous people were killed.
Between 1850 and 1860, the California state government paid around 1.5 million dollars (some 250,000 of which was reimbursed by the federal government) to hire militias whose purpose was to protect settlers from the indigenous populations. In later decades, the native population was placed in reservations and rancherias, which were often small and isolated and without enough natural resources or funding from the government to sustain the populations living on them. As a result, the rise of California was a calamity for the native inhabitants. Several scholars and Native American activists, including Benjamin Madley and Ed Castillo, have described the actions of the California government as a genocide.
In the twentieth century, thousands of Japanese people migrated to the US and California specifically to attempt to purchase and own land in the state. However, the state in 1913 passed the Alien Land Act, excluding Asian immigrants from owning land. During World War II, Japanese Americans in California were interned in concentration camps such as at Tule Lake and Manzanar. In 2020, California officially apologized for this internment.
Migration to California accelerated during the early 20th century with the completion of major transcontinental highways like the Lincoln Highway and Route 66. In the period from 1900 to 1965, the population grew from fewer than one million to the greatest in the Union. In 1940, the Census Bureau reported California's population as 6.0% Hispanic, 2.4% Asian, and 89.5% non-Hispanic white.
To meet the population's needs, major engineering feats like the California and Los Angeles Aqueducts; the Oroville and Shasta Dams; and the Bay and Golden Gate Bridges were built across the state. The state government also adopted the California Master Plan for Higher Education in 1960 to develop a highly efficient system of public education.
Meanwhile, attracted to the mild Mediterranean climate, cheap land, and the state's wide variety of geography, filmmakers established the studio system in Hollywood in the 1920s. California manufactured 8.7 percent of total United States military armaments produced during World War II, ranking third (behind New York and Michigan) among the 48 states. California however easily ranked first in production of military ships during the war (transport, cargo, [merchant ships] such as Liberty ships, Victory ships, and warships) at drydock facilities in San Diego, Los Angeles, and the San Francisco Bay Area. After World War II, California's economy greatly expanded due to strong aerospace and defense industries, whose size decreased following the end of the Cold War. Stanford University and its Dean of Engineering Frederick Terman began encouraging faculty and graduates to stay in California instead of leaving the state, and develop a high-tech region in the area now known as Silicon Valley. As a result of these efforts, California is regarded as a world center of the entertainment and music industries, of technology, engineering, and the aerospace industry, and as the United States center of agricultural production. Just before the Dot Com Bust, California had the fifth-largest economy in the world among nations.
In the mid and late twentieth century, a number of race-related incidents occurred in the state. Tensions between police and African Americans, combined with unemployment and poverty in inner cities, led to violent riots, such as the 1965 Watts riots and 1992 Rodney King riots. California was also the hub of the Black Panther Party, a group known for arming African Americans to defend against racial injustice and for organizing free breakfast programs for schoolchildren. Additionally, Mexican, Filipino, and other migrant farm workers rallied in the state around Cesar Chavez for better pay in the 1960s and 1970s.
During the 20th century, two great disasters happened in California. The 1906 San Francisco earthquake and 1928 St. Francis Dam flood remain the deadliest in U.S. history.
Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze known as "smog" has been substantially abated after the passage of federal and state restrictions on automobile exhaust.
An energy crisis in 2001 led to rolling blackouts, soaring power rates, and the importation of electricity from neighboring states. Southern California Edison and Pacific Gas and Electric Company came under heavy criticism.
Housing prices in urban areas continued to increase; a modest home which in the 1960s cost $25,000 would cost half a million dollars or more in urban areas by 2005. More people commuted longer hours to afford a home in more rural areas while earning larger salaries in the urban areas. Speculators bought houses they never intended to live in, expecting to make a huge profit in a matter of months, then rolling it over by buying more properties. Mortgage companies were compliant, as everyone assumed the prices would keep rising. The bubble burst in 2007–8 as housing prices began to crash and the boom years ended. Hundreds of billions in property values vanished and foreclosures soared as many financial institutions and investors were badly hurt.
In the twenty-first century, droughts and frequent wildfires attributed to climate change have occurred in the state. From 2011 to 2017, a persistent drought was the worst in its recorded history. The 2018 wildfire season was the state's deadliest and most destructive, most notably Camp Fire.
Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze that is known as "smog" has been substantially abated thanks to federal and state restrictions on automobile exhaust.
One of the first confirmed COVID-19 cases in the United States that occurred in California was first of which was confirmed on January 26, 2020. Meaning, all of the early confirmed cases were persons who had recently travelled to China in Asia, as testing was restricted to this group. On this January 29, 2020, as disease containment protocols were still being developed, the U.S. Department of State evacuated 195 persons from Wuhan, China aboard a chartered
"I found it very humiliating and the whole experience quite shocking." Pauline Konopka.
At 6.00pm on Friday 12 June 2015, employees of Clerys department store in Dublin were told that the business was closing. They were given an hour to gather personal belongings and were then escorted to the exit by hired security personnel.
Clerys—dating back 162 years and owned since 2012 by Gordon Brothers Group, an American venture capital company—had been secretly sold in the dead of night. The business was split into retail and property sections prior to the deal going through. The retail section was sold for €1 and duly declared bankrupt, thus denying the employees and others of their rightful dues. The Clerys building was then sold separately.
Gordon Brothers Group walked away with a handsome profit from the property transaction and instantly washed their hands of all responsibility for their former employees. Those employees—some of whom had spent a lifetime in Clerys—lost all of their accumulated redundancy entitlements and were eventually paid minimum statutory redundancy by the Irish government.
The Clerys building was bought by Natrium Ltd. (a consortium consisting of D2 Private, controlled by property developer Deirdre Foley, with John Skelly and Ronan Daly) and Cheyne Capital, London. Both companies have steadfastly refused to meet the former Clerys employees or government representatives.
The former Clerys employees are now campaigning for a change in the law that will protect others who may find themselves in a similar situation.
Justice for Clerys Workers: www.facebook.com/justiceforclerysworkers
This portrait was taken as part of the Certificate in Photography and Digital Imaging evening course at the National College of Art and Design (NCAD) in Dublin.
Lens: Pentax SMC 75mm
Film: Kodak Tri-X 400 pushed to 800.
September 13, 2009
Beth Miller won Women’s 1/2/3 race while Dan Vaillancourt won the Men’s P/1/2. Mark Alden, CRCA/Blue Ribbon-Translations.com won the 40+, Matt Doron, Global Locate, the Cat 3, Lyn Frampton the Women’s 3/4,Al Blanchard, Westwood Velo the 50+, Matt Sack the Cat 4A and Danny Habig the Cat 4B, Mark McCarthy the 60+,and Kevin Rooney, CRCA, the Cat 5.
racers....
Jerry Ascolese Cycles 54 - YSG Racing
Bogdan Blai www.SpinCityTeam.net
Miguelangel Blanco
Bill Blank Watchung Wheelmen/High Gear
Michael Boardman Signature Cycles/Rock Star Video Games
Jacob Bobrow university of vermont
Kevin Brubaker CRCA/Pacifico-Hincapie Sportswear
Joaquin C De Baca KISSENA
Patrick Campbell Westwood Velo/Trade Manage Capital
Romel Campbell WestWood Velo
Anthony Canger CRCA/Sid's-Cannondale
David Carr CRCA/Setanta
Chris Chapman Westwood Velo
Jeff Cline EECT
Bryan Dobes Westwood Velo / Trade Manage Racing
Matthew Doran GLOBAL LOCATE RACING
William Doyle-Capitman Kissena Cycling Club
Paul Eisele Max Power Cycling
Jesus E. Espitia CRCA/Blue Ribbon - Translations.com
Myles Fennell 3D Racing Team/Tom's Atlantic Cyclery
Mark Fontanilla Liberty Cycle
Raul Galliano Westwood Velo-Trade Manage Racing
Steven Goldman Westwood Velo - Trade Manage Racing
Pavel Gonda New York University
Ben Harris CRCA/Jonathan Adler
Corey Hilliard Chelsea Bikes
Brendan Housler Minerva Design Cycling / GVCC
Nick Iacovelli Colavita Racing
Jeffrey Ingraham CRCA/Sanchez-Houlihan Lokey
Herb Jimenez Jimenez Velo Sport
Gregory Lafiura
John Landino DeathRow Velo
Todd Lippin 3D Racing Team/Tom's Atlantic Cyclery
Arland Macasieb Jimenez Velo Sport
Tadeusz Marszalek Sommerville Sports
Mike Monastero CRCA Babylon Bike
Kuria Njenga Westwood Velo
Peter Ognibene GS Park Ridge/Cyclesport
Radames Parissi JIMENEZ VELO SPORT
Steven Persak Liberty Cycle
Michael Prokopec miyashoji
James Ruhl babylon bike
Brian Sacawa Kelly Benefit Strategies/LSV Amateur Cycling
Sender Sakajani Team Sotheby's / Strictly Bicycles
Dennis Schwandtner Kreb/EECT
Tom Shebell Rocket Racing/YSG
Abraham Soler Foundation
Tim Spence CRCA/Axis
James Stevens GS Gotham/Toga
David Stires Century Road Club of America
Terry Totemeier U.S. Army/Central Wheel-GHCC
Lawrence Uhrlass EECT
Hammean Walker CRCA Major Taylor Iron Riders
Andrew Walsh CRCA/Foundation
Tron Witt CRCA/Jonathan Adler Racing
Zak Abdullah CRCA/FGX Racing
Naoufal Alaoui Brooklyn Arches
Breogan Alvarez CRCA/NY Velocity
Jimmy Andrello CRCA/Foundation
John Anthony NYSketches
Walter Archer
Matt Armstrong
Alexander Barouh Kissena Cycling CLub
Sean Barry
Michael Beckerman CRCA/FGX Racing
Kusmanto Beham
Myles Billard Vicious Cycles
Ira Blumberg CRCA/Setanta
David Bowen CRCA/Organic Athlete
Ian Byrd CRCA/Setanta
Chad Casselman CRCA/FGX Racing
Brian Collet CRCA/Sanchez-Houlihan Lokey
Peter Conroy CRCA/NYVelocity
Clint Dager University of Delaware
Aaron Deutsch Brooklyn Arches
Bryan Dougherty Kissena
Benjamin Fackler CRCA/NYVelocity
Adam Francis
Steven Fritz CRCA / Teany Cycling
David Gardiner Kissena
Benjamin George Connecticut Coast Cycling
Chris Gurr CRCA/Setanta
Robert Haber CRCA/FGX Racing
Paul Italiano GS Gotham/Toga
Matthew Jackson
Eric Kuo CRCA/Setanta
Christopher Leong CRCA/NYVelocity
Jonathan Leong CRCA / Teany Cycling
Benjamin Lesnak NY Sketches
Leonides Lopez jimenez velo sports
James Mahlmann
Steven Marmo crca/setanta
Carlos Martinez www.SpinCityTeam.net
George Mastrogiannis CRCA/Sanchez-Houlihan Lokey
Anthony Mazzella Sanchez Houlihan Lokey/CRCA
Todd McLoughlin Kissena
Clayton McPhail CRCA/NY Velocity
Mark David McPherson Kissena
Eli Mernit GS Gotham/Toga
David Miller
John Miller Champion System p/b Cycles Gladiator Wine
Angel Molina Chelsea Bicycles Team
Matthew Montesano Kissena Cycling Club
Shane Moran Westwood Velo
Philip Nerges Jimenez Velo Sport
Jorge Orrego Strictly Bicycles
Brian Pan
Phil Penman CRCA / Teany Cycling
Don Peretz Watchung Wheelmen
Daniel Reiners Kissena Cycling Club
Guillermo Rincon Chelsea Bicycles Team
Alistair Rogers East End/ Kreb Cycle
Jonathan Sebat East End/Kreb Cycle
Etienne Shanon CRCA/Foundation
Mark Spottiswood GBSC / Babylon Bike Shop
Joe Steele Brooklyn Arches
Joshua Storck Brooklyn Velo Force / GQ Racing
John Suscovich CRCA/NYVelocity
John-Taki Theodoracopulos
Crihs Thormann kissena cycling club
David Trumpf CRCA/FGX Racing
Roy Vaccaro Jimenez Velo Sport
George Vlahogiannis JIMENEZ VELO SPORT
James Westman
Stuart Wilkins EAST END
Benjamin Woodbury Brooklyn Velo Force/GQ Racing
eter Alford CRCA
David Anthony CRCA/NYVelocity
Eloy Anzola Kissena Cycling Club
Nathan Archibald none
Jack Baranski CRCA/OrganicAthlete
Todd Brilliant CRCA/Setanta
Dean Brizel CRCA/Sanchez Houlihan-Lokey
James Brosnan CRCA/NYVelocity
John Buenaventura CRCA/NYVelocity
Eric Carlson Westwood Velo / Trade Manage Capital
Brian Cesaratto
Bladdymir Coronel Westwood Velo-Trade Manage Racing
Michael Desmarais University of Vermont
Michael Dimson Yorktown Cycles/Tarmac Cycling
Gregory Donovan Kissena Cycling Club
Gary Eveland Quaker City Wheelmen/Breakawaybikes.com
Craig Fleischer East End/Kreb Cycle
Miguel Flores Chelsea Bicycles Team
Christian Forsyth CRCA/Setanta
Gregory Fowlkes CRCA/Rapha Racing
Bryan Fried crca/nyvelocity
Andrew Gillis Unione Sportiva Italiana
Paul Goldman CRCA / Teany Cycling
Craig Goodstein CRCA/Sanchez-Houlihan-Lokey
Patrick Grehan Kissena Cycling Club
Seth Gross CRCA/NYVelocity
Andy Guy Tri-State Velo
Rick Hall CRCA / Teany Cycling
Mark Heithoff Signature Cycles/Rockstar Games/CRCA
Shawn Herndon Signature Cycles/Rockstar Games
Michael Innusa east end/kreb cycle
Mitchell Jacaruso CRCA/NYVELOCITY
John Jackson Skylands Cycling
Jordan Jan Brooklyn Velo Force / GQ Racing
Barry Kaplan Watchung Wheelmen
Phil Karavidas westwood velo
Hanjiro Kawai BCA
Tom Krol Cheshire Cycle Racing
Claude Laberge Liberty Cycle
Paul Lestage Yorktown Cycles / Tarmac Cycling
Thomas Mattioli Western Union/CRCA
Peter McCormick CRCA/OrganicAthlete
Gregory McCoy Yorktown cycles/Tarmac cycling
James Mernin CRCA/Kingpin Racing - HJD
Chris Mooney none
Juan Nunez VO2MaxOut.COM
Michael O'Neill
Owen Oconnor East End/Kreb Cycle
Maurice Osorio kissena cycling club
David Parker Signature Cycles/Rockstar Games
Reginald Rasch CRCA/FGX Racing
Russell Raymundo
David Regen CRCA/OrganicAthlete
David Richman CRCA/Kingpin Racing-HJD
Jeffrey Robins CRCA/NYVelocity
Timothy Rogers CRCA/FGX Racing
George Romonoyske East End / Kreb Cycle Cycling Team
Adam Rosenthal CRCA/Kingpin Racing-HJD
Arthur Roulac CRCA/Sanchez Houlihan Lokey
Reed Rubey CRCA / Teany Cycling
Bruce Schwartz Signature Cycles/Rockstar Games
Christopher Schwenker East End/Kreb Cycle
Steven Senne Boston Road Club
Joel Simon Brooklyn Velo Force/GQ Racing
Leszek Sniadowski Organic Athlete
Warren St John NY Velocity
Etsu Taniguchi CRCA / Teany Cycling
Niko Triantafillou CRCA / Teany Cycling
Jay Vincent Zama Racing
Timothy Voake CRCA
Joseph Wiener Kissena Cycling Club
Steven Winfield Signature Cycles/Rockstar Games
Jeffrey Alpert CRCA/NYVelocity
Gregg Beimler
Sonny Bindra CRCA/NYVelocity
Robert Bonelli DC Racing / Sebago
Scott Burch Organic Athlete NYC
Jim Cleary GS Park Ridge
Roy Currie SMAC
Mark Cywin Propeller Racing
Nicholas David Propeller Racing
Shawn Erickson Tenafly Bicycle Workshop/Road Dawgz
Aaron Essner
Jesus Flores chelsea bicycles team
Pedro Furtado Signature Cycles/Rockstar Games
Leonard Galati CRCA/NY Velocity
Jay Goldwein CRCA
Luis Gonzales
Matthew Graham 3d racing
Russ Green 3D Racing Team/Tom's Atlantic Cyclery
Lorenzo Grippo Tarmac Cycling
Jud Heugel
Ian Japal Yorktown Cycles/Tarmac Cycling
John Kladis yorktown cycles/tarmac cycling
Nicholas Malter F.D.N.Y.
Jim Marrone USI
Israel Martinez chelsea bicycles team
Matthew Matassa
Michael Novich
Juan Orrego Strictly Bicycles
Myles Partellow yorktown cycles / Tarmac cycling
Victor Perez Chelsea Bicycles Team
Michael Petermann none
Jaroslaw Prokop
John Ragel crca
Luis Ramirez
Kevin Rooney CRCA
Patrick Ruane 3D Racing
Kristian Saether EAST END/KREB
Andrew Schmidt
Travis Skinner propeller racing
Jose Soriano CRCA
Carlos Sosa Chelsea Bicycles Team
Warren St John NY Velocity
Chris Thorpe
James Triano
Alexander Vogenthaler
Tim J. Walsh CRCA/Signature Cycles
William Weiss Velocity
James Williams CRCA/NYVelocity.com
Harry Zernike CRCA/New York Velocity
Jonathan Zimmerman CRCA
Mark Alden CRCA/Blue Ribbon-Translation.com
Peter Askin Cafeteros Cycling Club
Geoff Bickford CRCA/Axis
Scott Bodin TARGETRAINING
Robin Bolduc Ride With Randall
Paul Carbonara Century Road Club /Axis
Todd Cassan Westwood Velo
Thomas Cromie Sleepy Hollow
Mark Czarnecki Laurel Bicycle Club
D.j. Dart
Carlos Gonzalez CRCA
Kurt Gustafsson CRCA / AXIS
Peter Hines CRCA / Jonathan Adler Racing
Roy Hutchinson Kissena
Danny Inoa Brooklyn Velo Force/GQ Racing
Charles Issendorf Champion System
Michael Joseph Colavita Racing
Lennard Katz Kissena Cycling Club
James Keaveny none
Troy Kimball Westwood Velo
Kenneth King CRCA/Die Hard-Think Racing
Robert Lattanzi Westwood Velo
Gregory Lee CRCA
Max Lippolis TARGETRAINING/ FASTAR
Robert Lombardi Brooklyn Velo Force/GQ Racing
Thomas Luzio Deno's Wonder Wheel
Jerry Martinez global locate
Alessandro Matteucci Brooklyn Velo Force / GQ Racing
Jan Micko german bicycle club
Matt Murphy GS RETROVELO
Anthony O'Malley CRCA/Diehard-Think Racing
Jon Orcutt CRCA/Axis
Thomas Pennell CRCA/Blue Ribbon - Translations.com
Christopher Peterson CRCA/Sanchez-Houlihan Lokey
Eutimio Quintero CRCA/ Foundation
James Regan Northeastern Hardware/CJCT
Carl Reglar
Keith Ryan CRCA-AXIS
Cliff Saper crca/ Sanchez Houlihan Lokey
Haluk Sarci Deno's Wonder Wheel
Pascal Sauvayre CRCA/Pacifico-Hincapie Sportswear
Will Schneider VO2MAXOUT.COM Training Systems
Leigh Sorrells Fioradifrutta/Masters
David Taylor CRCA/Blue Ribbon-Translations.com
Jerry Truppelli Colavita Racing
Phill Vermette Caboto Velo
John Wain
Ralf Warmuth Westwood Velo
Andrew Williams RUUD Racing / TVC
David Wilson Northeastern Hardware/CJCT
Mark Adler Tokeneke
Al Blanchard Westwood Velo
Kevin Butler GS Park Ridge
Greg Campi 3D Racing Team/Tom's Atlantic Cyclery
Reb Cole cafeteros
William Crowley CRCA/Die-Hard-Think Racing
Carlos Cruz colombia
Damian Dicostanzo Deno's Wonder Wheel
Mark Durso Zephyr Cycle
Tom Guimond CRCA/Rockstar/Signature
Michael Haddad Signature Cycles / Rockstar Games
Jose Hernandez Colavita Racing
Kenneth Hochman Deno's Wonder Wheel Cycling
Ken Johnsson Pawling Cycle & Sport
Richard Kazimir Century Road Club of America
Robin Kinney Team Somerset
Jeff Knisely Cafeteros Cycling Club
Chuck Litty Bethel Cycle Sport Club
Bob Meikle Mystic Velo Club
Kevin Mosher C B R C
Doug O'Neill Deno's Wonder Wheel
Cleofus Price gs gotham
Brian Rafferty Deno's Wonder Wheel
Ricardo Sanchez KISSENA CYCLING CLUB
Philip Soroka crca/Organic Athlete
Robert Stern CRCA/ WesternUnion
Hajo Thiele Cafeteros Cycling Club
William Thompson CCC/Keltic Const/Zanes Cycles
Lawrence Towner Liberty Cycle
Tom Bridges Favatas table rock tours
Chuck Dominick onondaga cycling club
Michael Patterson
Stephen Sirico Laurel/get carter.com
Roger Aspholm Westwood Velo
Thomas Bencivengo Sommerville Sports World Team
Blair Berbert Kelly Benefit Strategies/LSV Amateur Racing
Brian Breach Brooklyn Velo Force / GQ Racing
Franklin Burgos western union
Brett Cleaver Sommerville Sports
David Costa Anthem Sports Elite Development
Matt Cuttler CRCA/Jonathan Adler Racing
David Freifelder Westwood Velo/Trade Manage Racing
Eneas Freyre TARGETRAINING
Todd Hesel Kelly Benefit Strategies/LSV Amateur Racing
Matthew Howard CRCA/Empire Cycling Team p/b Northwave
David Hoyle CCNS
Christopher Johnson Above Category Racing
Matthew Johnson CRCA/Empire Cycling Team p/b Northwave
Christopher Kohnle CCNS
Erin Korff CRCA/AXIS
Matt Lorenz Army
Damien McCabe Melania
Kevin Molloy CRCA/Empire Cycling Team p/b Northwave
Austin Moran TARGETRAINING p/b confabricate.com
J.p. Partland Kissena Cycling Club
Kyle Peppo CRCA/Jonathan Adler Racing
Karl Rahn CRCA/Empire Cycling Team p/b Northwave
Dan Vaillancourt Colavita/Sutter Home
Chris Worden CCB Racing
Jeff Zygo MVP Health Care Cycling
Sarah Chubb Sauvayre CRCA/Comedy Central-Sid's Bikes
Caryl Gale Deno's Wonder Wheel
Kimberly Geist Team Alliance Environmental
Kristen Gohr Colavita Racing Inc.
Dara Kiese CRCA/Radical Media
Deb Killmon CRCA/Signature Cycles-Rockstar Games
Becky Koh CRCA/Comedy Central-Sid's Bikes
Donna McMahon CRCA/Radical Media
Ann Marie Miller CRCA Sanchez Houlihan Lokey
Maria Murphy GS RETROVELO
Andrea Myers CRCA/Comedy Central-Sid's Bikes
Ashley Prine CRCA/Radical Media
Erica Adelberg CRCA/Radical Media
Dawn Burrell Colavita
Joanne Cabello CRCA Sanchez Houlihan Lokey
Colleen Conway CRCA / Teany Cycling
Ruth Dickinson Philadelphia Ciclismo
Renee Engelhardt CRCA/NYVelocity
Xieyue Fan CRCA Sanchez Houlihan Lokey
Gabrielle Fisher CRCA/Sanchez-Houlihan Lokey
Nancy Ford USI
Lisa Gizzarelli Hudson Valley Velo Club
Anneliese Haines CRCA/NY Velocity
Stacy Jargowsky crca/sbr multisports
Cynthia Lo TriLife Racing
Kristin Lotito CRCA/Sanchez-Houlihan Lokey
Emily Maynard CRCA/Radical Media
Caitlin Olson
Lindsey Paluska CRCA/NYVelocity
Edie Perkins Kissena Cycling Club
Althea Grace Pineda crca
Jennifer Solomon East End Cycling Team
Andrea Urist CRCA/Sanchez Houlihan-Lokey
Kathleen Vedock
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
It may surprise many visitors to discover that Maynooth College has its own graveyard. The cemetery can be found past the Junior Garden on campus.
While the College was founded in 1795, the first to be buried in the new College Cemetery was Rev Francis Power from Cork (1737 – 1817), who was the first Bursar and Vice President, was appointed Professor of French in 1802, and died in 1817. Four members of the College staff, who died before 1817, were buried in Laraghbryan Cemetery on the Kilcock Road, west of the Campus.
There are a number of students, Sisters and staff resting in the College Cemetery. Many of the students died of consumption, as tuberculosis was called at the time, and are remembered in the Classpieces of the time. The Sisters of Charity of St Vincent de Paul provided the healthcare for students and staff. The most recent burial was that of Maurice Dunne from Tralee (1939 – 2009). He had worked in the College since 1961 and died on his 70th birthday.
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Listed below are the local (Ottawa & area) participants -- sorted by cities and first name -- in the May 29, 2011, Ottawa Race Weekend Marathon.
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See also:
1 a) "2012" Ottawa Race Weekend photos.
1 b) "2013" Ottawa Race Weekend photos.
2) an alphabetic listing (2011) of ALL Ottawa, Gatineau and area marathoners, including stats and pics.
3) a steadicam™ video, running the Ottawa marathon. (You're in the race!)
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One-third of the 4,200 marathon participants are from the local Ottawa area. The rest come from other parts of Ontario and Québec, and beyond.
Click here and enter a bib # search. You will receive the full 2011 individual race results and race photos.
Thank-you to Sportstats.
List of Local Marathon Participants, including the bib #:
Bib # .... Name .... City
2519….Cathy Maclean….Alexandria
4495….James Houseman….Alexandria
1049….John Zawada….Alexandria
4263….Pamela Kalinowski….Alexandria
1050….Aaron Barter….Almonte
5034….Bob Thomson….Almonte
964…..Brad Jones….Almonte
1939….Corinne Lalonde….Almonte
1174….Dale Joynt….Almonte
4610….Jenny Sheffield….Almonte
4484….Kaija Mountain….Almonte
4975….Nigel Jarrett….Almonte
4799….Rodney Carriveau….Almonte
3735….Sherry Burke….Almonte
4447….Anne Blimkie….Arnprior
4224….Constance Palubiskie….Arnprior
4731….David Moon….Arnprior
4148….Emily Sheffield….Arnprior
4225….Gregory Palubiskie….Arnprior
4036….Karen Elliott….Arnprior
3582….Mark Nibourg….Arnprior
1335….Mike Poirier….Arnprior
2718….Tracey Harrod….Arnprior
4512….Greg Dods….Ashton
4511….Leslie Dods….Ashton
71……Irina Mashkantseva….Athens
1141….David Michaud….Aylmer
304…..Fraser Mills….Aylmer
966…..Raymond Dawes….Barry's Bay
966…..Raymond Dawes….Barry's Bay
2225….Scott Blain….Beachburg
2348….Brenda Young….Brockville
755…..Henry De Souza….Brockville
161…..Luiz Claudio Santos….Brockville
160…..Sandra Santos….Brockville
3618….Shannon Forrest….Brockville
1961….Susan Filion….Brockville
2784….Tony Dunbar….Brockville
1597….Fraser Brownlee….Calabogie
1597….Fraser Brownlee….Calabogie
819…..Emmanuel Tousignant….Cantley
2184….Francois Chapleau….Cantley
1854….Guy Charron….Cantley
1890….Isabelle Laberge….Cantley
1624….Lorraine Savoie-Doucet….Cantley
3965….Marie-Claude Côté….Cantley
4281….Michel Lafontaine….Cantley
998…..Rene Morin….Cantley
2601….Sylvie Rioux….Cantley
2343….Bill Bowers….Carleton Place
4608….Chris Loder….Carleton Place
3273….Doug Bowers….Carleton Place
2017….James McGuire….Carleton Place
4152….Rob Illingworth….Carleton Place
956…..Stephen Tuttle….Carleton Place
2342….Trent Bowers….Carleton Place
2843….Victoria Tuttle….Carleton Place
2394….William Martin….Carleton Place
2967….Elizabeth Anvari….Carp
1808….Eric Janveaux….Carp
655…..Murray Stonebridge….Carp
5100….Shona Daniels….Carp
2815….Andy Best….Chalk River
2223….Matt Foote….Chalk River
2140….Angie Cameron….Chelsea
1868….Barbara Falardeau….Chelsea
3797….Claude Motard….Chelsea
303…..Daniel Olson….Chelsea
297…..Dave McMahon….Chelsea
637…..Dave Rayner….Chelsea
4782….Ed Hanrahan….Chelsea
2805….Ian Hunter….Chelsea
5050….Ingrid Felso….Chelsea
1035….Maurice Samm….Chelsea
1313….Shaun Touchie….Chelsea
5062….Oliver Brochert….Chesterville
5061….Peggy Brochert….Chesterville
2569….Marianne Black….Constance Bay
162…..Allan Savage….Cornwall
2122….Elizabeth Wattie….Cornwall
2391….Patrick Clarke….Cornwall
2832….Richard Pilon….Cornwall
1950….Shawn Crockett….Cornwall
2062….Adam Goddard….Deep River
2350….Ben Wilson….Deep River
259…..Barry Wood….Dunrobin
2206….Ben Bridgstock….Dunrobin
1405….Felicity Poole….Dunrobin
3311….Marnie Armstrong….Dunrobin
1672….Robert Armstrong….Dunrobin
3635….Sue Armstrong….Dunrobin
3947….Curtis Wiebe….Eganville
1994….Guillaume Dore….Embrun
345…..Michael Salter….Embrun
2979….Michel Leclair….Embrun
4487….Erin Montpetit….Gananoque
2213….Lana Saunders….Gananoque
4592….Steacy Kavaner….Gananoque
GATINEAU NAMES
2700….Alain Cadieux
1827….Alain Gilbert
920…..Albert Quintal
4123….Alexandra Miglietta
3691….Alexandre Larocque
2106….Andre April
4133….Andre Mayer
2864….Anelise Alarcon-Moreno
2837….Angela Yeung
2849….Anissa Caron
2455….Annik Levesque
4845….Arthur Bunny Stec
4205….Barry Wood
664…..Benoit Gravelle
1206….Benoit Guerette
868…..Bernard Labine
887…..Brian Letourneau
4161….Carolyne Dube
2866….Celine Couture
4479….Chantal Paquet
4985….Chantal Roy
2260….Charles Filion
429…..Christian Jacques
4494….Christian Renaud
2552….Christian Vezina
4456….Christopher Daniel
3425….Cinthia Lepine
106…..Craig Beckett
2571….D. Fabrice Kagame
4781….Daniel Genet
312…..Daniel Mercer
3368….Darrell De Grandmont
3713….Dave Jenniss
3496….Edith Raymond
100…..Eric Deshaies
222…..Eric Larochelle
4927….Eric Toulouse
1839….Estelle Marcoux
745…..Etienne Saint-Pierre
1307….Evelyne Lord Tarte
2963….Fabien Ancelin
3398….Felix Noel
884…..Francis Lepage
1059….Francis Theriault
842…..Francois Belletete
395…..François Cunningham
2254….François Roy
5102….Frank Roxburgh
3309….Frederick Blangez
3873….Genevieve Boudreault
144…..Gilles Moreau
3515….Guylaine Dubreuil
1571….Isabelle Veilleux
3805….Jacqueline Akerman
2755….James Buell
4693….Jean-Alexis Marquis
3498….Jean-Charles Daoust
3053….Jeanfrancois Laplante
1805….Jeanfrancois Seguin
275…..J-Francois Fillion
4625….Joe Crowley
1596….Johanne Audet
2862….Julie Piche
5097….Karine Gingras
4765….Karine Martin
2807….Keri Lalande
358…..Kynan Cappuccino
1863….Laurence Wright
1131….Laurent Bellard
1677….Laurent Tardif
2666….Leonie Maciag
3479….Louis Laurence
2890….Louis Trottier
4727….Louise Selby-Fisher
2385….Luc Beaudoin
3049….Luc Cyr
441…..Luc Levesque
1560….Luc Perrier
2103….Lyne Cholette
3057….Lynn Melancon
3642….Magali Peries
854…..Manuelle Mimouni-Rongy
3501….Marc Belanger
3139….Marc Charron
2764….Marc Dumouchel
152…..Marc Parisien
288…..Marc-Andre Charette
3284….Marie Rodrigue
3067….Marie-Claude Allard
2299….Marie-Josée Desroches
4380….Marie-Pier Nassif
484…..Mario Charette
1804….Mark Stocksley
3458….Martin Bouchard
308…..Martin Desbiens
3363….Martin Laforest
863…..Martin Lambert
3157….Maryse Champagne
3677….Mathieu Blais
2009….Mathieu Proulx
749…..Mathieu Rioux
886…..Matthew Dunn
1441….Maxime Tourigny
2288….Michel Careau
542…..Michel Lortie
2760….Michele Patry
4453….Michele Simpson
2806….Mikaly Gagnon
5039….Monik Beauchemin
4358….Nadia Lavallee
3112….Nathalie Garon
2120….Olivier Duhaime
50……Pascal Renard
3870….Patricia Harrison
3689….Patrick Dupont
713…..Patrick St-Pierre
1923….Patrick White
3459….Paul Beland
2910….Peter Balogh
1116….Phil Tisserand
1324….Philippe Guiet
5055….Pierre Menard
2522….Rafid Haidar
4682….Remi Vezina
2240….Rex Fyles
2418….Rheal Labelle
4938….Richard Borsos
2236….Richard Dunn
955…..Richard Sevigny
386…..Roger Larche
5115….Roman Kaufman
1811….Ronald Toulouse
4021….Said Faddoul
391…..Samuel Frechette
4613….Sandra Roberts
4429….Sarah Labrecque
2406….Shawn Robertson
1184….Stephan Meyer
4070….Susie Simard
2723….Suzanne Ramsay
5084….Suzie Chateauneuf
1670….Sylvie Lamoureux
1713….Sylvie Peladeau
2400….Tan Nguyen
1173….Tayeb Mesbah
2883….Terry Sancartier
779…..Tesfamariam Baraki
2354….Tim Scapillato
2450….Timothy Jones
4087….Valerie Parent
3961….Veronique Tremblay
2041….Véronique-Etienne Lauzon
1317….Yan Michaud
1849….Yannick Cozannet….Gatineau
END OF GATINEAU NAMES
3522….Amy O'Reilly….Gloucester
5098….Carl Puskas….Gloucester
2766….Claude Brault….Gloucester
3972….Edmund Binggeli….Gloucester
4387….Gerrie Normoyle….Gloucester
2599….J Dewar….Gloucester
1232….Jeannie Leblanc….Gloucester
1444….Joel Willison….Gloucester
4860….John Girard….Gloucester
4598….Kathy Dalley-Hunter….Gloucester
950…..Savvas Farassoglou….Gloucester
5007….Sondus Khan….Gloucester
4630….Virginia Mofford….Gloucester
153…..Vladimir Pestov….Gloucester
1906….Alain Boucher….Greely
3419….Derek Dean….Greely
4342….Isabelle Bouchard….Greely
1353….Jon Hamilton….Greely
1855….Keith Decoste….Greely
3584….Krista Varga….Greely
3761….Michel Provencher….Hawkesbury
3114….Yanik Tessier….Hawkesbury
1864….Andy Clapson….Hull
292…..Tommy Szabo….Hull
1200….Pascal Peladeau….Jasper
1340….Abdelfettah Fredj….Kanata
1263….Adam Bemrose….Kanata
1737….Adrian Salt….Kanata
4767….Akbar Garjani….Kanata
4146….Alastair McCartney….Kanata
2824….Allen Piddington….Kanata
2085….Angie Wilkes….Kanata
4983….Anne Murphy….Kanata
1835….Brandon Greening….Kanata
3886….Brian Emond….Kanata
4622….Cecilia Jorgenson….Kanata
2125….Chris Murawsky….Kanata
4461….Claudia McSmythurs….Kanata
3293….Craig Lyons….Kanata
3746….Crystal Thompson….Kanata
2762….Dan Kelly….Kanata
889…..Dave Jones….Kanata
751…..David Sloan….Kanata
2330….Derrick Baldwin….Kanata
3814….Dwight McDougall….Kanata
2273….Greg McNeill….Kanata
2414….Guy Turgeon….Kanata
4339….Heather MacAskill….Kanata
3943….Huot Mok….Kanata
1984….Ian Govan….Kanata
4095….Jan Donak….Kanata
843…..Jeff Goold….Kanata
4872….Jennifer Prieur….Kanata
2664….Jennifer Quinlan….Kanata
809…..Jessee Rodriguez….Kanata
2671….Jody Gelowitz….Kanata
1964….John Pool….Kanata
3122….Jordan Jones….Kanata
686…..Julian Scott….Kanata
4092….Karen Piddington….Kanata
1941….Karen Ramsay….Kanata
881…..Keith Fenerty….Kanata
1733….Kerry Kennedy….Kanata
3819….Lauren Eyre….Kanata
3529….Laurie Armstrong….Kanata
3069….Laurie Davis….Kanata
1319….Logan Daley….Kanata
142…..Loretta Masaro….Kanata
5073….Marjorie Coakwell….Kanata
3636….Mark Aberdeen….Kanata
4075….Mark Jorgenson….Kanata
4591….Martine Dumas….Kanata
4503….Maureen Fleguel….Kanata
995…..Michael Best….Kanata
5069….Michael Long….Kanata
4144….Michael Patton….Kanata
4121….Nancy Huynh….Kanata
532…..Ouray Viney….Kanata
4058….Peter Chapman….Kanata
4073….Peter Zimmerman….Kanata
2393….Rachel Chan….Kanata
2046….Ray Wong….Kanata
1284….Rene Bilodeau….Kanata
835…..Richard Bellefeuille….Kanata
4233….Robert Fenton….Kanata
934…..Robert Shaw….Kanata
4403….Rosa Pool….Kanata
1630….Sabrina Hamilton….Kanata
2888….Samantha Anstey….Kanata
2665….Sandra Plourde….Kanata
1286….Sarah Wildgen….Kanata
2115….Sean Theriault….Kanata
2693….Shelly Nesbitt….Kanata
3402….Silvesta Ng….Kanata
2829….Sridhar Erukulla….Kanata
420…..Stephen Cadieux….Kanata
5031….Tanis Roadhouse….Kanata
2218….Terence Rea….Kanata
3955….Tim Moses….Kanata
3530….Timothy Barratt….Kanata
2261….Tomislav Bracika….Kanata
2148….Vanessa Sloan….Kanata
808…..Vincent Andy Fong….Kanata
2555….Vincent Grajewski….Kanata
3703….Wei Zhou….Kanata
3077….Paula Lund….Kars
4745….Carole Perkins….Kemptville
2366….Dale Richardson….Kemptville
1364….Guy Van Kralingen….Kemptville
4050….Teena Dacey….Kemptville
2190….Charles Colwell….Kinburn
2189….Ed Colwell….Kinburn
1623….Patrick Cadieux….L'Ange-Gardien
944…..Robert Binette….L'Ange-Gardien
2037….Samuel Chenevert….L'Ange-Gardien
1809….Stephane Gosselin….L'Ange-Gardien
1837….Jason Mcneely….Lansdowne
131…..Dale Gladwin….Maitland
376…..Mike Crawford….Maitland
3946….Pryce Wood….Maitland
1993….Alma Meech….Manotick
1083….Charles Bruce….Manotick
1274….Dmitry Kabrelyan….Manotick
2685….Fiona Valliere….Manotick
5126….G. Hussain Choudhry….Manotick
2179….Guy Bunny Beaudoin….Manotick
1714….Laura Wilson….Manotick
844…..Paul Nightingale….Manotick
979…..Rick Lage….Manotick
4156….Robert Fabes….Manotick
2686….Robert Lange….Manotick
4750….Alison Greenop….Merrickville
3591….Jenn Ross….Merrickville
2060….Jim Miller-Cushon….Merrickville
207…..Pat McNeely….Merrickville
178…..Andre Lasalle….Metcalfe
3740….Geo Scott….Metcalfe
2367….Emilie Tessier….Mont-Laurier
3329….Patrick Chauvin….Mont-Laurier
4113….Allan Smith….Munster
3319….Allison McKenzie….Munster
681…..Alain Gonthier….Navan
5047….Jan Donker….Navan
640…..Andrew Toulouse….Nepean
4003….Anne Burnell….Nepean
4147….Chanchoura Schmoll….Nepean
2646….Chantelle Woods….Nepean
2971….Chris Van Norman….Nepean
1895….Christopher Bredeson….Nepean
2938….Colleen Bird….Nepean
869…..Corey Wilson….Nepean
2201….Craig Lynch….Nepean
4639….Dana Lee….Nepean
402…..David Daze….Nepean
4195….Diane Mensah….Nepean
4223….Elaine Robertson….Nepean
4124….Idris Ismail….Nepean
3966….Jamie Hayami….Nepean
2759….Jana Seymour….Nepean
4099….Janice Richard….Nepean
3608….Jeff Perras….Nepean
2813….Jennifer Wills….Nepean
1197….John Frizzell….Nepean
1795….John Gallinger….Nepean
239…..Jonathan Woodman….Nepean
535…..Joseph Emas….Nepean
1620….Judith Proulx-Snedden….Nepean
4934….Karen Beutel….Nepean
4478….Karleen Heer….Nepean
1381….Kathi Robertson….Nepean
1980….Ken Donovan….Nepean
4949….Kenneth Gehrels….Nepean
4002….Larry Brunet….Nepean
4947….Laura McLellan….Nepean
4057….Lillian Hayward….Nepean
4448….Marc-Andre St-Laurent….Nepean
4290….Mark White….Nepean
2591….Melanie Nason-Green….Nepean
1953….Mike Maclean….Nepean
3607….Miranda Georgakopoulos….Nepean
2277….Natalie Oake….Nepean
1219….Patrick Murnaghan….nepean
924…..Patrick Owens….Nepean
3619….Paul Allen….Nepean
4513….Paul Charron….Nepean
3772….Paul Huliganga….Nepean
3986….Paula Tejada-Hache….Nepean
2518….Peter Page….Nepean
1189….Randy Cocek….Nepean
4680….Rick O'Shaughnessy….Nepean
4969….Robert Muir….Nepean
1888….Ryan Baker….Nepean
2101….Shelley Neill….Nepean
3370….Stephan Popowych….Nepean
1878….Susan Ross….Nepean
4353….Tanya Mykytyshyn….Nepean
4758….Yorgos Alibalis….Nepean
4145….Brian Andrews….North Gower
3726….Aaron Lai….Orleans
603…..Alan-John Sigouin….Orleans
4897….Andre Boutet….Orleans
632…..Andrew Duggan….Orleans
3514….Andrew Lannan….Orleans
4061….Anita Taylor….Orleans
2820….Barry Lightowlers….Orleans
2758….Brent Kelly….Orleans
1140….Brian Wiens….Orleans
4973….Bruce Barteaux….Orleans
2810….Carole Barabe….Orleans
2256….Carole Gagnon….Orleans
4071….Chantale Charbonneau….Orleans
4060….Charles Momy….Orleans
4104….Chris Morrison….Orleans
3774….Clarence Malenfant….Orleans
2773….Dan Macdonald….Orleans
3640….Dave Crawford….Orleans
2804….Dave King….Orleans
5113….David Tischhauser….Orleans
2930….Don Lavictoire….Orleans
2998….Eric Carriere….Orleans
2770….Erica Sabatino….Orleans
822…..Francois Deleseleuc….Orleans
5118….Frederic-Franco Desmarais….Orleans
4808….Gary Housch….Orleans
2728….Gilles Primeau….Orleans
4939….Greg Beliveau….Orleans
4169….Helene Boyer….Orleans
1745….Helene Fortier….Orleans
4871….Iris Felix….Orleans
2527….Isabel Seguin….Orleans
3716….James Waite….Orleans
4056….Janette Marquardt….Orleans
3962….Jason Roberts….Orleans
5025….Jean-Noel Gilbert….Orleans
2099….Jenna Bender….Orleans
2875….Jennifer Hausman….Orleans
2632….Jim Ward….Orleans
2906….Joan Tourangeau….Orleans
1323….John Heffernan….Orleans
5066….John Madower….Orleans
2914….John Tardif….Orleans
4930….Judith Finn….Orleans
2652….Kathy Wiens….Orleans
659…..Ken Lindsay….Orleans
5032….Linda Brunet….Orleans
1711….Linda Houle-Robert….Orleans
2625….Lissa Allaire….Orleans
1469….Louise Hamelin….Orleans
2659….Louise Laurin….Orleans
767…..Luc Charlebois….Orleans
4052….Marie-Helene Labrie….Orleans
3864….Mark Iezzi….Orleans
1776….Mathieu Mili….Orleans
2244….Matthew Upton….Orleans
2191….Melanie Trumpower….Orleans
4129….Michelle Ward….Orleans
4166….Moira Carriere….Orleans
2800….Mylene Quesnel….Orleans
2865….Neale Chisnall….Orleans
1590….Patricia Coons….Orleans
2861….Paul Menard….Orleans
3959….Peter Belair….Orleans
4229….Peter Lariviere….Orleans
4038….Ralph Hodgins….Orleans
2667….Robert Leblanc….Orleans
4074….Robert Simard….Orleans
4785….Romeo Glenn Sumido….Orleans
2731….Serge Arseneault….Orleans
4110….Stan Baldwin….Orleans
1223….Stephane Montpetit….Orleans
791…..Steven Tremblay….Orleans
418…..Stuart Barr….Orleans
2954….Suzanne Daleman….Orleans
2431….Terry Brown….Orleans
4363….Veronique Ferland….Orleans
4822….Bob Ireland….Osgoode
OTTAWA NAMES
5119….Aaron Auyeung....Ottawa
2911….Abdel Idris
4538….Abdulhak Nagy
1073….Adam Rudner
3595….Admassu Abebe
2958….Ahmed Saba
3063….Alain Dugas
3650….Alain Gendron
2630….Alan Born
1078….Alan Chaput
1057….Albert Saikaley
1909….Alek Mackie
1575….Alex Cullen
2142….Alex Sintu
4109….Alexandra Pettit
2334….Alexis Dallaire
3876….Alison Dewar
5080….Alison Trant
2147….Alistair Forster
1034….Allan Macphee
4844….Amanda Konnik
5008….Amandeep Kanwal
2697….Amira Mohamed
3154….Amy Coy
2913….Amy Donaghey
3025….Amy Mckay
4214….Andre Campeau
4107….Andrea Matthews
914…..Andreas Weichert
3039….Andree-Anne Girard
2188….Andrew Gibson
2096….Andrew Ha
3526….Andrew Ledger
1193….Andrew Macdonald
1607….Andrew Rude
3815….Andy Mazerolle
2069….Andy Skinn
5123….Angela Abbey
4404….Angela Rowland
4001….Angelina Singson Boucher
2543….Angelo Fatoric
2025….Angie Boucher
4631….Ann Macdonald
4079….Ann Marie Fyfe
3714….Anna Bretzlaff
4473….Anna Pham
4981….Anna Westerlund
4216….Anne Strangelove
2023….Arash Mahin
431…..Arif Aziz
159…..Arkadiusz Rydel
4165….Arnoldo Guerra
2376….Art Binch
4574….Audrey Corsi Caya
953…..Avdo Nalic
4454….Aydin Mirzaee
3505….Barry Knapp
116…..Ben Cattaneo
1195….Ben Lee
3238….Ben Lindsay
826…..Benoit Gauthier
4884….Benoit Labreche
4250….Berkan Pazarci
1876….Bernard Charlebois
281…..Bernard Couchman
752…..Beth Sabourin
1020….Beverley Wells
2931….Bill McEachern
2985….Blair Bobyk
1099….Bob Laughton
2215….Bob McGillivray
2157….Bonnie Wilken
4472….Brad Nixon
2331….Bradley Sinclair
1422….Breelyn Lancaster
5051….Brenda Cerson
4469….Brenda Leifso
5079….Brenda Wannell
1550….Brenda Wills
3687….Brendon Andrews
4819….Brent McRann
5048….Brian McNeill
1903….Brian Robar
3696….Brigitte Fontille
905…..Bruce Haydon
1822….Bruce Lefebvre
2676….Bruce McLaurin
2885….Bruce Sheppard
2500….Cal Martell
1209….Cal Mitchell
398…..Caleb Netting
1584….Camille West
2314….Carolyn Botting
4437….Carolyn Denyer-Perkins
3258….Carolyn Leckie
165…..Carolyn Tapp
5059….Casey Cerson
3776….Cassandra Chouinard
1604….Catherine Henry
5075….Catherine Milley
4078….Catherine Rivard
4312….Cathy Mckinnon
3877….Cathy Pacella
4632….Cathy Takahashi
1846….Cayman Rock
439…..Chad Humeniuk
2822….Chantal Campbell
4089….Chantal Pilon
1127….Charles Johnson
1963….Charles Pryce
1605….Chelsea Howard
5130….Cheney Glenn
1491….Cheryl Mason
2117….Chris Bartholomew
2722….Chris Fenwick
925…..Chris Galley
739…..Chris Jermyn
3586….Chris Snow
3860….Chris Steele
1925….Chris Warren
1880….Christe Desgranges-Farquh
2918….Christian Cattan
2574….Christian Lavoie
2674….Christine Geraghty
1850….Christine Turmaine
895…..Christopher Edwards
3666….Christopher Kelly
3519….Christopher MacKay
4449….Christopher Mah
1654….Christopher Murray
1053….Christopher Paine
2073….Christopher Reid
2081….Christopher Yule
3834….Cindy Chung
4116….Claude Beland
2905….Claude Papineau
388…..Claude Tardif
4086….Colin Marvin
417…..Colin McFarlane
1731….Colleen Bastien
4106….Colleen Bigelow
1311….Colleen Daly
2112….Colleen McCutcheon
2794….Cory Van Hoof
2510….Craig Crawley
4971….Craig Forcese
502…..Craig Kowalik
3757….Craig Taylor
4827….Crystal Shreve
1817….Dale Sandy
1228….Damien Boyle
4126….Dan Carnrite
3020….Dan Howes
1942….Dan St-Arnaud
1997….Daniel Anderson
1625….Daniel Gauthier
1830….Daniel Reifler
2039….Daren Kelland
2950….Darlene Joyce
536…..Darren Gilmour
693…..Daryl Howes
3974….Dave Goods
341…..Dave Marcotte
670…..Dave Silvester
2420….David Adderley
1947….David Bedard
4067….David Bergeron
981…..David Dawson
500…..David De Almeida
804…..David Duchesne
4997….David Fobert
848…..David Hunter
4476….David Innes
677…..David McCaw
1800….David McClintock
2538….David Morgan
277…..David Nogas
4065….David Perry
156…..David Rain
5071….David Tappin
258…..David Toomey
2842….Dawn Lomer
3480….Dean Belway
4773….Deborah Yu
5041….Debra Ducharme
4820….Denis Gratton
4885….Dennene Huntley
4551….Dennis Benoit
3685….Dennis Smith
2221….Dennis Toews
1182….Dennis Waite
2040….Derek Schroeder
2638….Derek Spriet
4980….Diana Babor
4937….Diana Devine
2828….Diane Robertson
3387….Diego Tremblay
1813….Don Harrison
334…..Donald Drysdale
2672….Doreen Lipovski
2687….Doug Eagle
506…..Duaine Simms
1175….Dustin Beach
4157….Ed Lander
351…..Eddy Smith
3024….Edith Duarte
168…..Edmund Thomas
2540….Edward Fox
3482….Elana Fric-Shamji
773…..Eloi Duguay
1608….Emelyn Rude
4100….Emily Joyce
4946….Emma Salt
5070….Emmy Verdun
1254….Erendira Perez
951…..Eric Arseneault
1255….Eric Betteridge
763…..Eric Edora
831…..Eric Heiden
531…..Eric Stadnyk
4084….Erica Beatty
1647….Erin Enros
1966….Erin Mayo
2857….Erin O'Donnell
3593….Etienne Goudreau
1585….Eunice West
4728….Evan Solomon
837…..Faris Cornell
2860….Faye Goldman
5081….Fiona Murray
2887….Fletcher Cudmore
4178….Francesca Craig
2617….Francis Fernandes D Sousa
4882….Francis Lauzier
4189….Franco Pasqualini
2573….Frank Brunetta
2934….Frank D'Angelo
4887….Frank Keeley
2072….Fred Pelletier
3411….Gabriel Alvarez
2874….Gabriela Balajova
412…..Garth Rayburn
4188….Genevieve Ashton
4636….Gennifer Stainforth
4130….Geoffrey Delage
1493….George Wehbi
4726….Georgette Demers
2280….Gerry Conlin
4681….Gerry Doucette
2969….Gilles St-Pierre
2164….Gino Rinaldi
1226….Glenn Boustead
5122….Gloria Fox
690…..Glynn Barnard
409…..Graham Acreman
2283….Graham Schuler
1056….Graham Suffield
2098….Graham Thatcher
3745….Grant Armstrong
1812….Grant Blanchard
1132….Greg Friesen
3871….Greg Kehoe
2432….Greg Lamb
1434….Greg MacDougall
3298….Greg Newsham
413…..Greg Potts
3404….Gregory Lemoyne
354…..Gurminder Singh
173…..Guy Boyd
1234….Haben Kalaty
1250….Haley Abugov
4191….Hannah Wilkinson
5091….Heather Earle
372…..Heather Hillsburg
2169….Heather Lewis
3577….Heather Mccready
1833….Heather Watson
2012….Heather Watts
2523….Heather Willett
4329….Heidi Lenz
4409….Heidi Vallinga
129…..Helen Gagne
5087….Helene Lepine
1641….Henrick Lafleche
4221….Howard Cohen
4888….Howard Manderson
3108….Hudson Lytle
4350….Hugo Prudhomme
2819….Ian Breneman
3003….Ian Murphy
3004….Ian Scowcroft
261…..Ian Simpson
3728….Ina Bartlett
4528….Ione Jayawardena
5103….Irene Dionne
2972….Irene Perry
3721….Isabel Tremblay
2143….Ivan Stefanov
2511….Jackie Benn
4303….Jackie Forman
4180….Jacquelyn Wingrove
2079….James Beaupre
4015….James Campbell
4880….James Carere
481…..James Dutrisac
2351….James Jun
1215….James Peltzer
1820….Jamie Anderson
2408….Jamie Driscoll
3585….Jamie Hurst
4481….Jamie Lee
3499….Jamila Gubbels
3916….Jane Brunetta
3592….Jane Rooney
2779….Janet Lovelady
4650….Janet Sol
4867….Janice Morlidge
1164….Jared Broughton
784…..Jason Bussey
2268….Jason Duhaime
283…..Jason Lawton
366…..Jason Mackey
3232….Jason Riordon
2769….Jason Stewart
4660….Jason Williams
2053….Jean Lapointe
907…..Jeff Bowes
999…..Jeff McCue
3213….Jeff Moore
1220….Jeffrey Reid
1040….Jeffrey Smith
2670….Jen Milligan
2074….Jennifer Crain
4902….Jennifer Fraser
4702….Jennifer Hartley
4081….Jennifer Moores
3863….Jennifer North
948…..Jennifer Wallis
2871….Jenny Kehrberger
960…..Jeremy Leal
4140….Jesper Lind
2118….Jessica Eamer
2247….Jessica Evans
4974….Jesula Drouillard
2943….Jill Ainsworth
357…..Jill Donak
2982….Jill Kolisnek
1556….Jim Penman
2584….Jim Ryan
4441….Jim Stewart
2834….Joanne Bradley
2310….Joanne Kurtz
1907….Joanne Lennon
3854….Jo-Anne Macdonald
183…..Joe Ross
1856….Joe Smith
834…..Joe Tegano
2460….Joel Koffman
3736….Joey Palomaki
1203….John Beaudoin
2071….John Gelder
373…..John Gorman
3811….John O'Connell
1971….John Ruttle
4879….John Scoles
2078….John Stoddart
917…..John Welsh
1334….John Wilson
2123….John Young
4059….Jolene Savoie
3127….Jonathan Hache
4555….Jonathan Hurn
1310….Jonathan Liddell
5116….Jonathan Racicot
1595….Jonathan Timlin
3670….Jose Marti Castillo Barba
3995….Josée Surprenant
1657….Joseph Kozar
4961….Joseph Rios
403…..Josh Bates
2285….Josh Roy
3339….Joshua Brunetta
4970….Juan Navarro
4896….Julie Burke
1712….Julie Dale
4716….Julie Laflamme
4017….Julie Lefebvre
4219….Julie Samson
1972….Julie Soucy
5095….Justin Pike
576…..Kailey McLachlan
525…..Karen Atkinson
5064….Karen Burns
4619….Karen Dillon
4082….Karen Jeffery
4427….Karen Meades
3820….Karen Oberthier
3968….Karen Sauve
2546….Kari Ferlatte
861…..Karim Fekih
1207….Karim Seddiki
4451….Karine Bunny Circé
1245….Kate McGrath
2648….Kate Borowec
119…..Kate Corsten
1322….Katherine Halhed
4179….Kathleen Gifford
2088….Kathy Kyritzopoulos
3214….Katie O'connell
2701….Kazutoshi Nishizawa
49……Kd Pacer
4587….Keegan Kuiack
1569….Keith Gallop
445…..Keith Pomakis
4102….Keith Savage
864…..Kelly Knoll
2100….Keltie Voutier
3686….Ken Backer
2134….Ken Farquhar
814…..Ken Grant
4094….Ken Hoffman
1900….Ken Morrison
3637….Ken Whiting
2061….Kenneth Inbar
4604….Kerry Nolan
1413….Kerstin Hogg
3396….Kevin Jones
2259….Kevin Matthews
666…..Kevin Ready
4806….Kevin Shaw
4200….Kevin Wannell
4672….Kezia Martin
4904….Kia Goutte
1047….Kieran Jones
3634….Kim Baars
3988….Kim Benjamin
4009….Kim Moir
2768….Kim St-Denis
5036….Kim White
2451….Kim Wright
2020….Kimberley Marcheterre
4414….Kimberly Rennie
3126….Kimberly Vo
3741….Kindra Lewis
3405….Kita Szpak
2275….Kris Bulmer
2789….Krista Macdonald
1330….Kristin Konnyu
3008….Kristin MaCrae
3697….Kristine Simpson
3771….Kristopher Dixon
1379….Krzysztof Blazejewicz
5058….Kumar Saha
2679….Kuniko Soda
604…..Kurt Stolberg
1985….Kyle Bazinet
1100….Lara Small
3150….Larry Bierworth
700…..Laura Bayne
3941….Laura Moran
4581….Laurel Rasmus
4640….Lauren Gamble
4582….Lauren Geloso
3026….Lauren Wells
2170….Laurent-Gill Bussieres
923…..Lawrence Conway
786…..Lawrence Varga
4825….Leah Beaudette
3963….Leigh Howe
2083….Leon Sutherland
4982….Lesley Pacer Holmes
3679….Leslie Robertson
2634….Lester Kovac
3491….Linda Lewis
2212….Lisa Addison
4564….Lisa Bernier
4432….Lisa Dagenais
2307….Lisa Potter
2108….Lise Patterson
3917….Loc Pham
987…..Louis Bastiand
1341….Louis Comerton
4762….Louise Rachlis
1233….Lucas Mccall
3997….Lucie Villeneuve
3722….Lucille Roy
2621….Luc-Rock Paquin
4542….Luis Cabezas
2352….Luvy Gonzalez
2594….Lyman Jones
4000….Lynda Poulin
1886….Lynn Ferron
3061….Mandy Smith
2964….Marc Patry
2175….Marc-Andre Lacombe
4518….Marc-Andre Millaire
2155….Marc-Andre O'Rourke
4921….Marcel Losier
4886….Marcel Neron
3788….Maria Jacko
3838….Maria Pooley
4055….Marie Maltais
4987….Marie-Josee Sevigny
5127….Mark Boyle
2178….Mark Bunny Wigmore
115…..Mark Carney
872…..Mark Caulfield
2551….Mark Coates
440…..Mark Manners
1066….Mark Mclean
1018….Mark Seebaran
5121….Markus Besemann
3785….Martha McGrath
2426….Martin Corsten
480…..Marwan Dirani
2788….Mary Martineau
3887….Mathew Samuel
3937….Mathieu Cayer
3629….Mathieu Pigeon
1308….Matin Fazelpour
416…..Matt Brillinger
3861….Matt Mulligan
3055….Matt Nicol
1511….Matthew Campbell
3511….Matthew Dewolfe
1186….Matthew Eglin
1190….Matthew Morash
2580….Matthew Osika
2174….Matthew Perkins
171…..Matthew Whyte
282…..Max Bunny Reede
1305….Maxime Rousseaux
4016….Meagan Campbell
1388….Meagan Olivier
4482….Meg Mccallum
2086….Megan Tam
2897….Meghan McKenna
181…..Mehmet Danis
4586….Melanie Farrell
4667….Melissa Perks
2102….Michael D’Eca
1514….Michael Dent
2248….Michael Groves
4439….Michael Hall
2251….Michael Hansen
3322….Michael Kelland
360…..Michael Martin
4638….Michael Price
3729….Michael Stomphorst
4215….Michael Strangelove
172…..Michael Wing
1327….Michel Gagnon
5005….Michel Leclerc
2622….Michelle Davidson
4571….Michelle Keough
276…..Michelle Schuler
2882….Michelle Zunti
414…..Mick Yetman
291…..Mike Christie
4661….Mike Clarke
1325….Mike Corbett
2680….Mike Cummings
175…..Mike Davis
4883….Mike MacNeil
1914….Mike Mccluskie
1021….Mike Newman
821…..Mike Stanley
1181….Mike White
1013….Miyuki Okawa
2022….Mohammad Mahin
4520….Monica Richard
3521….Morgan Marston
5074….Nahie Bassett
4019….Nancy Ferguson
1797….Nancy Lau
3383….Nancy Macdonell
3015….Naomi Schwartz
1502….Nathan Forester
361…..Nathaniel Hutchinson
3540….Negin Hatam
1606….Neil Wilson
4054….Nenad Marovac
1629….Nicholas Galambos
3198….Nicholas Marum
1561….Nick Davies
3506….Nick Gamache
2909….Nicole Mikhael
5117….Nik Hazledine
4663….Nishita Jerath
654…..Noel Harrington
3359….Norman Yanofsky
845…..Olivier Dumetz
2119….Omer Majeed
419…..Pascal Bessette
1345….Pascal Ilboudo
3665….Pascale Harvey
1645….Pat Barbeau
4213….Patrick Clermont
2312….Patrick Dumond
544…..Patrick Girard
980…..Patrick Gorman
2633….Patrick Miron
1304….Paul Chouinard
4818….Paul Hansen
4064….Paul Holmes
1632….Paul Mikota
714…..Paul Steeves
2576….Paul Tessier
169…..Paul Van Den Bosch
1387….Paul Von Schoenberg
4502….Paula Hall
1934….Penny Vezina
4928….Peter Harrison
2901….Peter Jurt
3451….Peter Kielstra
2491….Peter Lyman
1151….Peter Mason
2135….Peter Saturley
1757….Peter Shand
483…..Peter Valentine
573…..Peter Way
3789….Peter Wismer
3054….Phat Nguyen
2107….Phil King
511…..Philip Hogg
2318….Pierre Boudreau
1208….Pierre Paquette
3688….Pierrick Le Monnier
1867….Prichya Sethchindapong
3403….Rachel Fahlman
2211….Rajkumar Nagarajan
2623….Randy Mcelligott
1183….Ranjit Bose
1698….Ranjith Senthivadivel
2193….Ray Townsend
1924….Ray Wong
107…..Raymond Boucher
170…..Rebecca Van Den Bosch
3132….Rebecca Volk
2550….Rene Dionne
1244….Rene Hawkes
4304….Rene-Louis Bourgeau
3866….Reyse Netzke
1045….Ricardo Araujo
3824….Richard Bercuson
1065….Richard F Proulx
3243….Richard Leblanc
1707….Richard Meredith
2782….Richard Tanguay
2802….Richard Wall
3109….Rick Dearden
2161….Rick Dobson
3423….Rick Grant
2846….Rick O'Grady
2585….Rita Abrahamsen
1054….Rob Gallaher
961…..Rob Thomas
574…..Robert Berthiaume
909…..Robert Bowness
2765….Robert Kalbfleisch
186…..Robert North
1373….Robert Parenteau
4931….Robin Mounsteven
3996….Robin Sheedy
4301….Robin Tilsworth
1113….Rod Zylstra
3235….Roger Glidden
1929….Roger Langevin
278…..Roger Wyllie
2598….Roland Chan
3699….Romano Panopio
2410….Ron Newhook
3520….Ron Walker
1728….Rory Martin
2785….Rosina Mauro
3615….Ross Galbraith
2961….Ross MacLachlan
2783….Ryan Allen
280…..Ryan Lalonde
2442….Ryan Macdonald
828…..Ryan Rogers
4648….Sander Post
4671….Sandra Nevill
4302….Sandy Whittaker
4534….Sanjay Mohanta
5086….Sarah Chalk
3623….Sarah Davison
4131….Sarah Mackay
3573….Sarah Melville
4774….Sarah Mustapha
3500….Sari Velichka
3518….Scott Bowen
728…..Scott Burton
663…..Scott Healey
4458….Scott Lexy
528…..Scott McIntyre
1011….Scott Rudan
3436….Scott Sherman
344…..Scott Stephens
847…..Sean Horrall
1472….Sean Maddox
3969….Sean O'brien
2447….Sean Poulter
2292….Sean Ryan
933…..Serge Cote
3920….Seth Powter
317…..Shahab Athari
3297….Shannon Olson
3534….Shannon Weatherhead
2856….Shaul Ben-Yimini
2863….Shauna Hanratty
4733….Sheena Sumarah
4370….Shehryar Sarwar
1752….Sheila Hodges
359…..Shiraz Mawani
2830….Simon Rivers-Moore
4007….Solita Pacheco
4829….Sonia Granzer
4644….Sonia Higgins
2717….Sonya Bisson
1799….Stephan De Wit
4138….Stephane Burelle
2907….Stephane Perras
4646….Stephanie Dunne
337…..Stephen Anderson
1046….Stephen Fertuck
849…..Stephen Lee
1196….Stephen Macdonald
2771….Stephen Miller
3791….Stephen Osmond
2858….Stephen Woroszczuk
4091….Steve Astels
352…..Steve Findlay
816…..Steve Forrest
3767….Steven Collins
1101….Steven Paradine
4901….Steven West
2515….Stuart Bell
741…..Stuart Jolliffe
3033….Stuart Ludwig
4573….Susan Mak Chin
2158….Susan Morris
2220….Susan Rodocanachi
2851….Suzanne Sinnamon
3027….Svetlana Nikonorkina
1198….Sylvain Huard
3513….Sylvain St-Laurent
4412….Sylvie Chiasson
3228….Tadeu Fantaneanu
2959….Tanya Gracie
4624….Tanya Richard
3493….Tara Benjamin
3768….Tara Story
2305….Tarah Hunter
2529….Tarik Khan
2612….Taylor Evans
2940….Ted Zahavich
669…..Terry-Lynn Sigouin
1999….Thai Le
1576….Theresa Kavanagh
4828….Thi Vu
2502….Thomas Benak
852…..Thomas Gardiner
1306….Thomas Westfall
4275….Tiffany Holland
928…..Tim Barber
2644….Tim Hobbs
4889….Tim Keith
871…..Tim Wieclawski
1591….Tim Wightman
2688….Timothy Moses
2082….Tobin Paterson
1602….Todd Morin
4345….Tom Blackwell
2881….Tom Boudreau
952…..Tom Lawson
4891….Tom Woodward
1384….Tony Redican
4814….Tony Tran
5068….Tony Zezza
4952….Trent Abbott
1834….Trent Abbott
2006….Trent McBain
1241….Trevor Allen
2949….Trevor Davies
595…..Trevor Martin
2655….Tricia Brown
4450….Trisha Bunny Conway
3663….Ulric Shannon
3918….Una Blumberga
2199….Urban Wong
2021….Val Walker
3990….Valerie Falcioni
4411….Valerie Kowal
1743….Veronique Boily
2809….Veronique Houle
430…..Victor Gallant
1908….Virginia Vince
2908….Wade Smith
3598….Warren Silver
4077….Wendy Gifford
5014….Wendy McCutcheon
3764….Wendy Wagner
271…..Wesley Huffman
2048….Will Costain
2194….William Summers
2219….Wolfgang Mohaupt
3422….Yong Bai
4892….Yvon Carriere
4620….Yvon Martineau
3040….Zach Mckeown....Ottawa
END OF OTTAWA NAMES
3583….Phillipa Thompson….Oxford Mills
4903….Steve Thompson….Oxford mills
2131….Brenda Duhaime….Pakenham
900…..Ian Rae….Pakenham
1787….Christian Roy….Pembroke
614…..Jason Vallis….Pembroke
1667….John Gagnon….Pembroke
2489….Krista Johnson….Pembroke
4548….Phillip Bennett….Pembroke
2357….Robin Hill….Pembroke
3948….Steven Cressman….Pembroke
1097….Stewart Campbell….Pembroke
4430….Yves Roy….Pembroke
4442….Cathy James….Perth
2582….Christopher Ryan….Perth
1026….Eldon Paisley….Perth
1211….Matthew McLean….Perth
2595….Michael Degagne….Perth
2920….Darryl Cathcart….Petawawa
3489….Derek Crabbe….Petawawa
582…..Jeffrey Martin….Petawawa
875…..Kevin Britton….Petawawa
5015….Lori Rudderham….Petawawa
4894….Randall M. Binnie….Petawawa
3720….Richard Tarrant….Petawawa
342…..Joejon Noonan….Prescott
3179….Amanda Bennett….Renfrew
235…..Colleen M. Berry….Renfrew
4203….Kaitlyn Arbuthnot….Renfrew
3344….Rebecca Dunbar….Renfrew
3809….April Constantineau….Richmond
3831….Bill Williams….Richmond
4251….Dawn Carruthers….Richmond
4474….Elizabeth McIntyre….Richmond
4605….Gabby Doiron….Richmond
922…..Roger Crispin….Richmond
4584….Angelique Delorme….Rockland
182…..Carl Lacroix….Rockland
2756….Charles Carriere….Rockland
346…..Frank Lalonde….Rockland
3708….Julie Barrette….Rockland
347…..Kyle Rimmington….Rockland
3675….Mario Chartrand….Rockland
2412….Philippe Leblanc….Rockland
3707….Sidney Elbaz….Rockland
3266….Andrew Goodwin….Russell
5060….Keith Jones….Russell
3760….Mary Lynn Lackie….Russell
4419….Mellan Garry Mellan….Smiths Falls
692…..John Macmillan….Spencerville
946…..Alain Bellemare….Stittsville
5042….Alana Thomson….Stittsville
2852….Angus Macdonald….Stittsville
5043….Brent Thomson….Stittsville
4824….Catherine Dabee….Stittsville
4635….Cathie Radley….Stittsville
1594….Chris Leger….Stittsville
2042….Dale Costello….Stittsville
2320….Daniel Farris….Stittsville
3929….Darren Johnston….Stittsville
2485….David Hartholt….Stittsville
4267….Eric Morrison….Stittsville
1921….Gary Banks….Stittsville
2933….Gregory Rusch….Stittsville
2238….Ian Dunn….Stittsville
3604….Jason Lyons….Stittsville
3957….Jennifer Cameron….Stittsville
2018….Jennifer Foulon….Stittsville
3614….Joanne Di Cresce….Stittsville
4544….Jonathan Daniel….Stittsville
1243….Katie McClean….Stittsville
4445….Keith Farrier….Stittsville
2289….Kevin Haggerty….Stittsville
2029….Louise Chayer Ayers….Stittsville
4097….Michelle Cole….Stittsville
2030….Mireille Moore….Stittsville
5120….Patrick Lessard….Stittsville
4455….Philip Lynch….Stittsville
2757….Ralph Richardson….Stittsville
3977….Shelley Baran….Stittsville
3956….Shelly O'Brien….Stittsville
1287….Summer Griffin….Stittsville
4601….Suzanne Savoie….Stittsville
768…..Terrance Archer….Stittsville
2870….Tim Radley….Stittsville
1765….Tom Lilly….Stittsville
1788….Pierre Daoust….Thurso
2879….Kirk Duguid….Vanier
3915….Barbara Clarke….Woodlawn
4197….Christine Jerumanis….Woodlawn