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jt1674 · 2 months
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jazzdailyblog · 5 months
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"Hoarded Dreams": Graham Collier's Magnum Opus Unveiled
Introduction: In the vast landscape of jazz, where every note tells a story, certain albums stand out as magnum opuses that transcend time and genre. One such monumental creation is “Hoarded Dreams,” a live album by bassist and composer Graham Collier. Released on January 16, 2007, under the Cuneiform label, this recording is a testament to the brilliance of Collier and the ensemble of…
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Headlines (Edward H. Griffith, 1925)
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gerard-menjoui · 1 year
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Print #3 - PREACHER
(Une de mes séries préférées, une technique pour tromper l’ennui au taff aussi -donc elle est bien plus simple que les autres- )
Version non compressée (et donc beaucoup trop lourde pour Tumblr):  https://i.ibb.co/w7Q59jq/print-5-preacher.png 
Crédit: Gérard Menjoui
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eyesonsutherland · 10 months
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I....I have daddy issues
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letterboxd-loggd · 11 months
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Britannia Hospital (1982) Lindsay Anderson
July 2nd 2023
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1-1-s1ay-2-2 · 1 year
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The Sweetly~Slayed Side of T.V. 📺
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chenfordsrollisi · 9 months
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Graphics Part 47
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dailyfe · 8 months
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Mitch Evans of Jaguar TCS Racing during Valencia Pre-Season Testing (27/10/23) by Malcolm Griffiths
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feraltwinkseb · 1 year
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March 21, 2018 - Sakhir, Bahrain Source: Malcolm Griffiths\Formula 1 via Getty Images
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umseb · 4 months
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bmw sauber reserve driver sebastian vettel beaches it during pre-season testing, barcelona, spain - february 14, 2007 📷 malcolm griffiths / motorsport images
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robinfrinjs · 8 months
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Robin Frijns of Envision Racing during Valencia Pre-Season Testing (27/10/23) by Malcolm Griffiths
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firstpersonnarrator · 23 days
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More positive reviews come rolling in: The Arts Desk (X)
Withnail and I, Birmingham Rep review - Bruce Robinson’s 1987 film makes for a theatrical hit
“Robert Sheehan’s portrayal of Withnail was an absolute scream – and certainly no shallow imitation of Richard E Grant’s performance.”
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Rehearsal image: @therepbirmingham IG
“All-in-all, this production of Withnail and I was a triumph and the standing ovation that the cast received was certainly well deserved. Indeed, the show proved to be far from the mistake that it could have been but a real celebration of British theatre in front of a packed audience.”
Full review (X)
Let’s put our cards firmly on the table here. I am a big fan of Bruce Robinson’s cinematic masterpiece about two out-of-work actors who live in Camden Town in 1969 and escape to the countryside for some rejuvenation, and must have seen it multiple times since it was released onto the big screen 37 years or so ago. Clearly, I’m not the only one, for Withnail and I has since achieved serious cult status – to the extent that it’s something of a surprise that it’s never been the focus of a dodgy Hollywood make-over or even been turned into a rock opera by the likes of Ben Elton.
Therefore, it was with some trepidation that I approached the initial run of a live theatre version of this classic comedy at Birmingham’s Rep. However, the fact that it had been adapted for the stage by Robinson himself and was to be directed by the great Sean Foley did offer significant hope. That said, there were still two major aspects about the production that gave a degree of concern: who was going to be cast as the self-absorbed and over-confident, yet cowardly Withnail and how was the predatory Uncle Monty and his unwanted sexual fixation on Adonis Siddique’s Marwood going to be portrayed? After all, mainstream attitudes towards the LGBT+ community have shifted considerably since the film first appeared in the late 1980s, when the Thatcher Government was still doing its damnedest to demonise gay men and lesbians with their Section 28 legislation.
I need not have worried. As Robert Sheehan’s portrayal of Withnail was an absolute scream – and certainly no shallow imitation of Richard E Grant’s performance that launched his film career and created an enduring source of comedy banter, if not a minor character-focused cult. Malcolm Sinclair’s Uncle Monty was similarly a fresh creation and considerably less flamboyant than Richard Griffith’s cinematic portrayal of the part. If anything, Sheehan was significantly more camp than Sinclair in this version.
Of course, the eminently quotable lines from the film’s script were all in order, with many fan boys and girls in the audience mouthing them as they were spoken by the actors. The infamous “We want the finest wines available to humanity. We want them here and we want them now!” even got its own cheer from a good proportion of those in the house.
While the original film has quite a small cast and all the characters, including Danny the Dealer and the imposing Presuming Ed, were represented without having to amalgamate any roles, reproducing various scenes – such as strolling or staggering over the bleak Northern countryside to and from the Crow pub – just wasn’t possible on the Rep’s stage. However, Alice Power’s excellent set – which often consisted of translucent screens and projections – more than made up for the limitations posed by an indoor theatre. Similarly, punctuating the show with a live band covering “A Whiter Shade of Pale”, “Sunshine of your Love” and other tunes of the time, resplendent in hippy garb and fronted by the energetic Sooz Kempner, was a genius move.
All-in-all, this production of Withnail and I was a triumph and the standing ovation that the cast received was certainly well deserved. Indeed, the show proved to be far from the mistake that it could have been but a real celebration of British theatre in front of a packed audience.
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jacks-dark-oc-stuff · 29 days
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Ages of Some Characters
Adonis - 17 at meeting Rowan, 27 at the fall, 30 at Rowan’s rebirth, 31 at reuniting with Rowan, 43 at Mila leaving to seal Griffith, 45 at Mila’s defeat of Griffith, physically reverted to 32 after becoming immortal
Rowan - 19 at meeting Adonis, 29 at the fall, permanently 32 after rebirth
Cora - 14 at Adonis and Rowan’s meeting, 24 at the fall, 27 at Rowan’s rebirth, 28 at Adonis and Rowan’s reunion, 37 at Mila leaving to seal Griffith, 39 at Mila’s defeat of Griffith
Rebecca-was 55 at Adonis and Rowan’s meeting, 65 at the fall, 68 at Rowan’s rebirth, 69 at Adonis and Rowan’s reunion, 78 at Mila leaving to seal Griffith, 80 at Mila defeating Griffith
Harold - 19 at Adonis and Rowan’s meeting, 29 at the fall, dies of scarlet fever at 30
Rami - 69 at Adonis and Rowan meeting, 79 at the fall, 82 at Rowan’s rebirth, 83 at Adonis and Rowan’s reunion, 92 at Mila leaving to seal Griffith, 94 at Mila’s defeat of Griffith (he's an elf so still very young!!!)
Nirman - 36 at Adonis and Rowan meeting, 46 at the fall, 49 at Rowan's rebirth, 50 at Adonis and Rowan’s reunion, 59 at Mila leaving to seal Griffith, 61 at Mila’s defeat of Griffith
Warren - 20 at Adonis and Rowan’s meeting, 30 at the fall, 33 at Rowan’s rebirth, 32 at Adonis and Rowan’s reunion,45 at Mila leaving to seal Griffith, 47 at Mila’s defeat of Griffith
Mila - 0 at Adonis and Rowan meeting, born in between that and pre fall, 6 at fall, 9 at Rowan’s rebirth, 10 at reuniting with Rowan, 19 at going off to seal Griffith, 21 at defeating Griffith and becoming immortal
Ashri - 21 at Adonis and Rowan meeting, 31 at the fall, 32 meeting Adonis and Mila, 34 at Rowan and Adonis reunion,36 at birthing the twins of her and Guts, 46 at Mila leaving to seal Griffith, 48 at Mila’s defeat of Griffith
Arlo - 16 at Adonis and Rowan’s meeting, 26 at the fall, 29 at Rowan’s rebirth, 30 at Adonis and Rowan’s reunion, 41 at Mila leaving to seal Griffith, 43 at Mila’s defeat of Griffith, physically reverted to 32 after becoming immortal
Aisley - 20 at Adonis and Rowan’s meeting, 30 at the fall, 33 at Rowan’s rebirth, 32 at Adonis and Rowan’s reunion,45 at Mila leaving to seal Griffith, 47 at Mila’s defeat of Griffith
Ava - born between Adonis and Rowan meeting and the fall, 8 at the fall, 10 at meeting Adonis and the group, 11 at Adonis and Rowan reuniting, 21 at Mila leaving to seal Griffith, 23 at Mila defeating Griffith
Allen - born between Adonis and Rowan meeting and the fall, 8 at the fall, 10 at meeting Adonis and the group, 11 at Adonis and Rowan reuniting, 21 at Mila leaving to seal Griffith, 23 at Mila defeating Griffith
Christofor - 14 at Adonis and Rowan’s meeting, 24 at the fall, permanently 27 after becoming a paladin
Memora-12 at Adonis and Rowan meeting, 22 at fall, permanently 30 after attending her nephilim form
Hugh - age unknown
Victor - age unknown
Ernest - age unknown
Malcolm - age unknown
Adina - age unknown
Starling - 51 at Adonis and Rowan meeting, 61 at the fall, 64 when Rowan and Adonis reunited, and 69 when brutally murdered by Griffith
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troutreznor · 1 year
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Radiant / Bryan David Griffith, 2016
Smoke accumulated in encaustic beeswax on panel.
"Human management tends to produce regular and predictable patterns, whereas historical fire produced variability in forest conditions - often in sync with topography - leaving more trees on cool and moist slopes, and thinning them out on drier sites. Thinning is often most useful where is is difficult to conduct prescribed burning alone. Where thinning is needed, it has to be done right to reduce the likelihood of severe fire and ensure the survival of most remaining trees.
It is often best to follow thinning with prescribed burning to remove the fuels that remain after thinning. These efforts prepare the way for future managed or prescribed fires that can maintain low vulnerability conditions."
-Malcolm North, Associate Professor, University of California, Davis, Research Ecologist, USDA-Forest Service Pacific Southwest Research Station
photo captured and accompanying caption transcribed from "Rethinking Fire" exhibit at the World Forestry Center in Portland, OR
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byneddiedingo · 4 months
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Maggie Smith and Michael Palin in A Private Function (Malcolm Mowbray, 1984)
Cast: Michael Palin, Maggie Smith, Denholm Elliott, Richard Griffiths, Tony Haygarth, John Northington, Bill Paterson, Liz Smith, Alison Steadman, Jim Carter, Pete Postlethwaite. Screenplay: Alan Bennett, Malcolm Mowbray. Cinematography: Tony Pierce-Roberts. Production design: Stuart Walker. Film editing: Barrie Vince. Music: John Du Prez. 
A Private Function begins with Joyce Chilvers (Maggie Smith) and her mother (Liz Smith) entering a darkened movie theater where a newsreel is playing. We watch the newsreel, about meat rationing in postwar Britain, as the two women make their way to their seats, with Joyce scolding her mum for not finding a seat of her own. Then the lights come up and the theater organ rises from the pit. Joyce is playing the organ with her mother awkwardly sharing the bench with her. It's a nifty way to introduce not only two of the movie's key characters but also the era in which the film is set and the core of the plot. The newsreel also includes footage of the preparations for the wedding of Princess Elizabeth and Sir Philip Mountbatten, so we know that we're in November of 1947. The setting is a town in Northern England where the local dignitaries, led by the irascible, snobbish Dr. Swaby (Denholm Elliott, are preparing for a private function, a banquet, to celebrate the marriage of the future queen and prince consort. But how do you put on a banquet when everything, especially meat, is strictly rationed, and a diligent civil servant named Wormold (Bill Paterson) is enforcing the consumption laws with an iron hand? The banquet planners have found a way: They're raising an illegal pig. Eventually, Joyce and her meek chiropodist husband, Gilbert (Michael Palin), will get involved, especially after the would-be social climbing Joyce is not only frustrated by her inability to get around the rationing laws, but is also piqued by not being invited to the banquet. The only solution, it seems, is for Gilbert to commit pignapping and to hide the purloined swine in their home. The rest is farce in the manner of the British comedies made in the late 1940s and early 1950s, e.g., Kind Hearts and Coronets (Robert Hamer, 1949), The Lavender Hill Mob (Charles Crichton, 1951), and The Ladykillers (Alexander Mackendrick, 1955). It's raunchier and a good deal more scatalogical than those classic films, and it's sometimes edited a little choppily -- there are jump cuts where none are needed -- but it earns the comparison on the strength of fine comic performances by Maggie Smith, Palin, Elliott, and especially Liz Smith as the endearingly dotty Mother. ("She's 74," Joyce often interjects to excuse, explain, and even praise her parent's behavior.) 
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