View allAll Photos Tagged Scripting+Fun
I read somewhere that if you're in a meeting, on the bus, whatever, and you doodle squares and boxes (doodle? That's how long ago I heard it), it means you feel trapped, boxed in, surrounded.
The sky's getting lighter; time to wrap this up. Really, what more do you think might happen? And don't forget the matter of plausible deniability...
For five months, she jerked his chain, pushed his buttons and messed with what was now passing as his mind. And he was developing the worst case of azure agates since Michelangelo loosed David from that hunk of marble.
And she'd play her game, trying to keep him on the line, and he kept pulling the rod out of her hands. There are only so many edits on the run that can be dealt with; eventually, it just wasn't fun.
So her game changed.
She'd email him from her home in DC (well, that's what she said) and say that she was having an opening at a gallery, why didn't he come on down? Quilts, the first time, then some paintings. She prattled on about a rich old boyfriend, some guy who could just blithely jump on his private jet and go wherever he wanted to whenever he wanted to. The more she changed the script, the more often the physics of her world altered to suit a need, the further he moved away. When he stopped replying to her emails, the old boyfriend started writing, going on about how Charterman was losing a good thing, about how they had come up to the city and followed him around town in the guy's limo. Charterman started thinking on his feet, then: "impossible," he told them, "i always walk against traffic, something i picked up in the Army." And the next email mentioned how they'd gotten out of the car.
Finally, he started getting emails from people who didn't exist. He blocked Marie Jeanne and got a new email address.
It was about then that I tumbled to what was going on; he never was good at hitting the delete key. He said it was nothing, just a game. He said lots of things and then he said he was going to AC for a long weekend. I let him go.
She met him there, of course, and finally went to bed with him. It wasn't as much fun as he'd hoped it would be, though, and he caught an earlier bus home and that's when the accident occured. The first accident.
He healed, life went on. Two months later she found a way to let him know she was pregnant and a month after that, she miscarried. He told me, and I told him she was full of it, a last ploy. He accepted that and also the fact that the woman was probably a danger to herself and others.
That brought him to the decision he should have made back in the beginning. Something had to be done. We went back over the last few months, looking for her weaknesses and where we might exploit them. Hundreds and everywhere.
"Do you want to kill her? Just maim her? What?"
"I want to disappear her, as they say. She's of no use, no one will miss her."
"Then you know what to do"
He hit dele
via Instagram ift.tt/2t0LNW8
●Shi is participating as guest @ The Secret Affair with 2 new UNISEX items!
1. Raven Hair [Un-rigged Mesh]
A unisex hair with leather straps trimming along the hair parting towards the back and around the low knot with wispy hairs along the sides.
This includes a carabiner hair accessory that can be worn separately for better adjustments.
Available / Includes :
- 5 sets of 4 color shades each (Apart from Set 6 which has 9!)
- Mono, Browns, Red, Blonde & Cotton candy colors (set 6)
- Texture change via HuD
- Resize + Stretch scripts via click
We hope you like it and have fun with it!
Woo-hoo! Congrats Paul and Jill of Flypaper Textures...for getting their textures to be part of an easy to use photoshop script with Adobe's guru, Russell Brown . I've never even ever used a script yet, but this was easy to install and makes it ten times faster to install textures and try out different ones with just a click of a button! Yay! If you want, check out the video by Russell Brown and if you have CS5 or the new BETA CS6 you can download the script and it comes with 12 select Flypaper textures for free! How fun is that!
This image was partly textured already a few days ago...when my old CS5 crashed (I now am using the new BETA CS6--love it!)...so I lost track of what textures were applied to that point...however, here I used two from the script and Taster pack that comes along with the script: "Creme Anglaise" and "Muscatel" which are both big faves of mine and I use them quite often!
100% Original Work
- 15 common, 2 RARE
- resizer script + transfer only
- Includes Catwa, Omega Appliers + Mesh Eyes
Join the in-world group to earn 10% store credit on all purchases and receive exclusive group gifts every month!
This item is available at The Chapter Four on July 4th 2017. Click here to Teleport!
Check out LOTUS. in-world & on social media:
♥ Mainstore: Teleport Now!
♥ Flickr: www.flickr.com/lilanachristina
♥ Facebook: www.facebook.com/LotusSL
Now Available in Main Store - Second Floor
@ The Arcade - June 2014 round.
Long, very long hair to play with this round. Be a mermaid or a water nymph or anything you like.
Along with the hair we crafted some special marine themed headdresses that can be worn as standalone since are unrigged and with a xyz resize script inside.
The rare version is enriched with a net, coral branch, shells and decorations, offered in four colors.
And there is a secret version too. Sea princesses!
Who will disclose it first?
Hope you will have fun with us!
See you there :)
floorplan. walkie talkies gacha info:
-while it says no mod (due to the script inside) your walkie talkie IS mod so you can stretch/shrink it to suit your avatar size!
-right click and 'add' your walkie talkie (attaches to the left hand)
-if your walkie talkie doesn't play an animation when you type, please detach and reattach!
-talk to anyone else wearing a walkie talkie in local chat SIM-WIDE! go shopping & exploring with friends and still chat with them in local chat as long as you are on the same sim & all wearing walkie talkies!
-to send private messages to your friends also wearing walkie talkies, in local chat type "/9 'your message here'"
-all walkie talkies are set to the /9 channel default! meaning anyone else wearing a walkie talkie on the same sim as you can see your local & private messages! you must be on the same channel with your friends wearing walkie talkies to see both local chat & private messages (anyone in your chat range can still see your local chat, but not your private messages)
-type "/9 newchan #" (replace # with a number of your choice) to create a new channel to talk with your friends if you don't want anyone else with a walkie talkie to see your local chat & private messages.
*PLEASE NOTE: the animations will NOT play when you are typing on the secret channel!*
-type "/9 soundoff" or "/9 soundon" to toggle the walkie talkie sound on/off. if you change the channel number, the sound on/off command will also require the new channel number, but your walkie talkie will tell you that because it's a smarty pants!
enjoy & have fun!
100% Original Work
- 15 common, 2 RARE
- resizer script + transfer only
- Includes Catwa, Omega (Fiore) Appliers + Mesh Eyes
Join the in-world group to earn 10% store credit on all purchases and receive exclusive group gifts every month!
This item is available at The Chapter Four on August 4th. Click here to Teleport!
Check out LOTUS. in-world & on social media:
♥ Mainstore: Teleport Now!
♥ Flickr: www.flickr.com/lilanachristina
♥ Facebook: www.facebook.com/LotusSL
Another lomo effect attempt....this is fun!!
I used the fake lomo script mentioned Here
Pit of oracle bones (甲骨) at Anyang Yinxu. The oracle bones are pieces of bone or turtle plastron bearing the answers to divination during the late Shang Dynasty (1766-1050 BC). They were heated and cracked, then typically inscribed using a bronze pin in what is known as the Oracle Bone Script (甲骨文), the earliest known significant corpus of ancient Chinese writing. The bones contain important historical information such as the complete royal genealogy of the Shang Dynasty.
Yinxu is the ruins of the last capital of Shang Dynasty . The capital served 255 years for 12 kings in 8 generations.
Yes, a tropical heat wave!! Really, we are! Although where I am it's usually a dry heat! No ocean breeze, no humidity to make my hair a big frizz ball, and no pineapples growing! I could grow watermelon, but I didn't this year, so unfortunate when I see what I could have done with them!! My sister, Gillian Galicia, and I having some fun with the 'Fruity' pose/prop from Foxcity, here! It's available at SaNaRae until July 18! The fruit is transfer so you can easily share with someone who needs a bit of a cover up while on the beach! You may be asking yourself if we're out romping on a beach without anything on, you can check out Gillian's blog to see for yourself! :D
Here's the short list of what we're wearing! :)
The Sweetberry Necklace, gold, from !NFINITY, is such a summery addition to an outfit! Especially when it's about all you're wearing! :) It's 100% mesh, HUD driven with 8 solid bead and 8 dual bead colours, and it's scripted for easy resizing!
I'm wearing the Lilo bento mesh head from Catwa with the 'Luna' skin in 'vivante' tone from Avada! The rest of me is the Lara mesh body from Maitreya.
*shorts - maps.secondlife.com/secondlife/Pemberley/75/128/24 beach.shorts antique
*hair - ASO! Tomi, Dark Brown pack at Hair Fair 2017 (all LMs are here)
*skin applier - Glam Affair
* eyeshadow - Izzie's
*lipstick - Pink Fuel
*backdrop - Katink
You can see check Gillian and I out on my blog, too! What a Beautiful Mess!
You can check out Gillian's picture on her flickr here!
Have fun in the sun! The fully scripted garden sized chess set is large and a blast to play with your friends. Perfect for your summer garden. Included in the set is a playable scripted chess board and separate decor chess pieces.
Available at The Mens Dept.
After six months of redevelopment, the Natural History Museum this month reopened its centrepiece, Hintze Hall, with Dippy the Diplodocus replaced by the skeleton of a 25-metre blue whale named Hope. I was fortunate to be able to visit the museum a few days after it opened, and to behold the remarkable sight of this creature -- the largest ever to have lived -- suspended from the hall's ceiling and diving downwards with its jaws open.
Having last photographed Hintze Hall more than two years ago, it was fun to return to the location and to try an angle I hadn't photographed in a while. The challenge here is always the immense number of visitors the museum welcomes each day, and my workflow to capture the scene nearly empty was similar to my previous take, which is to say about 45 minutes of continuous shooting and then using Photoshop's Statistics function within the Scripts menu to calculate and remove any inconsistent elements. In addition to bracketing my exposures so that I could later blend them using luminosity masks, I was also drawn to the dramatic mid-morning sunlight coming through the windows, which cast a warm glow on Hope and created a wonderful array of patterns along the hall's floor. The sun on this particular morning was constantly dipping behind the clouds, however, so I was restricted to shooting only when the sun reappeared, as well as trying to capture each part of the scene without people at least once to ensure a clean and straightforward editing process.
Although I'd bracketed nine exposures and had a range of tonality to work with, the bulk of my workflow was geared towards the darker exposures, which captured all of the detail in the museum's windows and a moody sense of mystery beneath its arches, as well as emphasising the pattern of light and shadow along the ground. With this said, I used the brighter exposures to gently restore detail to the brickwork and to emphasise portions of the building's architecture, for example J. W. Beaufort's portrait of Alfred Russel Wallace to the right of Darwin's statue. After this, I used a mixture of Curves, Hue/Saturation, Colour Balance, Selective Colour and Gradient Map adjustments to find the right shade of blue for the shadows and to emphasise the warmth of the sunlight streaming through the windows. Inside Nik's Colour Efex Pro and Silver Efex Pro, I significantly lowered the midtones and softened the structure across the museum's floor, as well as applying a small amount of the Detail Extractor and Tonal Contrast filters to the walls to bring out their texture.
The mother and son beneath the whale were added further along in the workflow, but I felt they completed the image. Besides providing a sense of the scale of the skeleton towering over them, there seemed to be something meaningful about their presence beneath a display that's intended as a symbol of humanity's power to shape a sustainable future. This particular whale was stranded at Wexford Harbour in southeast Ireland in 1871, but the species was hunted to the brink of extinction during the 20th century, with the blue whale being the first species that humans finally resolved to save on a global scale. Their population has steadily begun to climb again, hence the name Hope, and there seemed to be something very hopeful about a parent and child visiting an environment where everyone is encouraged to be a part of that change.
*Please put your WL setting to region WL or midnight to fully enjoy the scenery*
Step into a magical wonderland this holiday season, and feel the cold air dance across your face. Warm yourself with a mug of hot cocoa, as the frosted air pinks your cheeks and nose. Step away from the ordinary and feel yourself transform in the festive environment. Walk the winter paths, as you listen to the sounds of the frozen ground crackle under your boots, and lose yourself in the lights. Take a ride on the train, to relax, and to let the environment come to you. Take the ski lift up to the lodge, and warm up next to the crackling fire. Play a game with your loved ones as snow covers the ground outside. Whatever you find yourself doing at 'The Forest' this holiday season, you will surely feel the magic at every turn.
There are 4 cabins available for rent for 500L and 250 prims each
1.) No nudity at any time, this is a family friendly environment. If you are caught with your pants down you will be immediately ejected off the sim.
2.) Please try to keep using voice to a minimum when other campers, or visitors are on the sim. This will disrupt their peaceful experience
3.) No griefing, or lag causing scripts, tools, ect will be tolerated.
4.) you are only allowed to be inside or around a cabin if you are renting. - which includes the hot tub, firepits and picnic areas. _ be respectful and do not enter anyone elses cabin that they are renting unless invited.
We worked really hard in creating a fun, and peaceful environment for you to enjoy and we hope you enjoy the park!
Things to do and see
Camping in the cabins
-Each cabin includes a private hot tub, picnic area, bbq and firepit
- Full open Bar, Multiple click able delights, Playable Pool Table, Cozy seating in front of a crackling fire, Pocket Greedy on the wall, Tons of chatterboxes
- Check in Desk ( If you are renting you can request a ranger to come check you in for RP)
- Train ride to take you around the entire sim * The train stop is at the entrance when you first teleport in and will stop for 15-20 seconds to allow you to board before continuing. If the train is not there be patient it will come around again shortly!*
- Multiple hot cocoa stations
- Photogenic areas - such as a tree cutting farm, and small village
- Ice Skating Rink
- Winter lights walk
- Ski lift to take you up to the lodge ( located next to the tree farm) The lift does not stop at the top of the mountain you have to just stand up and exit when you see the dock landing, sorry bout that! There is also only one lift (Seats multiple people) so you will have to wait for it to come back down and go around if you miss it!
- Sleds and ski's available near the lodge for you to use to get back down the mountain
Alexis Wilson (lexxihudson Resident)
Mark Wilson (exde Resident)
SOOC Second Life Shot -
I get asked often "what is Second Life?" Or, "why Second Life, isn't real life enough?" Or, "what do you do in Second Life that you can't do in real life?"
To address those who are interested, Second Life is an artist's dream come true...a virtual cesspool of creativity. And I say "artist" with some trepidation, since I think artists don't fully believe in their art without some kind of feedback....hence the overwhelming popularity of Flickr.
There are so many levels of creativity within the Second Life world and each day the levels deepen, for there are no boundaries to what people are creating there.
There are clothes makers, builders, architects, designers, photographers, landscapers, skin makers, hair makers, sculptors, sky makers, water makers, script writers....and the list goes on and on. EVERYTHING in Second Life is made by the residents (us) of Second Life. There are no boundaries to the imagination and creativity in this virtual world.
I can honestly say that each time I go into Second Life I see something new and amazing that delights my senses. With that said, there is a learning curve, but again, I am amazed at the adaptability of us humans....it is usually short lived and rapidly overcome.
Short of traveling the world and going to new and exciting places each day, there is nothing else like Second Life. I would be amiss if I did not mention the wonderful (and maybe not so wonderful) people you meet from around the world...
Now, for the fun part. I stumbled across a very funny youtube video the other day. By no means is it indicative of the typical Second Life environment or experience, but it is hysterical and I wanted to share it with anyone who wishes to view it. For seasoned Second Lifers, it will be a hoot! For those who haven't experienced Second Life, it's just a spoof video.
I have been seeing so many tulips on flickr these past few days that i had to buy some when I went for groceries and they were fun to play with yesterday while it snowed outdoors.. Found this script texture by the clever Jerry Jones and just had to try it out. He has so many amazing textures... www.flickr.com/photos/skeletalmess/6236367976/in/set-7215...
"Eye wear worn by those of the ministry. It became a symbol often scrawled by hoodlums on the walls that represent the ministry and is often depicted beside what many consider its counter part, 'Xenia's visor, which represents the Compass." - Bridges
What's this? MORE Sci-fi? It is definitely a time for more releases to expand our upcoming sci-fi branch:
We've completely revised, redesigned, remeshed and revived an old item item with a new and improved that works far better for its intended canon: The Mono S-23 II!
This item acts as the Xenia Visor's counterpart, now made clearer with improvements to its overall look! Oh what fun!
This visor comes in three separate unbaked parts for fitting on your head -- mesh or not:
> Front Piece
> Back Piece
> Jaw Frame
You can also modify it and use the individual pieces to incorporate into your outfit too. W O W E E!
This item is also a handy *???* scripted FATPACK, which means you have 8 colours, 8 metals and 8 lens all set for the picking.
1 script total (scripts are nomod/copy/notrans)
Available now until the end of The Crossroads!
Total of 8 prizes, 6 Commons and 2 RAREs.
Scripted and functional food guns and bow.
Get into mouselook to shoot, share with your friends and have fun with it!
ps- no food wastage while making the item
Exclusive Arcade item, not for sale once arcade end.
Fun! I have been tagged by Tadoette and Ay Naku!
Ipod Tagging Game (works with other MP3 players as well..)
1. Put your iTunes/ ipod on shuffle.
2. For each question, press the next button to get your answer.
3. YOU MUST WRITE THAT SONG NAME DOWN NO MATTER HOW SILLY IT SOUNDS!
4. Tag 10 or more friends who might enjoy doing this as well as the person you got it from.
So here are my shuffle of songs (this is in the exact order they were played):
1. What would best describe your personality?
I'll be - Edwin Mc Cain
2. What do you like in a guy/girl?
Right Now - Akon
3. What is your life's purpose?
How to Save a Life - The Fray
4. What is your motto?
Breakeven - The Script
5. What do your friends think of you?
Everything - Lifehouse
6. What do you think about often?
Lips of an Angel - Hinder
7. What is 2+2?
Cat and Mouse - The Red Jumpsuit Apparatus
8. What do you think of your best friend?
If Everyone Cared - Nickelback
9. What do you think of the person you like?
Pretty Vegas - INXS
10. What is your life story?
Hallelujah - Kate Voegle
11. What do you want to be when you grow up?
Face Down - The Red Jumpsuit Apparatus
12. What do you think when you see the person you like?
Collide - Dishwalla
13. What do your parents think of you?
I Dont Wanna Miss a Thing - Aerosmith
14. What will you dance at your wedding?
Innocent - David Cook
15. What will they play at your funeral?
A Love That Will Last - Renee Olsteadi
16. What is your hobby/interest?
Overjoyed - Stevie Wonder
17. What Do You Think Of Your Friends?
Moving On - Earl Klugh
18. What's the worst thing that could happen?
Everything I Own - Bread
19. How will you die?
Make Up Sex - Montell Jordan
20. What is the one thing you regret?
Tanging Sa 'Yo Lamang - Eddie Katindig
21. What makes you laugh?
Kanlungan - Buklod
22. What makes you cry?
Strike While the iron is hot - Orange and Lemons
23. Will You Ever Get Married?
My Baby Just Cares for Me - George Michael
24. What scares you the most?
Down That Road - Shara Nelson
25. Does anyone like you?
Ikaw Lamang - Carol Banawa
26. If you could go back in time, what would you change?
Can Find No Reason - Louie Heredia
27. What hurts right now?
Love Me Again - Vernie Varga
I tagged ten people from my contact list, and sent it via Flicker Mail! Enjoy!
Showing off two amazing new items for the roleplaying community in second life … First step we go to the new round of “We Love Roleplay” where we find this cute “Draco Hoodie” from [The Plastik] … Every set has three options of the hoodie and are 100 % Custom Meshrigged for almost every mesh bodie thinkable. If you buy the fatpack you get even three additional collours to choose from. (I’m wearing the Creme dragonhood version) Jump on the horse below and ride towards We Love Roleplay …
And then next up is something really fun. We stopped at the Dreaming thicket booth on “The Fantasy Gacha Carnival” And omg did that gacha catch my eye … I always loved games inside SL so when I read that the diceroller and the Wax Tablet really worked I was thrilled. 10 commons and 3 rares are available and all are scripted so you can really play a game with your friends . on the table here you can see the rare Red Dragon with dice and the Dice tally wax tablet – dark. To play costs 49L a try …
Kisses and enjoy the rest of the weekend…
It was my real life birthday this past week and not surprisingly I had to endure a rendition of Happy Birthday sung by my family! I will say it was better than usual, probably because I wasn't singing!! There was a birthday cake which had candles on it for me to extinguish, and with my sister sitting across from me with the camera at the ready, I just pursed my lips ever so slightly so I'd look at least half decent in the shot! There's nothing like having a picture taken with cheeks fully extended in mid blow, it's not the most attractive of looks, but it's family tradition!! We had lots of laughs and we all enjoyed the cake, of course! I can't believe how fast birthdays come and go, I know having lots of birthdays is much better than the alternative, but do they have come and go in the blink of an eye? I can't remember every birthday I've celebrated, they all kind of get mixed up in my head, if you've had as many birthdays as me, you'd forget them too!
It's been a few days since my last post, and the time between posts has nothing to do with my birthday! I really struggled to get a picture that I was happy with. I think I've taken about 40, in three separate attempts and none of them really thrilled me. Out of frustration and passing time I settled on this one! My one worry is that my pictures all start looking the same, I don't want that to happen, but when creativity is lacking it's hard to avoid it! But anyway, here's the info you've been waiting for, so patiently!
I always make a trip to all the men's sales events, and I always find something that catches my eye! This time around it's the 'Feather Necklace' from !NFINITY at Men Only Monthly, or MOM for short!. It comes in gold(seen here), silver, platinum, and black and each is HUD driven with two colour options for the cord. The detailing of it is incredible and with it scripted for easy resizing, I made it small enough for me, easily! I feel like a free spirit when I wear it! MOM runs until July 15.
The June round of Hair O Logy runs until June 30, so there's still time to get the deals! I'm wearing 'Vanessa' from [KoKoLoReS], here and with the wispy tendrils around the face it's so pretty! [KoKoLoReS] has a total of three styles at this round of Hair O Logy and all are 50% off for the duration! This is from HUD 01, which contains 30 colours!
I'm using a pose from the Solid Gold B set of poses from Le Poppycock.
I joined the Luxe Box group for the June round and Blueberry released the very pretty 'Cutie Tops'. I forgot how fun Luxe Box is, all those goodies to open, it's like Christmas in the summer!
The Malena Denim Shorts are from Addams! I could live in shorts all summer and with a pair like this, who wouldn't want to?
You can see a bit of the 'Les Fleur' tattoo from Pimp My Sh!t. This is one of my faves!
I'm slowly getting used to seeing the 'new me' with the Catwa Lilo bento mesh head! I think I look a little angry sometimes, but I'm still the same 'me' inside! I'm wearing the Luna skin in 'peche' tone from Avada(formerly known as Sinful Curves Skins). I'm wearing one of the nine selections of eye shadow from the 'Monroe Shadow' pack from Veechi. I've added the Catwa applier of the 'Nissa Eyes' from Zombie Suicide which are available at the current round of APPLIQUE. The rest of me is the Lara mesh body from Maitreya.
You'll also find me on my blog, What a Beautiful Mess!
i made some new glowing bushes and trees^^ they aren't scripted or MOD, but COPY OK and a good price
pic taken at
MiaSnow Home and Garden
in Second Life
no post processing
This performer went way off script for this performance. At this point he is suppose to charming a certain princess. Instead he is goofing around.
This is a Lightroom output with no Photoshop. Just a simple color adjustment and a little dodging.
via Instagram ift.tt/2ogUJW2
I've been wanting to try this bokeh light thing again, ever since my first try with the xmas tree lights. I was using autofocus and recomposing for that shot then... doh!... realised that I'd have more control manually!
Anyhow, I thought it'd be fun to try this light bokeh thing on the word bokeh, hence the title... anyhow, just a bit of fun ;)
Taken with a macro extension tube and the trifty fifty... what a lens!!!
Explore 06/02/11 :-D Thanks everyone!
British postcard, no. 257.
Endearing Anna Neagle (1904-1986) was a leading star in British films for over 25 years from 1932. She provided glamour and sophistication to war-torn London audiences with her lightweight musicals, comedies and historical dramas. Almost all of her films were produced and directed by Herbert Wilcox, whom she married in 1943.
Anna Neagle was born Florence Marjorie Robertson in Forest Gate (near London), in 1904. She was the daughter of Herbert Robertson, a merchant navy captain, and his wife, the former Florence Neagle. Her brother was actor Stuart Robinson. S he made her stage debut as a dancer in 1917. In 1925 she appeared in the chorus of André Charlot's revue Bubbly, and later also in C.B. Cochran's revues, where she understudied Jessie Matthews. ActorJack Buchanan encouraged her to take on a featured role in the musical Stand Up and Sing (1931), and she began using the professional name of Anna Neagle (the surname being her mother's maiden name). The play was a huge success with a total run of 604 performances. Her big break came when film producer-director Herbert Wilcox caught the show purposely to consider Buchanan for his upcoming film. He was taken (and smitten) with Anna. Photographing extremely well, Neagle was a natural for the screen and she played her first starring film role opposite Jack Buchanan in the musical Goodnight Vienna (1932, Herbert Wilcox). Neagle became an overnight favourite. Although the film cost a mere £23,000, it was a huge hit at the box office, profits from its Australian release alone being £150,000. After her starring role in The Flag Lieutenant (1932, Henry Edwards), she worked exclusively under Wilcox's direction for all but one of her subsequent films, becoming one of Britain's biggest stars. She continued in the musical genre, co-starring with Fernand Gravey (aka Fernand Gravet) in Bitter Sweet (1933), the first film version of Noel Coward's tale of ill-fated lovers. Neagle had her first major film success in the title role of Nell Gwynn (1934), as the woman who became the mistress of Charles II (Sir Cedric Hardwicke). In the United Status, the Hays Office had Wilcox add a (historically false) scene featuring the two leads getting married and also a ´framing story´ resulting in an entirely different ending. Author Graham Greene said of Nell Gwynn: "I have seen few things more attractive than Miss Neagle in breeches". Two years later, she followed up with another real-life figure, Irish actress Peg Woffington in Peg of Old Drury (1936). Neagle and Wilcox then made the backstage musical Limelight (1936) and a circus trapeze fable The Three Maxims (1937). The latter film, with a script co-written by Herman J. Mankiewicz (who later co-wrote Citizen Kane), had Neagle performing her own high-wire acrobatics. Although now highly successful in films, Neagle continued to act on stage too. In 1934, she performed as Rosalind in As You Like It and Olivia in Twelfth Night, directed by Robert Atkins. She earned critical accolades in both productions, despite the fact that she had never before done any Shakespeare.
In 1937 Anna Neagle gave her most prestigious performance so far – as Queen Victoria in the successful historical drama Victoria the Great (1937), co-starring Anton Walbrook as Prince Albert. Victoria the Great was such an international success that it resulted in Neagle and Walbrook essaying their roles again in an all-Technicolor sequel entitled Sixty Glorious Years (1938), co-starring C. Aubrey Smith as the Duke of Wellington. While the first of these films was in release, Neagle returned to the London stage in the title role in Peter Pan. The two Queen Victoria biographies were successful enough to get Wilcox and Neagle a contract with RKO Radio Pictures, and they moved to Hollywood at the end of the 1930´s. Their first American film was Nurse Edith Cavell (1939). She essayed the role of the true-lifenurse who was shot by the Germans in World War I for alleged spying. The film had a significant impact for audiences on the eve of war. In a turnabout from this serious drama, they followed with three musical comedies, all based on once-popular stage plays. The first was Irene (1940), co-starring Ray Milland. It included a Technicolor sequence, which featured Neagle singing the play's most famous song, Alice Blue Gown. She followed this film with No, No, Nanette (1940) with Victor Mature, and Sunny (1941) with Ray Bolger. During the war Anna Neagle entertained the troops. Her final American film was Forever and a Day (1943), a tale of a London family house from 1804 to the 1940 blitz. This film boasts 80 performers (mostly British), including Ray Milland, C. Aubrey Smith, Claude Rains, Charles Laughton, and – among the few Americans – Buster Keaton. Wilcox directed the sequence featuring Neagle, Milland, Smith, and Rains, while other directors who worked on the film included René Clair, Edmund Goulding, Frank Lloyd, Victor Saville and Robert Stevenson. During the war the profits and salaries were given to war relief. After the war, prints were slated to be destroyed, so that no one could profit from them. However, this never occurred.
Returning to England, Anna Neagle and Herbert Wilcox commenced with They Flew Alone (1942). Neagle added another real-life British heroines to her gallery, this time as aviatrix Amy Johnson. The film, released a year after the aviatrix’s death, was noted for inter-cutting the action with newsreel footage. They returned to filmmaking with the war-time espionage thriller The Yellow Canary (1943), co-starring Richard Greene and Margaret Rutherford. Neagle played a German-sympathiser (or that is what she seems to be at first) who is forced to go to Canada for her own safety. In reality, she's working as an undercover agent. After making this film, Neagle and Wilcox made their professional relationship a personal one as well when they married in 1943. In 1945 Neagle appeared on stage in Emma, a dramatization of Jane Austen's novel. That same year she was seen in the film I Live in Grosvenor Square, co-starring Rex Harrison. For seven straight years after WWII, she was voted top favorite English actress. She wanted Harrison again for the lead in her next film, Piccadilly Incident (1946). He proved to be unavailable, so Wilcox cast Michael Wilding in the lead. Thus was born what film critic Godfrey Winn called "the greatest team in British films". The story – of a wife, presumed dead, returning to her (remarried) husband – bears a resemblance to the Irene Dunne-Cary Grant comedy My Favorite Wife. Piccadilly Incident was chosen as Picturegoer’s Best Film of 1947. Neagle and Wilding were reunited in The Courtneys of Curzon Street (1947), a period drama that became the year's top box-office attraction. The film featured Wilding as an upper-class dandy and Neagle as the maid he marries, only to have the two of them driven apart by Victorian society. The third pairing of Neagle and Wilding in the London films, as the series of films came to be called, was in Spring in Park Lane (1948), which depicted the romance between a millionaire’s niece and a valet. Spring in Park Lane was the 1949 Picturegoer winner for Best Film, Actor and Actress. Neagle and Wilding were together for a fourth time in the Technicolor romance Maytime in Mayfair (1949). The plot is reminiscent of Roberta, as it had Wilding inheriting a dress shop owned by Neagle. David Absalom comments on his great website BritishPictures.com: “These films rarely pleased the critics. This is particularly true of the "London Series" of frothy nonsense, usually co-starring Michael Wilding and usually musicals. The critics wanted neo-realist pictures depicting grim reality - the audience, who were suffering through the Austerity Years and knew all about grim reality, wanted fun and escapism. Anna Neagle pictures provided that in spades.”
By 1950, Anna Neagle was at her zenith as Britain’s top box-office actress, and in that year she made what reputedly became her own favorite film, Odette, co-starring Trevor Howard, Peter Ustinov, and Marius Goring. As Odette Sansom, she was the Anglo-French resistance fighter who was pushed to the edge of betrayal by the Nazis. Going from this real-life British heroine, she went straight on to playing Florence Nightingale in The Lady with the Lamp (1951).Returning to the stage in 1953, she scored a major success with The Glorious Days, which had a run of 476 performances. Neagle and Wilcox brought the play to the screen under the title Lilacs in the Spring (1954), co-starring Errol Flynn. In the film she plays an actress knocked out by a bomb, who dreams she is Queen Victoria and Nell Gwyn – as well as her own mother. As she begins dreaming, the film switches from black and white to color. Neagle and Flynn reteamed for a second film together, King's Rhapsody (1955), based on an Ivor Novello musical. Although Neagle performed several musical numbers for the film, most of them were cut from the final release, leaving her with essentially a supporting role. Shot in Eastmancolor and CinemaScope with location work near Barcelona, Spain, King's Rhapsody was a major flop everywhere. Neagle's (and Flynn's) box-office appeal, it seemed, was beginning to fade. Neagle's last box-office hit was My Teenage Daughter (1956), which featured her as a mother trying to prevent her daughter (Sylvia Syms) from lapsing into juvenile deliquency. Neagle and Syms worked together again on No Time For Tears (1957), also starring Anthony Quayle and Flora Robson. As directed by Cyril Frankel, this was the first film for over 20 years where Neagle was directed by someone other than Herbert Wilcox. She produced a series of films directed by her husband, including These Dangerous Years (1957), Wonderful Things! (1958), and The Heart of a Man (1959). The films all starred pop idol Frankie Vaughan, but they were out of touch with changing tastes, and lost money, resulting in Wilcox going heavily into debt. Neagle herself made her final film appearance in The Lady is a Square (1959) opposite Franke Vaughan. Herbert Wilcox was bankrupt by 1964, but his wife soon revived his fortunes. She returned to the stage the following year and made a spectacular comeback in the West End musical Charlie Girl. In it she played the role of a former ´Cochran Young Lady´ who marries a peer of the realm. Charlie Girl was a phenomenal success that ran for a staggering six years and 2,047 performances. During the show's six-year run, Neagle was made a Dame of the British Empire in1970 in recognition of her work. Two years after Charlie Girl she appeared in a revival of No, No, Nanette, which she had done onscreen three decades earlier. In 1975, she replaced Celia Johnson in The Dame of Sark and in 1978 (the year after her husband's death), she was acting in Most Gracious Lady, which was written for the Silver Jubilee of Queen Elizabeth II. Although plagued by Parkinson's disease in her later years, Neagle continued to be active well into her eighties. On TV she was last seen in an episode of Roald Dahl's Tales of the Unexpected (1983). In 1985 she appeared as the Fairy Godmother in a production of Cinderella at the London Palladium. Neagle was still working in 1986, just a few weeks before her death in West Byfleet, England, from complications of renal disease and cancer. She was 81.
Sources: Roger Phillip Mellor (Encyclopedia of British Cinema), David Absalom (BritishPictures.com), Bruce Eder (All Movie), Gary Brumburgh (IMDb), Wikipedia and IMDb.
One of my colleagues had the great idea to start a near space balloon project. Many people did this before us, so we got some first information about this. In the next step, the complete team and i searched for suitable cameras and equipment, a transport box, parachute, helium gas, start approval and so on..
It is a lot of work to do, but it was worth it - we had so much fun to start the balloon and to recovery it 300km away. We couldn't wait to see the first pictures on the camera. :-)
Press "L" to fire up the lightbox.
Canon PowerShot A480; ISO 80; 1/1500s; f4.5 at 6.6mm
+ modded with the great CHDK-Project and a intervall script
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.
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:
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.
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.
Dave Sharpe doubling Clayton Moore in the first-chapter swordfight sequence.
Perils of Nyoka (Republic, 1942). Starring Kay Aldridge, Clayton Moore, Lorna Gray, Charles Middleton, William Benedict. Directed by William Witney. Wonderful Republic-style artwork of Aldridge
From 1942, this is still another great Republic classic. (I suppose I could have started these reviews with tired, lifeless serials like PANTHER GIRL OF THE KONGO, but why not have fun first?) It has a terrific cast with a half dozen of my all-time favorite actors, a credible storyline, some really impressive sets and imaginative 'Perils', and finally, an epic-sounding main theme by Mort Glickman. This would go in the top dozen serials on my list.
PERILS OF NYOKA deals with the struggle for possession of another hot potato that everyone covets-- in this case, the Golden Tablets of Hippocrates, on which the ancient physician recorded his great medical secrets (including a cure for cancer). Not only are gold tablets valuable for their knowledge and the metal itself, they were hidden with a treasure. So it's not surprising to find the sinister Vultura and her gang of renegade Arbabs trying to seize the darn things. Vultura is played by the exotic Lorna Gray, who is a bit ripe looking for my taste but her sneering performance and long long legs have must have gotten many young boys in the audience a bit hot and bothered. (There's something about a Bad Girl...)
Vultura's main henchman is Cassib, played by the same Charles Middleton who made life interesting for Flash Gordon and Dick Tracy. Middleton has that sour, unhappy expression that makes his villainy as believable as the sort of old man who chases kids off his lawn. As if that's not enough, there's also the treacherous Torrini who poses as an ally of Nyoka. Tristram Coffin as Torrini gives an okay performance, just showing enough shiftiness to make his loyalty obviously doubtful to the kids in the audience. As good as Coffin was as a villain, I always wished he had done more heroic roles like his Jeff King in KING OF THE ROCKETMEN.
And as if THAT wasn't enough trouble for Nyoka to deal with, Vultura has a pet ape named Satan, who had never heard Diane Fossey's findings that gorillas are peaceful, gentle vegetarians. Satan was played by Emil Van Horn in a rather weak portrayal that doesn't seem to give much effort into moving like a real gorilla. And although you have to give 1940s film makers some slack with their robot and apes costumes, the way Satan's chest skin looks like shiny black rubber detracts from its credibility. This is where you have to crank your
suspension of disbelief up a few notches.
Whew! What a crew. Luckily, not only can Nyoka handle herself perfectly well, she has a partner in Dr Larry Grayson who is (for a physician) an astonishingly tough two-fisted sword-fighting gunslinger. My doctor's not like that. Clayton Moore is always convincing as hero or thug, and he seems agile and energetic enough to have been a stunt man himself. (At first, it seems a bit odd to hear that wonderful, familiar Lone Ranger voice coming from this character.) Moore goes through the serial in the classic Doc Savage outfit of riding boots, jodphurs and heavy white shirt, although this does not end up torn into tatters with the right cuff still attached.
Finally, Nyoka herself is completely likeable as a cliffhanger heroine. ("That Nyoka gal's got plenty of moxie.." one character explains.) Daughter of the missing Professor Gordon, she is well educated (one of the few who can translate the Tablets) but also completely at home in the saddle or jumping on a gorilla's back with a knife in her hand. I love Kay Aldridge's performance as Nyoka. She's serious when in danger, taking the 'perils' straight-faced but at the same time, she's obviously having a lot of fun when things are going well. It's very believable, not a grim warrior-woman sort of portrayal. Aldridge herself is appealing and gorgeous in her 1940s pin-up girl way-- her clunky culottes are not flattering at all (although admittedly practical for the situation) and she seems to be notably gifted under that big-game hunter blouse. Nyoka also seems to have two different accents going on, for some reason.
My copy of PERILS OF NYOKA is a re-issue titled NYOKA AND THE TIGERMEN, apparently because some of the Arab raiders wear striped robes. C'mon, that's stretching things a bit, Republic.Nyoka Gordon (Kay Aldridge) leads an expedition into the most remote part of the Libyan desert in search of her father, Professor Henry Gordon (Robert Strange), who disappeared while seeking out the long-lost golden tablets of Hippocrates. The tablets, among other attributes, are reputed to contain the cures for any number of deadly diseases that still plague mankind. Nyoka and her father are the only two people in the world who can translate the papyrus giving directions to the hiding place of the tablets. Her allies in her search include: Dr. Larry Grayson (Clayton Moore), a young physician; Torrini (Tristram Coffin), an Italian adventurer; Professor Campbell (Forbes Murray), a colleague of her father's; and Red Davis (Billy Benedict), their driver. Opposing them is Vultura (Lorna Gray), the leader of a deadly desert cult, who regard the tablets as sacred and will do anything -- including committing murder -- to prevent their discovery and removal. Aided by her ally, Cassib (Charles B. Middleton), and the Taureg tribesmen, Vultura and her cultists lay all manner of deadly traps, involving everything from burning pits of fire and tunnels filled with hurricane-like winds to just plain getting crushed by the embrace of Vultura's trained gorilla, Satan (Emil Van Horn). Meanwhile, Nyoka and her expedition also face the danger of treachery from within. Nyoka must first secure the papyrus and avenge the murder of Major Reynolds in the opening chapter, and then get past the opposing Taureg tribesmen -- and little does she realize that the leader of the Tauregs is far closer to her than she ever could have guessed.
The action in Nyoka and the Tigermen moves at a breakneck pace across 15 chapters, most of which are as exciting as anything in Raiders of the Lost Ark and its sequels (each of which drew a lot of their inspiration from this and one other Republic serial, Secret Service in Darkest Africa). Beyond its genuinely exciting plot, which intersects with reality just enough to keep even adults interested (there really are a North African people called the Tauregs), Nyoka and the Tigermen contains some delightful twists in its casting, production, and writing. Nyoka Gordon, as played by Kay Aldridge, is no typical movie heroine. She's beautiful, athletic, and resourceful, enough so that in the first chapter, she rides down Arab horsemen. She's perfectly capable of fighting, climbing, or diving her way out of trouble, a kind of 1940s American precursor to Emma Peel. Additionally, Lorna Gray's Vultura was, if anything, even more beautiful, and they make an enchanting pair of antagonists, especially when they mix it up physically. Both put 100 percent effort into their work here, assisted by one of the best directors and some of the best stuntmen in the business. Clayton Moore looked, if anything, better here than he did as the Lone Ranger at the other end of the decade and he made a dashing hero in his own right. Watch him in action here and see if he doesn't look like he would've been the perfect Bruce Wayne/Batman of his era. Even Emil Van Horn, in the silliest role in the movie -- as the gorilla Satan -- has a kind of visceral impact as this constantly menacing beast. Working from one of the best scripts that the studio ever devised for one of its serials, director William Witney and a crew of top stuntmen (including David Sharpe and a young Jay Silverheels), made this one of the most exciting serials ever to come out of Hollywood. More than that, the resulting chapterplay has an appeal that cuts
across the ages, as demonstrated by the debt owed to it by the Indiana Jones movies.
Another take on Nyoka and additional back ground info.
Perils of Nyoka aka Nyoka and the Tigermen
Republic, 15 Chapters, 1942. Starring Kay Aldridge, Clayton Moore, Billy Benedict, Lorna Gray, Charles Middleton, Tristram Coffin, Robert Strange, Forbes Murray, George Pembroke.
As Perils of Nyoka opens, Prof. Douglas Campbell (Forbes Murray) and his expedition arrive in the small North African town of Wadi Bartha; they are seeking an ancient treasure trove that contains–among other priceless artifacts–the Tablets of Hippocrates, on which are inscribed ”the only cure for cancer the world has ever known.” Campbell and his colleagues, including Dr. Larry Grayson (Clayton Moore), are principally interested in the Tablets’ value to humanity, but Count Benito Torrini (Tristram Coffin), the Italian colonial official attached to the expedition, has more mercenary ideas in mind and is conspiring with the devious Arab queen Vultura (Lorna Gray) to seize the treasure. After being joined by Nyoka Gordon (Kay Aldridge), the daughter of an archeologist who vanished years ago looking for the Tablets, the expedition sets out in search of the Tablets and Nyoka’s missing father, journeying into the hidden valley of the sun-worshipping Tuareg tribe while fighting Vultura and her ally Cassib (Charles Middleton) every step of the way.
Well-written, well-directed, and well-cast, Perils of Nyoka represents Republic serial-making at its absolute peak. Writers Ronald Davidson, Norman Hall, William Lively, Joseph O’Donnell, and Joseph Poland utilize a “quest” structure for their screenplay, one which keeps the characters on the move from one location to the next. The heroes must first translate an important papyrus before beginning their journey to the Tuaregs’ valley, where, upon arrival, they have to deal with the hostile natives and their chief–Nyoka’s amnesic father Professor Gordon (Robert Strange). Then, they must rescue Gordon from Vultura and restore his memory, unmask Torrini’s treachery, return to the Tuaregs’ valley for another important clue, locate the treasure, and recover it in a final showdown after it’s stolen by Vultura. This storyline not only provides plenty of opportunities for action scenes, but also gives the serial a strong sense of steadily focused progression towards a definite goal, making its overall narrative much more interesting than the loosely connected plots of many other Republic serials.
This well-paced narrative plays out in an impressive variety of indoor sets and outdoor locations–the honeycomb of tunnels in the Tuareg valley, Vultura’s mammoth palace and the cliffs nearby, numerous caverns, and various rocky hillsides. Of all Republic’s serials set in foreign realms, Nyoka manages to be the most successful in creating a believably exotic atmosphere; it helps that arid Californian locales like Iverson’s Movie Ranch and Corriganville can more convincingly double for the North African hills than they could for other African locales, like the sub-equatorial jungles or the Sahara desert.
The serial’s action scenes are handled with gusto by William Witney and his star stuntman David Sharpe. One of the many action highlights is Nyoka and Larry’s invasion of Vultura’s palace in Chapter One, which has Clayton Moore’s Larry (doubled by Sharpe) practically flying around the throne room in a combination swordfight/fistfight and eventually being attacked by Vultura’s pet gorilla Satan (Emil Van Horn), who pulls down several stone pillars on our hero and heroine. The pursuit of Nyoka by Cassib’s horsemen in Chapter Two is another memorable action sequence, as is her subsequent chariot escape from Vultura’s camp following a fight with the evil queen. There are far too many additional standout scenes for me to describe them all, but among them are the fight in the lava caves, Larry’s battle with hostile Tuaregs in their cavern temple, Nyoka trying to escape down a cliff on a rope while Satan tugs on the other end, the Tuaregs’ primitive hand-grenade attack on the expedition, and the final showdown in which Larry fights Cassib and his men while Nyoka grapples with Vultura.
The cliffhanger sequences are consistently imaginative and include one of the best-known chapter endings in the Republic canon, the sequence that has Kay Aldridge dangling over a Tuareg fire pit. Equally memorable chapter endings have Aldridge and Forbes Murray being forced towards a ceiling of spikes by an ascending floor, Aldridge about to be sliced in two by a lethal pendulum, and Aldridge being inexorably blown towards the edge of a cliff in an impressive wind tunnel.
Dave Sharpe not only doubles Clayton Moore, but also fills in for Kay Aldridge on all the really dangerous stunts. Stuntwoman Babe DeFreest doubles the heroine in other sequences, with Helen Thurston filling in for Lorna Gray; Tom Steele performs most of Charles Middleton’s stunts, while Ken Terrell, Duke Green, Duke Taylor, Henry Wills, Bud Wolfe, and Johnny Daheim make many contributions as well. Most of these stuntmen, of course, also do acting duty as various Arabs throughout the serial.
Perils of Nyoka’s action is complemented beautifully by Mort Glickman’s score, which is distinctive, memorable, and very well-suited to the setting, with a persistent but not overdone “Arabian” motif dominating both its fast-paced “action” theme and its slower opening-credits music.
The serial’s cast is filled with appealing performers, although its ostensible star, Kay Aldridge, is probably the weakest thespian in the group. Her line delivery is very energetic but awkward at times, and her face is frequently expressionless during dialogue scenes–although she does a fine job registering alarm in cliffhanger sequences. Still, Aldridge is so beautiful, and so likable despite her stiffness, that her presence really has no negative impact on the serial.
Clayton Moore contributes an enormous amount of energy to his part, continually taking the lead in both dialogue and action scenes. He delivers his lines with both seriousness and a certain swashbuckling enthusiasm, and rides and runs with an admirable athleticism that matches well with the dynamism of his double Dave Sharpe in the fight scenes. He, far more than Aldridge, comes off as the actual star of the serial.
Lorna Gray is haughty, viciously bad-tempered, and gleefully evil by turns, but never hammy or over-the-top. Her good looks contrast so startlingly with her convincingly appalling behavior that she commands attention when on-screen; her Vultura is probably the most memorable of all female serial heavies.
Charles Middleton has less time in the spotlight than in his 1930s serials, but his Cassib is still an intimidating figure, glowering grimly at Vultura’s enemies and infusing his Arabian-Nights-style dialogue with both menace (“If you let her escape, you will find death a pleasant relief from your punishment”) and dignity (“What brings you to this humble huddle of tents, Gracious One?”)
Billy Benedict, as the Campbell expedition’s driver and mechanic Red, provides low-key but amusing comic relief, stealing scenes with a single facial expression or a bit of incongruous slang. His scenes with his pet Capuchin monkey Jitters (played by “Professor”) are much more appealing than most such animal-sidekick interchanges; the monkey is not only cute but genuinely helpful to the good guys more than once, and Benedict seems to have a genuine rapport with the little creature.
One of the additional joys of Perils of Nyoka is the unusually large cast of interesting supporting characters; in sharp contrast to many Republic outings, Nyoka features meaty speaking parts for characters besides the hero, heroine, villain, action heavy, and sidekick. Robert Strange, as Nyoka’s amnesic father, has the most important supporting role and does an excellent job in both aspects of his part, dropping his grim, slow-talking, and crafty Tuareg-chieftain personality for a more kindly, upright, and brisk manner when his character’s memory is restored.
Forbes Murray is authoritative but genially avuncular as Campbell, the expedition head, and surprisingly gets in on quite a bit of action. George Pembroke, as a British expedition named Spencer, also takes part in many fights and shootouts, and provides some mild but entertaining comic relief through his verbal interchanges with Billy Benedict’s Red, in which the English scientist and the American mechanic confuse each other with their very different approaches to their common language.
Tristram Coffin, as the treacherous Torrini, is given high billing but has relatively little screen time; however, he handles his interactions with the unsuspecting heroes with the same slickness and smoothness he displayed in his similar part in Spy Smasher. Distinguished Herbert Rawlinson is killed off far too early as Major Reynolds, another expedition member, while the enjoyably hammy John Davidson has a much larger role as Lobar, the fanatical Tuareg sub-chief. Davidson rolls out each line in his inimitably resonant voice and manages to look positively pop-eyed with rage at times, particularly when defying the recovered Professor Gordon as the latter vainly tries to exercise his old authority over the Tuaregs.
Kenne Duncan has a good role as Nyoka’s tough and loyal follower Abou, while George Lewis is noticeably sinister in his small role as Cassib’s lieutenant Batan. George Renavent is enjoyably hammy in his few scenes as Vultura’s oily major-domo, Forrest Taylor pops up as a translator in Chapter Fourteen, John Bagni plays another one of Nyoka’s Bedouin friends, and John Bleifer has a brief but vivid turn as a villainous Arab street merchant in the first chapter. Jay Silverheels, star Clayton Moore’s eventual companion on the Lone Ranger show, is frequently credited as playing one of the Tuaregs, but I’ve never been able to spot him under the tribe’s burnouses and face-paint.
Ace the Wonder Dog, who also played Devil in Columbia’s The Phantom, adds a nice touch to the serial as Nyoka’s faithful dog Fang, going through some clever paces as he assists the heroine–particularly in Chapter One, when he tips over a basket, barks at two Arab guards, and then ducks inside the basket while the guards run past. Vultura’s gorilla Satan, played as an unruly and barely controllable beast by Emil Van Horn, also brings additional color to the proceedings; Van Horn’s rowdy anthropoid antics are great fun to watch.
Just as William Witney’s Spy Smasher–made the same year–represented the acme of Republic’s crime-fighting serials, so does Witney’s Perils of Nyoka represent the acme of Republic’s far-flung adventure serials. Later chapterplays like Secret Service in Darkest Africa or The Tiger Woman would try to recapture some of Perils of Nyoka’s glory, but few of them could match Nyoka’s large and interesting cast of players or its varied assortment of action scenes–and none of them boasted a story that could compete with the appeal of Nyoka‘s archetypal but enthralling treasure hunt.
The Chariot, ז) & 7) - by Levi.
& Flannery O' Connor- "Everything that Rises Must Converge"..
& - yes BP is still EVIL - VERY evil, are they going to clean up long term?? Or what?
& - Taraf De Haidouks -
Weapon, sword, cherubic sword of fire, the sacred septenary, triumph, royalty, priesthood.
Hieroglyph, a CUBIC CHARIOT, with four pillars and an azure and starry drapery. In the chariot, between the four pillars, a victor crowned with a circle adorned with three radiant golden pentagrams.
Upon his breast are three superposed squares, on his shoulders the URIM and THUMMIM of the sovereign sacrificer, represented by the two crescents of the moon in GEDULAH and GEBURAH; in his hand is a sceptre surmounted by a globe, square and triangle: his attitude is proud and tranquil.
A double sphinx or two sphinxes joined at the haunches are harnessed to the chariot; they are pulling in opposite directions, but are looking the same way.
They are respectively black and white. On the square which forms the fore part of the chariot is the Indian lingam surmounted by the flying sphere of the Egyptians. This hieroglyph, which we reproduce exactly, is perhaps the most beautiful and complete of all those that are comprised in the Clavicle of the Tarot.
THE septenary is the sacred number in all theogonies and in all symbols, because it is composed of the triad and the tetrad.
The number seven represents magical power in all its fullness; it is the mind reinforced by all elementary potencies; it is the soul served by Nature; it is the SANCTUM REGNUM mentioned in the Keys of Solomon and represented in the Tarot by a crowned warrior, who bears a triangle on his cuirass and is posed upon a cube, to which two sphinxes are harnessed, straining in opposite directions, while their heads are turned the same way.
This warrior is armed with a fiery sword and holds in his left hand a sceptre surmounted by a triangle and a sphere.
The cube is the Philosophical Stone; the sphinxes are the two forces of the Great Agent, corresponding to JAKIN and BOAZ, the two Pillars of the Temple; the cuirass is the knowledge of Divine Things, which renders the wise man invulnerable to human assaults; the sceptre is the Magic Wand; the fiery sword is the symbol of victory over the deadly sins, seven in number, like the virtues, the conceptions of both being typified by the ancients under the figures of the seven planets then known.
Balance, attraction and repulsion, life, terror, promise and threat.
The link to this excerpt/description is censored & removed by Flickr every time I post it- so it's in the tag at right- if it disappears from there, email me for it..
The writer should never be ashamed of staring. There is nothing that does not require his attention. -- Flannery O'Connor
Late in her life someone asked the American writer Flannery O'Connor why she wrote. She said, "Because I am good at it. "
She was good. Yet, she was not always as good a writer as she became. She improved because she listened to others. She changed her stories. She re-wrote them, then re-wrote them again, always working to improve what she was creating.
Flannery had always wanted to be a writer. After she graduated from Georgia State College for women, she asked to be accepted at a writing program at the State University of Iowa. The head of the school found it difficult to understand her southern speech. He asked her to write what she wanted. Then he asked to see some examples of her work.
He saw immediately that the writing was full of imagination and bright with knowledge, like Flannery O'Connor herself.
Mary Flannery O'Connor was born March twenty-fifth, nineteen twenty-five, in the southern city of Savannah, Georgia.
The year she was born, her father developed a rare disease called lupus. He died of the disease in nineteen forty-one. By that time the family was living in the small southern town of Milledgeville, Georgia, in a house owned by Flannery's mother.
Life in a small town in the American South was what O'Connor knew best. Yet she said, "If you know who you are, you can go anywhere. "
Many people in the town of Milledgeville thought she was different from other girls. She was kind to everyone, but she seemed to stand to one side of what was happening, as if she wanted to see it better. Her mother was her example. Her mother said, "I was brought up to be nice to everyone and not to tell my business to anyone. "
Flannery also did not talk about herself. But in her writing a silent and distant anger explodes from the quiet surface of her stories. Some see her as a Roman Catholic religious writer. They see her anger as the search to save her moral being through her belief in Jesus Christ. Others do not deny her Roman Catholic religious beliefs. Yet they see her not writing about things, but presenting the things themselves.
When she left the writing program at Iowa State University she was invited to join a group of writers at the Yaddo writers' colony. Yaddo is at Saratoga Springs in New York state. It provides a small group of writers with a home and a place to work for a short time.
The following year, nineteen forty-nine, she moved to New York City. She soon left the city and lived with her friend Robert Fitzgerald and his family in the northeastern state of Connecticut. Fitzgerald says O'Connor needed to be alone to work during the day. And she needed her friends to talk to when her work was done.
While writing her first novel, "Wise Blood", she was stricken with the disease, lupus, that had killed her father. The treatment for lupus weakened her. She moved back to Georgia and lived the rest of her life with her mother on a farm outside Milledgeville. O'Connor was still able to write, travel, and give speeches.
"Wise Blood" appeared in nineteen fifty-two. Both it and O'Connor's second novel, "The Violent Bear it Away," are about a young man growing up. In both books the young men are unwilling to accept the work they were most fit to do.
Like all of Flannery O'Connor's writing, the book is filled with humor, even when her meaning is serious. It shows the mix of a traditional world with a modern world. It also shows a battle of ideas expressed in the simple, country talk that O'Connor knew very well.
In "Wise Blood", a young man, Hazel Motes, leaves the Army but finds his home town empty. He flees to a city, looking for "a place to be." On the train, he announces that he does not believe in Jesus Christ. He says, "I wouldn't even if he existed. Even if he was on this train. "
His moving to the city is an attempt to move away from the natural world and become a thing, a machine. He decides that all he can know is what he can touch and see.
In the end, however, he destroys his physical sight so that he may truly see, because he says that when he had eyes he was blind. Critics say his action seems to show that he is no longer willing to deny the existence of Jesus but now is willing to follow him into the dark.
The novel received high praise from critics. It did not become popular with the public, however.
O'Connor's second novel, "The Violent Bear it Away," was published in nineteen sixty. Like "Wise Blood," it is a story about a young man learning to deal with life.
The book opens with the young man, Francis Marion Tarwater, refusing to do the two things his grandfather had ordered him to do. These are to bury the old man deep in the ground, and to bring religion to his uncle's mentally sick child.
Instead, Tarwater burns the house where his grandfather died and lets the mentally sick child drown during a religious ceremony.
Critics say Tarwater's violence comes from his attempt to find truth by denying religion. In the end, however, he accepts that he has been touched by a deeper force, the force of the word of God, and he must accept that word.
Both of O'Connor's novels explore the long moment of fear when a young man must choose between the difficulties of growing up and the safe world of a child.
Flannery O'Connor is at least as well known for her stories as for her novels. Her first book of stories, "A Good Man is Hard to Find," appeared in nineteen fifty-five. In it she deals with many of the ideas she wrote about in "Wise Blood," such as the search for Jesus Christ.
In many of the stories there is a conflict between the world of the spirit and the world of the body. In the story, "The Life You Save May Be Your Own," a traveling workman with only one arm comes to a farm. He claims to be more concerned with things of the spirit than with objects.
The woman who owns the farm offers to let him marry her deaf daughter. He finally agrees when the mother gives him the farm, her car, and seventeen dollars for the wedding trip. He says, "Lady, a man is divided into two parts, body and spirit. . . The body, lady, is like a house: it don't go anywhere; but the spirit, lady, is like a automobile, always on the move. . . "
He marries the daughter and drives off with her. When they stop to eat, the man leaves her and drives off toward the city. On the way he stops and gives a ride to a wandering boy.
We learn that when the one-armed man was a child, his mother left him. Critics say that when he helps the boy, he is helping himself.
In nineteen sixty-four, O'Connor was operated on for a stomach disease. One result of this operation was the return of lupus, the disease that killed her father. On August third, nineteen sixty-four, Flannery O'Connor died.
She was thirty-nine years old.
Near the end of her life she said, "I'm a born Catholic, and death has always been brother to my imagination."
The next year, in nineteen sixty-five, her final collection of stories, "Everything That Rises Must Converge," appeared. In it she speaks of the cruelty of disease and the deeper cruelty that exists between parents and children. In these stories, grown children are in a struggle with parents they neither love nor leave. Many of the children feel guilty about hating the mothers who, the children feel, have destroyed them through love. The children want to rebel violently, but they fear losing their mothers' protection.
In nineteen seventy-one, O'Connor's "Collected Stories" was published. The book contains most of what she wrote. It has all the stories of her earlier collections. It also has early versions of both novels that were first published as stories. And it has parts of an uncompleted novel and an unpublished story.
In nineteen seventy-two this last book won the American book industry's highest prize, The National Book Award. As one critic noted, Flannery O'Connor did not live long, but she lived deeply, and wrote beautifully.
This Special English program was written by Richard Thorman. I'm Shirley Griffith.
And I'm Ray Freeman. Join us again next week for another People in America program on the Voice of America.
British Prime Minister's words fail to placate US's anti-BP sentiments www.youtube.com/watch?v=uKW-19Th46Y
Messy cleanup of BP oil spill damages the Gulf
By CAIN BURDEAU (AP) – 29 minutes ago
FOURCHON BEACH, La. — The 5,600 vessels taking part in the oil spill operation on the Gulf of Mexico make up the largest fleet assembled since the Allied invasion of Normandy, according to the Coast Guard.
Hordes of helicopters, bulldozers, Army trucks, ATVs, barges, dredges, airboats, workboats, cleanup crews, media, scientists and volunteers have descended on the beaches, blue waters and golden marshes of the Gulf Coast.
That's a lot of propellers, anchors, tires, and feet for a fragile ecosystem to take, and a tough truth is emerging: In many places, the oil cleanup itself is causing environmental damage.
Part of that is inevitable — the oil has to get cleaned up somehow, and BP and the government will be subject to second-guessing no matter what.
"Absolutely nothing you do to respond to an oil spill is without impacts of its own," said Lisa Jackson, administrator of the Environmental Protection Agency.
Since the Deepwater Horizon rig exploded April 20, killing 11, and oil began gushing into the Gulf, federal, state and BP officials say they have been guided in their response by picking the less damaging cleanup method.
Still, environmentalists and veterans of other spills say the torrent of untested cleanup methods rushed into practice by panicked officials and unqualified experts is wreaking havoc and, at least in spots, may be unnecessary.
"The more you disperse (with chemicals), the more you bring in these big machines, the more you bring in inexperienced people and the more sand berms you build, the less chance you have of letting Mother Nature and skimmers and booms do the job," said Mike Brewer of Buras, La., who ran an oil spill response company and is working on the BP cleanup.
For starters, the EPA allowed BP PLC to spray a chemical dispersant, a product called Corexit, to break up oil right as it came out of BP's broken well nearly a mile below the surface. The idea is to save shorelines from being clobbered with vast waves of crude.
In practice, the use of dispersants that had never been tested that far beneath the surface has made the oil much more difficult to track than it would have been in a single, massive slick. And environmentalists and marine biologists still aren't convinced the chemicals are safe for sea life.
The EPA halted underwater spraying while it tested samples collected by BP, then allowed it to resume once the results came back to the agency's satisfaction. Further tests are ongoing, and crews quit spraying dispersant once the well was contained this week, Jackson said.
"Basically, we conducted uncontrolled experiments in the open ocean — that does not seem like a good idea to me," said John Hocevar, the oceans campaign director for Greenpeace USA.
Jackson said there was little evidence that the chemical dispersants had caused damage and called their effects "relatively mild."
Eager to be seen as taking charge, Gov. Bobby Jindal began building a series of untested sand islands and other barriers along the Louisiana coast, making construction of these berms a personal crusade. In theory, sand berms and jetties will stop the oil from entering sensitive estuaries.
But berms and jetties interrupt shrimp and fish migrations as well as tidal flows; the work can even undermine what little is left of Louisiana's gooey and sediment-layered shoreline.
"None of the coastal scientists have signed onto this thing," said Leonard Bahr, a former adviser to both Republican and Democratic governors in Louisiana on coastal restoration issues.
Fishermen and locals, however, almost unanimously agree with Jindal's unorthodox barrier plans.
"We know these (berms) stop the oil. It worked on Fourchon Beach," said Windell Curole, a levee manager in south Lafourche Parish, an area long struggling with erosion. "The people that are pushing for these things are more invested in it than the scientists."
In a move that put its compensation costs toward curtailing the spill's environmental effects, BP hired truckloads of inexperienced oil spill responders — shrimpers, unemployed workers, college students, and migrant workers. The manpower is essential, but their footprint can be huge, especially if they're not used to watching their step.
"It was like the Wild West there for a while, and it still is to some degree," said Drew Wheelan, a wildlife biologist with the American Bird Association Inc., a conservation group.
Wheelan said cleanup crews trampled on numerous nesting bird colonies, including at least one batch of least tern eggs he saw. Wilson's plovers and endangered black skimmers on Louisiana's Grand Isle and East Grand Terre islands were threatened by intensive beach cleanups.
"The whole entire area in the past two weeks has been completely crisscrossed by tire tracks. The entire cleanup there has been entirely sickening," Wheelan said recently of East Grand Terre. "There are tire tracks from the low tide line all the way up into the dune vegetation. Not an inch of that frontal beach has been spared from traffic."
Out on the Gulf, BP brought in a super-sized skimmer from Taiwan — the "A Whale" — capable of sucking up 20 million gallons of water a day, aiming to corral huge quantities of oiled water at once. Like some of the other methods, it had never been tested and scientists worried that it could cause serious damage.
"It will suck in a lot of biology," said James Cowan, a Louisiana State University fisheries scientist.
Coast Guard officials questioned its effectiveness, noting that it would be better for attacking a single huge slick than for the countless smaller pools that the dispersant helped create. Authorities announced last week that the massive ship was dropping out of the spill operation.
Forrest Travirca has seen the cleanup's side effects up close as a land manager for the Wisner estate, a public land trust that includes Fourchon Beach and a large marsh area that has seen some of the heaviest oil so far.
On an airboat cruise through marsh, signs of the messy cleanup jumped out. Reddish-brown and sticky tar coated the blades of marsh grass behind a beach lined with sand baskets brought in by Army dump trucks. Absorbent boom lay washed up against shorelines. Crews had staked down shade tents every few hundred yards.
Almost as soon as he stepped onto the sand, Travirca saw something he didn't like: Two ATV tracks meandering carefree across the sands. Someone with the cleanup had strayed from designated traffic corridors.
"This really upsets me," Travirca said, standing over the fresh set of tracks. "They're not supposed to be driving back here. They've got to drive along the front of the beach. Birds nest back here."
He walked a few paces away and pointed out another set of ATV tracks he discovered a few days before. "This track here was inches from a tern nest with eggs."
At least now, more than three months after the spill, the cleanup is becoming more organized.
In the beginning, he said, the beach "looked like the autobahn."
Taraf De Haidouks - Turceasca -
Sooo brilliant - listen!!! You will DIE!! It's one of the most beautiful songs on earth!! - : www.youtube.com/watch?v=xnNCidccbG8
Taraf De Haidouks - Doina, hora si briu www.youtube.com/watch?v=gTuxzoLnBnU
Here's what's in my gacha this round!!
Beach Camping Picnic Table (Mesh/Land Impact: 20) - No Copy, No Mod, Yes Transfer - Scripted with texture-change menus for 5 table cloth patterns and 6 mug colors! Love this for a beach or backyard decoration (or even in the house if you're a fan of the rustic wood!)
Record Player + Stand (Mesh/Land Impact: 5) - No Copy, Yes Mod, Yes Transfer - Scripted with a texture-change menu for 7 different case colors! This one's a lot of fun, perfect for modern or retro decor, and don't forget to examine the records. :P
Studded Bouquet Sunnies (Mesh/Wearable) - No Copy, Yes Mod, Yes Transfer - These neato sunglasses have a unique hand-painted design and golden studs with a warm gradient shade. (They're my favorite pair of the bunch!)
Giraffes Bikini (Base Texture/Tee/Pants/Jacket layers only) - No Copy, Yes Mod, Yes Transfer - Hand drawn textures, fun color combinations, a giraffe print and retro silhouette = PERFECT for the beach (and to pair with your Bouquet Sunnies and Leather Hip Sack!)
Bouquet Sunnies (Mesh/Wearable) - No Copy, Yes Mod, Yes Transfer - 7 vibrant colors with tiny hand-painted daisies and statement lenses. These will mix match with just about any fun color or pattern you decide to get sandy in.
Leather Hip Sack (Rigged Mesh/All Sizes Included with a Sizing HUD) - No Copy, No Mod, Yes Transfer - These are a fresh take on the fanny-pack.. because fanny-packs are way cool. Wear them over jeans, swimwear, shorts, skirts, anything! Change sizes easily with the HUD and collect all the colors for easy accessorizing!
Hand-Painted Bowls of Eggs (Mesh/Land Impact: 1) No Copy, Yes Mod, Yes Transfer - A lovely addition to your kitchen, dining room or picnic table!
I'm so excited to be participating in this round of The Arcade! I hope you all enjoy this release, and good luck!! I hope you get those rares!!! :D <3
Having fun with the 12 days of textures : www.kimklassencafe.com/thecafe/my-story-part-2.html?lastP...
texture wonderfulmagic_scripted by Kim Klassen on screen 100%
texture wonderfulmagic by Kim Klassen on screen 100%
day 7 of 12 days of textures
Please don't use this image on websites,blogs or other media without my explicit permission .
Can't say much about anything here... I just sat, looking down at the source pic (which was all cyan for some reason... probably "le me doodling with ReShade filters" back then) - and thought how little I can do about this (in terms of "normal editing"), and then I just tuned back to my favorite Retrowave radio, and let if flow...
At least that's how I felt it. Today (on a day-off, thank God) after a non-stop 4-hour-long gameplay session in The Evil Within* I still have my hands shaking, the game has perfectly creepy & twisted atmosphere! One could say that I let my inner "evil" out in this schizophrenic artwork (and that's most likely true). :D
After all, I it was fun to experiment with, and I hope you don't mind that kind of "psychedelic" art style. I just thought I could share it with you guys, and I really care and appreciate that you're here, with me.
(*Yes, I finally got my hands on it, and it's bloody FANTASTIC! Screenshots will eventually come 'cause now I don't want to shoot TEW, I just want to play the hell outta it, I want to be wrecked by mobs and bosses, I want to feel the pain and agony of fear and hopelessness to the fullest.)
I start to think that Countach is my most preferable car when it comes to "retrowaving the picture" (whatever that would mean aside from "making a pic more retrowave-ish with colors, tones and overall look per se; see my prev similar artwork "Power Animal (#retrowave style)" as an example)
===NFS: Most Wanted 2012, PC
2160p (downsampling) resized to 1080p
-MasterEffect Reborn 1.1.190
DeadEndThrills's guide on screenshooting in MW12===
Broke down and went to ye ole grocery store and found some nice flowers. I'm living in a tundra here in KC, MO.
This is the first result of my first lesson in Kim Klassen's Art of Texture e-course. If you haven't signed up, you are missing out! This is fun!
Thanks Kim for the "Scripted" texture and the amazing tips! My winter cabin fever is draining away.
I know for a fact that being tired used to be easier. It never really mattered what kept me up at night, the next day, though tired, was usually not so bad. I could function enough to do whatever job I had to and I just made sure to get more sleep the next night. I used to be able to do a days work after very little to no sleep, heck, I did the 'Terry Fox Run' one year with absolutely no sleep at all, I just called it the 'Terry Fox Crawl' that year and got through it! But nowadays, if I don't have enough sleep for even one night, I feel like I have one foot in the grave. And believe me, today is one of those days. Maybe it would be easier if I'd had fun last night, but no.......it wasn't any fun at all, sitting at the hospital ER for most of yesterday and then making a return trip this morning at 2 AM. *sigh* But, I'm not complaining, I'd do anything for my parents, and if it means spending countless hours sitting and waiting, or waking up to a phone call to make the trip again, I'll most definitely do it! I'm so fortunate to have both my parents in my life at this stage so anytime they need me, there's no questions asked, I'm there. It's when medical emergencies happen that living in the country kind of sucks. I'm relatively close to the city, but it's still an hour long round trip, and early this morning I needed to put gas in the vehicle before coming home, so I froze my butt off out in the -30°C wind chill........then figured since I'm in there I may was well get a Tim Horton's coffee for the trip home. I hate to waste a visit to the city without getting one! And I wondered why I couldn't sleep when I got back home, that was one really big cup of coffee!
I played around with my picture a little bit today, but I love this look! My main purpose for this photo is the pose, which is from the 'Phenomenal' pose sets from Le Poppycock and available at the current round of The Chapter Four. The two sets of six poses each are perfect for your photos, with each one being completely unique and natural to really make your shot perfect.
As always, I'm wearing the 'Raine' skin in 'miel' tone from Avada, on the 'Lilo' bento head from Catwa and the 'Lara' mesh body from Maitreya.
It's not a very good view of my newest piece of artwork, but behind me on the wall is a piece I've acquired from Harry Cover, whom I follow and admire on flickr, and who completely blew me away by offering this shot for my home, in world and out! Thanks so much, Harry! <3
I fell in love with the frame I've used for it from [QE] Designs, It's are the Repurposed Barnwood Frames, which come with a square and rectangle version, both with 8 wood textures and 3 metals via drop down menu. They're also scripted for resize on touch.
Also my home is decorated with the 'Raw Coffee Table' from .::THOR::., the 'Berlin Sofa and Rug' from ~BAZAR~, the reading pile is from a gacha set from Apple Fall, the 'Alarm Clock' is from the 'Farm Living' gacha set from Apt B, and the incense is from tarte. The blinds are from one of the many gacha sets from Scarlet Creative.
You can also see me on my blog, What a Beautiful Mess!.
Congratulations Peas! Your three teams have come together to reach 10 Million points and in doing so you have unlocked this amazing prize. The Starboat Rezzer costs 6000 points, and rezzes out a bumper boat complete with health bar. It's scripted for fun sea battles with your friends.
Some more photos of Lady Liberty from inside.
It was our daughter's 30th BD and they allowed my wife to take a small crown up for some photos (don't worry Court, I'll save those.. LOL).
People said "Happy Birthday" to her all day long. It was great. Everyone was very nice.
You can see some of the open windows in the crown. Where these photos are taken from.
If you are using the GM script that moves the comment box to the top, there are some more inside Liberty photos below this one..
Hope you enjoy the view.
!Ohmai Sea Otter Pets for Summerfest'2013 coming to you June 15th - June 29th! New & Exclusive to Summerfest during the duration of the event! A special adoption certificate is also available for those who purchased the "Pet Versions" during Summerfest, anything after will have a different adoption certificate.
*NOTE: This is NOT a Gatcha. Even though i'm using a Gatcha script for the vendor - this is because with each Pet, you get a random name assigned to your Otter as an additional fun bit. But please; this is NOT a gatcha. You can choose whichever color you'd like to get from the vendors.
Item: Sea Otter Pet
Land Impact: 4P.I and Above
!Ohmai Sea Otter Pets are rezzable or wearable animal props. Each of them are touchable to either add a Seafood Accessory or change their Fur Alpha. Fur Alphas work great on low - but not so much in shadow and I know many folks hate em, so feel free to touch your Otters and toggle these off. All should be Mod/Copy but also contain a resizer script for easy resizing.
Buying this will include the following:
- Sea Otter Certificate of Adoption
- Single Versions
!O: Sea Otter Pet (Wear for Human Avatar)
!O: Sea Otter Pet - Standing (To Rez)
!O: Sea Otter Pet - Sitting (To Rez)
!O: Sea Otter Pet - Floating (To Rez)
- Couple/Friends Versions (To Rez)
!O: Sea Otter Pet - Friends Forever (Alpha)
!O: Sea Otter Pet - Friends Forever (No Alpha)
- Baby Versions (Suited for Otter Avatars)
!O: Sea Otter Baby Ver1
!O: Sea Otter Baby Ver2
- Pet ReadMe Notecard for additional information.
An eagle descends with the falling snow on the open farmland in rural Nova Scotia. As much fun as the eagle festival was, I still prefer the shots I was able to get patrolling the farmlands, looking for that impromptu moment when you see activity in the middle of the field, or gathered in trees. Less scripted, and a hearth-thumping surprise. Thank's all for the kind comments this series has received. As the migration starts up in Nova Scotia, as will the photostream.
Mas fotos, videos y post completo en mi Blog: ift.tt/2qpNLkP
The Secret History Of William Gibson’s Never-Filmed ‘Aliens’ Sequel
Gibson’s "Alien III" script had space communists, a zero-gravity alien swarm, and something called the "New Beast."
Fecha: May 16, 2017 at 04:22PM
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It happens. You find your “free” moments not so. Or not as frequent as they once were. I mean to say that I lead a crazy life, not that I am crazy, although the latter is always a probability. :-D
Not only am I working full-time on two books (and thus my computer has been turned into a fancy word-processor for now), but I am in the midst of packing for my move into a new apartment at the end of this month. I hate moving, and all that it entails, but it’s a step-up...in the long run. Where I live now is cluttered with boxes, some full, some still waiting to be fed with the past 10 years accumulation of “stuff.” Yikes. It’s a bit stressful, but fun and exciting at the same time.
And there’s more. *sigh* This next part even I find hard to believe, so please hold onto your hats, and proceed to laugh hysterically, if you are so moved, by this revelation: I am a Zombie. Well, mebbe not yet, but I’m going to be transformed. I did not plan on this happening. This has never been a particular goal of mine, you must understand.
This new craziness jumped from the shrubs in this manner: Quite a while back, I promised some film-maker friends that I would be in a movie they were planning to shoot. It was to be a short horror flick, laced with their particular brand of goofball humor. I agreed to be an actor, as I did not think they would ever really get beyond a script. How quite daft of me. I should have learnt by now...
So now we are filming. Again. The production stopped once, for various reasons, but now is up and running again. I find I am now the lead actor. I have no fear of the camera, and I am basically portraying myself: an idiot. A happy-go-lucky fellow, in a bowler hat. We are permitted -- nay, requested -- to ad-lib, and this suits me just fine, as I prefer spontaneity to the harsh discipline of the sacred script. The movie will be released on DVD this fall. The remaining footage that I am involved in will all be shot at night. Alas, do not expect to see Christopher Walken. What will be most interesting I think, besides the absurdity of the acting and our shameless nods to other cult films, is the “gag reel.” Outtakes. Yesterday, I cracked up, because I could not remember this simple line: “Thank you very much, but I think we’ll be fine.” After abusing this line for too many takes, I begged my “wife,” Rebecca, to say it. She did it perfectly the very next take! :-P
We also did a cafe scene yesterday, and I was able to get Treeson and my Green Monkey into the shot, as nods to my flickr friends! hehe! Wheeeeeeee! Btw: yes, the Zombie Make-Up is quite good. Zombie with Bowler? Who’d a thunk it?
Well, anyhow, these are the reasons that I cannot spend much time on Flickr at present. I will pop in as much as can, visit my contacts streams, comment if possible, but it may be a lot of “fave and run,” for a bit. Yah. My Crazy Life. But, y’know? For mebbe the first time ever, I wouldn’t trade it for anybody else’s...
Love To All,
Michael (froggie) :-D
ULTRA EVENT OPEN
To a new and different experience!
The beautiful old car 100 years ago was just released from Anhelo.
"AnalogMatic", a script for this car with unprecedented realism in SL, was also released at the same time.
By linking these two with the "extended function VIAS", You will be out of disabled and game-like operation and you will experience the fun of new driving.
What is the "extended function VIAS"?
It is a development kit newly created by Anhelo. By covering complicated basic scripts of car with VIAS, Users can more easily enjoy free customization. It is also possible to sell it in the form of an original development kit.
"want to let a light turn on" "want to sound" "want to add animation" "want to move wheels for SS" "want to run with my own script" "want to circulate it in SIM automatically" ...etc.
Please get your dream car.
The operation method by AnalogMatic is as follows.
For the extended function VIAS, please see below.
*For texture customization it is possible to DL from the product page.
Available @ The Arcade - June 1, 2014
*katat0nik* Summer Accessories Gacha!
For this round of The Arcade I made original mesh ice cream bars, sunglasses, and glasses!
The ice creams have happy expressions and gumball eyes that are just begging to be bitten off :D
The sunglasses & glasses have texture-change lenses with a "dark" & "clear" option on each pair (so technically, they can ALL be worn as either sunglasses or glasses...you choose!) The glasses also have a resize script so you can customize the fit.
There are 12 prizes total. Two of them are rare. Please view the ad full-size to get a better look.<3
Stuff worn in pic:
Skin: Pink Fuel - Harley (Ivory)
Hair: D!va (@ Collabor88)
Clothes: *katat0nik* Sailor Romper
Tattoos: *katat0nik* Triple Dip Tattoo Sleeves
" I live in my own little world, but it's okay, they all know me there!"
Greetings from what seems like the storm and Wind capitol of the world....seriously sounds like the windows are going to blow out at any moment!
Just a fun practice picture while I was without internet
And as the spring night settles in, Widelmina Zeminoba blossoms as the princess of the night, spreading her scent in the beautiful Babydoll outfit from !Lyrical B!zarre Templates! and she dedicates the harmonious sounds of the violet nature.
Queen of elements, but also of our hearts, funky and fun with her lit wings, our sexy angel is working her way down this runway and turning it all into a masterpiece!
Copyright :copyright: All Rights Reserved
Angel: Widelmina Zeminoba
Script by Crista Wellens
Photography by Roudoudou Hirons
FOLLOW US AT OUR OFFICIAL SITES
Hop over to the MAINSTORE maps.secondlife.com/secondlife/BELLECHIAPPE/32/101/1111 and you’ll find this gift in the new GroupyRoom – NOTE: This Gift is restricted to the group SL frees & offers – you have to wear this Grouptag in order to get this Gift – A Special Edition of Saskia with a 15 Shades of Pink HUD for Base and Streakcolors / called Pinkischninki for SLFO – have fun!
NOTE: This Colorshades are specially made for this Group – so they wont be for sale to anyone else!
Mix and Match Base and Streaks and Combine this HUD with other HUDs from this Hairstyle!
Top: enertia – I spicy top
Bracelets: Izzie’s – Eternity & Pride
Rings: Belzebubble (Maitreya Bento)
Necklace: The Plastik. – Krysis Cord-Key
Mesh Head: CATWA HEAD Catya (Bento)
Mesh Eyes: Suicidal Unborn – Xenira Eyes
Skin/Applier: 7DeadlySkins – KLAASJE Caramel
Ears: Mandala Season 5 (Pixie)
Tattoos: Para Designs – Mash Up Black Medium
Body: Maitreya Mesh Body – Lara