#General John Glover

[streetsofsalem]

Glover Squad

With my February 1 deadline constantly in mind, I worked intently on the Salem book all weekend with the exception of Saturday afternoon and early evening  when my husband and I drove over to Marblehead for a tribute to Revolutionary War Brigadier General John Glover. Well, two tributes really: the revelation of the acquisition of a letter to Glover signed by General Washington by the Marblehead…

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#American Revolution #Anniversary History #Commemoration #General John Glover #Historic Preservation #Marblehead #Marblehead Museum #Reenactments

[angelsdean]

probs won't hit post limit bc i spent a good chunk of the day watching smallville

#my currently smallville thoughts as of getting halfway thru s5: #jensen's character is dead and gone rip jason teague #also he turned out to be working with his evil mom and held my girl martha and jonathan hostage. so not too sad to see his character go lol #chloe is still getting on my nerves but a little bit less #she seems to have finally accepted her role as sidekick friend who will never be the Love Interest #lois continues to grow on me<3 the 'i barely (but fondly) tolerate you' friendship she and clark have rn is cute #CLARK AND LANA DATING FOR REALS THIS TIME. my shipper heart soars. soaking it all up bc i knowww it will not last </3 #also them being each other's firsts. cute and also. VINDICATION. it's just simply what's meant to be. that's his first love ok #clark and lex's rapidly deteriorating friendship in s5 breaks my goddamn heart tho. also lex suddenly interested in lana like. no dude stop #like. i can only get one of my two favorite clark relationships to be afloat at a time. i get a clark x lana win this seasons #only to lose clark and lex :( #my girl martha continues to slay. all the awards to annette o'toole. literally every scene she's in just banger #and lionel's glorious hair finally back. we just love lionel in general. a fun bad dad. it's the flair for dramatics that makes him so fun #also just john glover is constantly slaying every scene too #smallville watch

[misterradio]

there are not enough full-body character references on the tron wiki literally how am i supposed to know what SHOES these characters wear

#^ this is a problem i encounter in general as well. show me the FEET #original nonsense #personal #also i just saw on the tron wiki that they CGI'd young jeff bridge's head in for clu in tron legacy ??!?!?!!?!?!!!?? wtf #also found out that john glover is gay (VERY COOL) and is not related to crispin glover #also that tron evolution has a PSP version and a DS version lol i have.. both of those.... •_•

[konigsblog]

captain's punishment .

summary; you're lost in a mission, price is angry and frustrated when you finally arrive back to base, teaching you a proper lesson the right way, and punishing you for being immature.

trigger warnings; degrading, rough sex, price is mean, exhibitionism (slightly), blowjobs, gagging, hair pulling, spanking, shit writing (message me if i missed anything) mean!price x f!reader, female anatomy (afab)

read more?

to say price was upset is an understatement. he expect better, especially from you. you'd been in the tasks force for years, you were a sergeant, someone who knew better than to get lost in the middle of a mission.

he'd thought you'd died, finally hearing your voice after a few days, getting your radio to work. “this is dove, come in.” you tried, muttering out your callsign.

price was in the middle of a rescue mission, searching for you, your voice ringing in his ears. “dove? where are you?” his voice was stern and cold, you could sense the anger behind the façade of being calm. “safehouse, i'll send my location.”

you were happy to be found. living off a couple things you'd found in the safehouse, the windows smashed in and allowing octobers harsh and unforgiving wind to breeze by.

the sound of the snow crushing against his crimson stained boots, the soles engraved with blood. as soon as he was on the concrete, his footsteps became louder, alerting you of his arrival. “you here, kid?” he'd call out, his gun pointed up as he scanned the area before his gaze landed on you.

no one else was behind him, it was a solo rescue, knowing he'd find you and come back in one shape, with you clinging to his arm. his gaze hardened, gritting his teeth as he put his gun down. “fuck, dove.” he cursed lowly, under his breath, smoke coming from his mouth, unsure of whether that was the smoke from his cigar or the affects from the cold weather.

“'m sorry, price..” you averted your eyes from him, avoiding eye contact before his glover hand grasped at your jaw, forcing you to look into his eyes. “you stupid? never remembered you to be this immature. should've told us immediately.” price towered above you, you were safe against a couch, old and tattered.

big doe eyes stared up at him, clearly guilty. “my radio, didn't work.” you looked into his eyes, seeing you all vulnerable beneath him was something he'd never experienced. you were a strong soldier, unable of making mistakes, something he'd never expected from you until now. it made him feel something; it made his cock twitch and throb, sighing lowly.

“wanna make it up to me?” suddenly the atmosphere changed. his bulge became more visible, more prominent. you nodded shyly, his hand still lingering of your jaw til it moved to his fly. unzipping it, maintaining eye contact, seeing the desire inside your pretty and adoring eyes.

his cock springed from his boxers, half hard, slightly dripping with precum. he nudged it against your soft lips, pushing inside, groaning when you wrapped those lips around him. john's hand immediately grasped at your hair, pushing you further onto his length til you hit his base, letting out a gag, your nose tickling his pubes.

dragging you off his size, tongue flat against his shaft, head thrown back. he let go of your skull, letting you set the pace. your fingers wrapped around his girth, not meeting due to how wide he is. swirling your tongue around the tip and sucking on his generously, taking his precum and tasting it on your pink tongue.

“fuck..- girl, that's it, you slut.” he grunted loudly, gazing down at you and admiring you, the way you dragged your tongue along each vein, moans muffled, hypnotised to the metallic and bitter taste of his semen. you whined, feeling as he pulled your hair, yanking you off his dick and forcing you back down. using your throat like a fleshlight, addicted to the sounds of your struggle.

“want your cum, sir..” you coughed, whining. “mm', bet you want it inside that pretty pussy, don't you?” a whimper left your lips, nodding your head eagerly, rubbing your thighs together. “spread those legs then, butterfly.”

you leaned back against the couch, shuffling your pants off and spreading your legs. you bit your lip, hiding the sounds you wanted to let out, feeling as he traced your slit over the material of your panties, soaked and ruined. “all wet f'me.” a chuckle escaped his throat, ripping your panties off in one swift movement, causing you to squirm and squeal.

he didn't even prepare you, slowly easing into your pussy, pulling your shirt up as he bottomed out inside you. grasping at your tits and squeezing them, fully revealing your tits, his tongue encircling your hardened nipples.

full and thick balls slapped against your tight ass, which each thrust making you clench around him, unable to think of anything other than your mean captain. “had my eyes on you for a while, soldier..” he breathed out, beginning to slam into your wet pussy as his pace increased.

you mewled for him to slow down. hairy ballsack knocking against your ass, girthy and meaty cock stretching out your pussy. it was painful, yet the pleasure took your mind off it, taking over any concerns about the pain. the sensation burned in your stomach, arching your back further into him.

“such a naughty girl, aren't you? not listening to your superior, huh?!” price became more upset, grabbing you by the scalp and forcing your head down again the comfort of the couch. he started to pound into you painfully, making you choke on a sob, eyes glistening slightly.

feeling so fucked-out already, the texture of each vein lugging against your gummy and soft walls was pleasurable. his radio began making sounds, the voice familar, gaz. “y'alright, sir? haven't heard from you.” and to make it worse, he didn't stop. “yeah, at the safehouse, sending my location for helo” he spoke, the sounds of skin slapping and moans loud, definitely heard by kyle.

“s-sir-” he put a finger to his mouth, silencing you. you couldn't stop moaning and they only grew louder as you grew more needy. knowing that helo would be here soon, you knew you would have to get this over with quickly. throwing the radio onto the coffee table, starting to ram into your swollen and sore cunt harder, faster, meaner.

“fuckin' be quiet, such a loud girl, aren't you? you want them to hear you? whore.” you gasped out, his thumb stimulating your clit, rubbing it over and over again yet pulling away everytime he thought you were coming closer to your orgasm. he wanted to drag it out, make you weep and beg him, pleading for your release.

his broad hips smacked into you again, repetitive skin slapping sounds filling the rooms silence, your noises probably heard from outside the building. his grip on your head tighten, other hand running up your waist to your breasts, running back down to your hip and squeezing. his grip tightened as he held you like a ragdoll, using you like a fleshlight, his pace coming to a stop. “if you're so desperate, fuck yourself back on my cock, dove.”

you cried out, bouncing yourself back onto his weeping length, his grasp tightening more as your walls pulsed around him. “n-need you” your pretty eyes that he loved to look at rolled to the back of your head, shut tight as you clenched around him. his tip grew red and angry, signalling that he was about to come.

panties were stuffed into your mouth, the taste of your arousal quietening your whining. you could taste the sweetness on your tongue, his thumb rubbing your clit again, causing you to squirt all over him. you came around him, milking him for all his thick cum.

it oozed from your precious hole, tight and spilling potent semen from it. your chest rised and fell as you caught your breath, pulling out your cunny and grabbing his belt, spanking your painful pussy, the cries you let out making him chuckle. the material of the belt causing a ‘thwap’ sound to echo throughout the four walls, continuing to abuse your cunt, still annoyed after that mission.

“m' sorry, sir!! please-, sir-!” he spanked your thighs a few more times, slapping your clit once before pushing you up. “hm', think i've taught you a lesson, dove?” you nodded, wanting a long and cold shower to wash of the dirt sweat and grime from your skin. he pulled you up, grabbing your pants and telling you to put them on, having to wear your soaked panties beneath them.

your belt looped through the loops, tightening it before the you heard the helo. the loud sounds of it approaching alerted you two, grabbing your wrist and pulling you out with him.

sighing as you sat down, smiling at soap who looked st you confused. it was pretty obvious what happened; your hair a mess, clothes messily and sloppily put on, clearly in a rush. and your mascara was smeared, you swear you could see ghost smirking, a low laugh leaving him quietly.

“lass, your fly's undone.” johnny had a huge grin on his face, smirking at you with a look that told you ‘i know what you did’ “o-oh, i didn't notice." wincing as you felt your cunt ache and throb, fixing your pants, embarrassed as everyone knew what you and price were up to, minutes prior.

#orla speaks #price smut #john price x female reader #captain price x you #captain price x y/n #price x reader #john price x reader #captain price #john price #captain john price #cod price #cod smut #call of duty smut #modern warefare 2

[diceriadelluntore]

Storia Di Musica #319 - Black Country Communion, Black Country Communion, 2010

Il mese delle storia degli album delle band con "black" nel nome si conclude oggi. Vorrei ringraziare i suggerimenti, alcuni davvero interessanti, come Federica che mi ha suggerito i Beast Of Black (un gruppo heavy metal scandinavo che ama inserire le tastiere stile anni '80 nelle loro canzoni, e fa cover di qualsiasi cosa, persino di Michael Jackson e non solo dei Manowar), ma ho scelto per chiudere questa carrellata, necessariamente parziale e soprattutto cercando di andare oltre le scelte più ovvie (i Black Sabbath, già protagonisti di questa rubrica, o i Black Keys) un gruppo che ritengo estremamente interessante. L'ultima storia riguarda un supergruppo, che i più attenti hanno già percepito essere un'altra di quelle piccole passioni musicali personali. Questo è uno dei più recenti, e soprattutto uno tra i meglio amalgamati e capace di cose, a mio avviso, davvero notevoli. Tutto nasce quando, per una serie di concerti, Glen Hughes e Joe Bonamassa iniziano a suonare insieme nel 2009. Sono due personaggi grandiosi: Hughes, bassista, è stata una delle voci più belle degli anni '70. Iniziò con i Trapeze, prima un quintetto, poi un trio, che pubblicò nel 1970 due dischi bellissimi, Trapeze e Medusa, quest'ultimo uno dei dischi "tesoro nascosto" di quel periodo, poi nel 1973 viene chiamato a sostituire Roger Glover e Ian Gillian nei Deep Purple: è la seconda voce con David Coverdale in Burn, grandioso disco della band inglese, sebbene non venga accreditato tra gli autori per problemi legali. Continuerà nei Deep Purple fino al 1976, poi deciderà a lungo di andare a suonare un po' a piacere (i suoi anni da zingaro li ha sempre definiti), dischi solisti, cantante anche dei Black Sabbath al posto di Ozzy Osbourne e tante altre cose tra cui ricoveri, dipendenze, collaborazioni. Joe Bonamassa è uno dei più grandi chitarristi rock\blues di questa generazione, collezionista di strumenti vintage, amante del suono puro della chitarra con pochissimi effetti, fondatore e presidente della Keeping The Blues Alive Records, etichetta che permette ai giovani di avvicinarsi al genere e produce i più talentuosi giovani performer. Insieme a loro c'è il grande produttore Kevin Shirley (conosciuto come The Caveman, produttore e ingegnere del suono tra gli altri di Aerosmith, Iron Maiden, Journey, Rush, gli ultimi dischi dei Led Zeppelin) che è incaricato di trovare altri musicisti per un progetto di supergruppo. Shirley chiama due suoni amici: Derek Sherinian, tastierista ex Dream Theater, che furono prodotti da Kevin, e Jason Bonham, figlio del leggendario John "Bonzo", batterista come il padre. Scelgono come nome, in questa sorta di unione anglo americana (Hughes e Bohnam sono inglese, Bonamassa e Sherinian americani) Black Country Communion, dal nome della contea delle West Midlands che si chiamana così per l'effetto dello smog provocato sia dalle miniere che dalle fabbriche che usavano il carbone per l'energia.

L'idea della band è di riprendere il suono vintage del rock anni '70 e di catapultarlo in una atmosfera contemporanea. Non sempre le individualità favolose dei singoli nei supergruppi funzionano come le aspettative vorrebbero, ma stavolta l'amalgama e la musica non lasciano dubbi: sebbene non sia un disco innovativo, Black Country Communion, che esce nel Settembre del 2010 è un disco di grande rock "classico", registrato in poco tempo, con pochi aggiustamenti, sincero, fiero e suonato alla grande. Basta l'intro di Black Country e la sua evoluzione hard rock, per capire che questo non è solo un omaggio ad uno dei periodi storici del rock, ma è la voglia di mostrarsi ancora capaci: sono tre minuti e quindici da antologia. One Last Soul, che fu il singolo di promozione, è più leggera ma prepara il terreno per una prima parte di disco stupenda: The Great Divide, Down Again, Beggarman con assolo favoloso di Bonamassa, ma soprattutto la stupenda Song Of Yesterday, che parte come uno slow blues, sale fino in cima e negli ultimi minuti sfodera una cavalcata che sa di ore passate a suonare insieme. Nella second parte, la bella No Time, la ripresa di uno dei brani che Hughes scrisse con i Trapeze, Medusa, che perde l'atmosfera folk prog della sua versione originale, diviene più muscolare e potente ma si mantiene convincente. Il disco si chiude con due brani molto particolari: Stand, che fa della complessità dei ritmi e della stratificazione degli stili (è il brano più progressive in repertorio) il suo fascino, Sista Jane è un brano in stile AC\DC e gli 11 minuti di Too Late For The Sun sono il commiato jam rock di questo disco, tra acrobazie strumentali da pelle d'oca. In tutto il disco, la voce di Hughes giganteggia, a ricordare che negli anni '70 era soprannominato The Voice of Rock, con la solidità tecnica di Bonamassa, di Bonham e di Sherinian a creare un suono che rimane convincente. Il progetto continuerà con un Black Country Communion II nel 2011, un tour in Europa, racchiuso in parte nello splendido Live Over Europe (con alcune gemme, tipo Burn dei Deep Purple, The Ballad Of John Henry di Mississippi John Hurt suonata dal solo Bonamassa, l'intro di Won't Get Fooled Again degli Who prima di Sista Jane) ma dopo Afterglow del 2012 Bonamassa si chiama fuori. Durerà poco, perchè il piacere è così tanto che già nel 2016 ritornano insieme, e proprio di questi giorni è l'uscita del loro ultimo lavoro, V, a 7 anni da BCCIV.

Questi sono i miei auguri di Pasqua. Decisamente rock.

#black country communion #black country communion I #2010 #recensione

[weltenwellen]

Hello! Have you got any reading recommendations either about childhood neglect/the mother wound specifically or anything fiction/non fiction generally?

No, not that much. I've read on emotional immaturity: Lindsay C. Gibson's Adult Children of Emotionally Immature Parents and Running On Empty by Jonice Webb. Specifically about mothers I can only think now of Emotionally Absent Mother by Jasmin Lee Cori and Will I Ever Be Good Enough?: Healing the Daughters of Narcissistic Mothers by Karyl McBride.

Then furthermore what stuck with me were things from the book Healing Your Emotional Self by Beverly Engel and Healing the Shame That Binds You by John Bradshaw.

Going further in terms of current boundaries and dynamics, self discovery: Lori Gottlieb's Maybe You Should Talk to Someone, Attached by Amir Levine and maybe Set Boundaries, Find Peace by Nedra Glover Tawwab.

Then if we're talking about understanding Trauma and what it does to the brain and the body of course The Body Keeps The Score by Bessel van der Kolk and Trauma and Recovery by Judith Herman. Furthermore I like in that direction Bruce Perry's The Boy Who Was Raised as a Dog and Good Morning, Monster by Catherine Gildiner.

#Anonymous

[phoenixwrites]

I'm FASCINATED by this flashback, of Jonathan and Lionel's first interaction.

Lionel runs in the middle of the road to flag down Jonathan and when Jonathan goes to him, he immediately realizes that Lionel is in shock. He's stammering and fragile and terrified and Jonathan actually takes an almost paternal attitude towards Lionel, who's almost close to tears. Lionel stutters out that his son is in danger and Jonathan runs into the corn field.

There are two things here that I note. First, that in times of dire need, Jonathan is a father through and through. Lionel is a coward. His inadequacy and incompetence towards his son whether they're flying across the world in a private helicopter or a meteor has struck them down. Jonathan has been a father for about ten minutes (they just found Clark!) and even then, he is still a better father than Lionel.

Second--my heart actually broke for Lionel here. Credit to John Glover, he played him so masterfully. In an instant, I remember, that just as Lex was created by Lionel, so Lionel must have been created by his parent, and so the generational cycles continue--but for that instant, I remember Lionel was once a scared little boy, cringing in the face of danger.

#phoenix watches Smallville #Smallville #Jonathan Kent #Lex Luthor #Lionel Luthor

[kwebtv]

Earthsea - Sci-Fi - December 13 - 14, 2004

Fantasy (2 episodes)

Running Time: 172 minutes

Stars:

Shawn Ashmore as Ged / Sparrowhawk

Kristin Kreuk as Tenar

Danny Glover as Ogion

Isabella Rossellini as Thar

Sebastian Roché as King Tygath

Jennifer Calvert as Kossil

Chris Gauthier as Vetch

Mark Acheson as The Gebbeth

Supporting Characters

Alan Scarfe as the Archmagus

Mark Hildreth as Jasper 

Dave 'Squatch' Ward as Dunian

Alessandro Juliani as Skiorh

Katharine Isabelle as Yarrow

Amanda Tapping as Lady Elfarren

Erin Karpluk as Diana

Emily Hampshire as Rosa

John Tench as General Doar

Alex Diakun as Thorvald

Heather Laura Gray as Penelope

Betty Phillips as Marion

William Samples as Doctor Hand

Antony Holland as Master Namer

R. Nelson Brown as Master Herbal

Chris Britton as Master Summoner

Frank C. Turner as Avner

Stefan Arngrim as Shire Reeve

#Earthsea #TV #Fantasy #Sci-Fi #2000's #2004 #Shawn Ashmore #Kristin Kreuk #Isabella Rossellini #Sebastian Roche #Danny Glover #Jennifer Calvert #Chris Gauthier #Mark Acheson

[batmanisagatewaydrug]

if you're up for it out of the ones you know how would the other non-comics Edwards rank? (Unburied, HQ Show and whichever else you've seen?)

this is going to be considerably more hinged because I just straight up haven't seen a lot of the cartoons that Riddleboy has popped up on and generally have less feelings about them; the comics are where I really get crazy get stupid about him. but let's talk about a couple highlights! no ratings, they're all good little bastards.

John Glover (Batman: The Animated Series)

he's not my FAVORITE favorite but like. come on. he's a good little Riddler! he riddles like crazy! and I like BTAS rogues on principle, I love that they can definitely murder people but stay classy about it.

I usually prefer Riddlers who are driven to riddle by a desire to fuck (with) Batman, but I actually REALLY respect that this guy originally just wanted to murder his shitty former boss. that guy sucked and he did deserve to get disemboweled by a mechanical minotaur in an enormous labyrinth that Eddie apparently spent a year building on his own dime!

I'm also kind of indebted to his existence because Eddie in BTAS spinoff comics is just. my favorite little guy. him!

Dave Franco (Young Justice)

I'm gonna keep this quick because there isn't a lot to say: this Riddler kind of sucks but is also pretty much spot-on. like he's irritating but the whole narrative knows he's irritating; sweet baby Dick Grayson seems fucking exhausted the second he shows up and all the other villains at Belle Reve bully him like a bunch of cunty middle schoolers. I'm a simple man; I love when even the other villains want to kill this man on sight. his design also kind of sucks; like there are so many elements here that sort of work but just aren't that remarkable altogether? he looks like he does other bad guys' taxes.

having said all of that I do genuinely adore that in his first episode he's the only guy who manages to break out of Belle Reve during what was planned to be a mass breakout, especially given that the aforementioned bullying would strongly suggest nobody even told him that was going to happen. I love when he's the slippiest boy! escaping things is sort of a riddle; let him have that.

also, hey, I have to say this: it's just. so weird that he's Dave Franco. he's not bad in the role at all but. why.

Jim Rash (Harley Quinn: The Animated Series)

speaking of animated shows that know he's annoying and just roll with it!!

I like the Harley Quinn series quite a lot for a lot of reasons, mainly because it's not precious about the DC mythos and will frequently just do some buckwild shit with very established characters with absolutely zero hesitations. the Riddler is the opposite of that; this show knows exactly why and in what ways he's supposed to be an insufferable little freak and they go for it full throttle. don't love the bald + question mark tattoo look but he's gay so it balances out.

Hasan Minhaj (Batman Unburied)

yeah there's no normal way to explain this one, this version of the Riddler crawled deep inside one of my brain wrinkles and is still sitting there chirping like a cricket. I can't even explain why but if I think about him too long I begin frothing at the mouth. I think about him a profoundly abnormal amount and I feel great about it. he's only in four episodes and managed to rot a hole in my psyche in significantly less than that. I just think he's neat. he's awful. he's pathetic. he's my little meow meow. I don't want anyone to fix him. I'll cry if he gets worse. I want to see him implode. I've said it before and I'll say it again, whatever happens in season 2 of Unburied is going to make me truly unbearable as a human being.

#edward riddlehands

[tibby]

Saw is a 2004 American psychological horror film directed by James Wan, in his feature directorial debut, and written by Leigh Whannell from a story by Wan and Whannell. It is the first installment in the Saw film series, and stars Whannell, Cary Elwes, Danny Glover, Monica Potter, Michael Emerson, Ken Leung, and Tobin Bell. The film tells a nonlinear narrative, revolving around the mystery of the Jigsaw Killer, who tests his victims' will to live by putting them through deadly "games" where they must inflict great physical pain upon themselves to survive. The frame story follows Jigsaw's latest victims (Whannell and Elwes), who awaken in a large dilapidated bathroom, with one being ordered to kill the other to save his own family.

The screenplay was written by Whannell, who co-created the story with Wan in their respective screenwriting debuts. It was originally written in 2001, but after failed attempts to get the script produced in Wan and Whannell's home country of Australia, they were urged to travel to Los Angeles. In order to help attract producers they shot a low-budget short film of the same name from a scene out of the script. This proved successful in 2003 as producers from Evolution Entertainment were immediately attached and also formed a horror genre production label, Twisted Pictures. The film was given a small budget of $1.2 million and was shot in 18 days.

Saw was first screened on January 19, 2004, before being released in North America on October 29, 2004, by Lionsgate Films. The film received generally mixed reviews from critics, but grossed more than $100 million worldwide to become one of the most profitable horror films since Scream (1996). The film has since gained a cult following and has been frequently credited as one of the most revolutionary horror films of all time.[2][3][4] It was theatrically re-released, to select theaters, on October 31, 2014, to celebrate its tenth anniversary.[5] The first sequel, titled Saw II, was released in 2005.

Contents

1Plot

2Cast

3Production

4Release

5Reception

6Notes

7References

8External links

3.1Development and writing

3.2Funding

3.3Casting

3.4Filming and post-production

3.5Music

4.1Tenth anniversary re-release

4.2Home media

4.2.1Full Disclosure Report

5.1Box office

5.2Critical response

5.3Accolades

Plot[edit]

Photographer Adam Stanheight awakens in a dilapidated bathtub, with his ankle chained to a pipe. Across the room is oncologist Dr. Lawrence Gordon, also chained, and between them is the corpse of an apparent suicide victim holding a revolver and a microcassette recorder. Both men find a tape in their pockets, and Adam retrieves the recorder. Adam's tape urges him to survive, while Gordon's tells him to kill Adam by six o'clock or his wife Alison and daughter Diana will be killed. Adam finds a bag containing two hacksaws inside the toilet which they try to use to cut through their chains, but Adam's saw breaks. Gordon realizes the saws are meant for their feet, and identifies their captor as the Jigsaw Killer—a serial killer testing his victims' will to survive through murderous contraptions referred to as "games", whom Gordon knows of because he was once a suspect.

Five months prior, Gordon, while discussing the terminal brain cancer of patient John Kramer, was interrogated by Detectives David Tapp and Steven Sing, who found his penlight at the scene of one of Jigsaw's games. Gordon's alibi cleared him, but he agreed to view the testimony of heroin addict Amanda Young, the only known survivor of one of Jigsaw's traps. After Gordon's release, Tapp and Sing find Jigsaw's warehouse using the videotape from Amanda's game. There, they apprehend Jigsaw and save a man from a trap, but Jigsaw injures Tapp and escapes. Sing pursues Jigsaw down a hallway where he accidentally triggers a shotgun trap and is killed.

In the present, Alison and Diana are held captive at their apartment as their captor watches Adam and Gordon through a hidden camera. The house is simultaneously watched by Tapp who, after being discharged from the police following Sing's death, has become obsessed with the Jigsaw case, and is convinced that Gordon is the killer. Meanwhile, Gordon finds a box containing two cigarettes, a lighter, and a one-way cellphone. He recounts his abduction in a parking garage by a pig-masked figure. Adam recalls his own abduction when he returned home to find a puppet in his darkroom, where he stored photos of Gordon.

Alison, held at gunpoint, calls her husband and warns him not to believe Adam. Adam admits to Gordon that he was paid by Tapp to spy on him, and reveals his knowledge of Gordon's affair with one of his medical students whom he had visited the night he was abducted; Gordon deduces the affair is the reason he is being tested. Adam finds a photo of Alison and Diana's captor whom Gordon identifies as Zep Hindle, an orderly at his hospital.

Once the clock strikes six, Zep, seeing that Gordon has still not managed to kill Adam, moves to murder Alison and Diana, but the former frees herself and fights him. The struggle attracts Tapp's attention, and he saves Alison and Diana before chasing Zep to the sewers, where he is shot in the chest after a brief fight. Gordon, only aware of the gunshots and screaming, is shocked and loses reach of the cell phone. In desperation, he saws off his foot and shoots Adam with the corpse's revolver. Zep enters the bathroom to kill Gordon but Adam, having survived the gunshot, bludgeons him to death with a toilet tank lid. Gordon crawls out of the bathroom to find help while Adam searches Zep's body for a key. He finds another tape, revealing that Zep was just another victim of Jigsaw following rules to obtain an antidote for a slow-acting poison he was given.

As the tape ends, the corpse in the room rises and is revealed to be John Kramer, the real Jigsaw Killer. He tells Adam that the key to his ankle chain was in the bathtub and went down the drain when Adam had first awoken. Horrified, Adam attempts to shoot John with Zep's gun, but John electrically shocks him through his chain and exits the bathroom before sealing the door, leaving a helpless Adam to die.

Cast[edit]

Further information on the cast and characters:

List of Saw cast members

and

List of Saw characters

Leigh Whannell as Adam Stanheight

Cary Elwes as Dr. Lawrence Gordon

Danny Glover as Detective David Tapp

Ken Leung as Detective Steven Sing

Dina Meyer as Detective Allison Kerry

Mike Butters as Paul Leahy

Paul Gutrecht as Mark Wilson

Michael Emerson as Zep Hindle

Benito Martinez as Brett

Shawnee Smith as Amanda Young

Makenzie Vega as Diana Gordon

Monica Potter as Alison Gordon

Ned Bellamy as Jeff Ridenhour

Hans Raith as A Detective

Alexandra Chun as Carla Song

Tobin Bell as John Kramer / Jigsaw

Additionally, producer Oren Koules appears as Donnie Greco in an uncredited role.

Production[edit]

Development and writing[

edit

]

Wan (left) and Whannell (right)

After finishing film school, Australian director James Wan and Australian writer Leigh Whannell wanted to write and fund a film.[6] The inspiration that they needed came after watching the low-budget independent film The Blair Witch Project. Another film that inspired them to finance the film themselves was Darren Aronofsky's Pi.[7] The two thought the cheapest script to shoot would involve two actors in one room.[8] Whannell said, "So I actually think the restrictions we had on our bank accounts at the time, the fact that we wanted to keep the film contained, helped us come up with the ideas in the film."[9] One idea was to have the entire film set with two actors stuck in an elevator and being shot in the point of view of security cameras.[8]

Wan pitched the idea to Whannell of two men chained to opposite sides of a bathroom with a dead body in the middle of the floor and they are trying to figure out why and how they are there. By the end of the film they realize the person lying on the floor is not dead and he is the reason they are locked in the room. Whannell initially did not give Wan the reaction he was looking for. He said, "I'll never forget that day. I remember hanging up the phone and started just going over it in my head, and without any sort of long period of pondering, I opened my diary that I had at the time and wrote the word 'Saw'."[8] Before instantaneously writing the word "Saw" in a blood-red, dripping font, the two had not come up with a title. "It was one of those moments that made me aware that some things just really are meant to be. Some things are just waiting there to be discovered", Whannell said.[8]

The character of Jigsaw did not come until months later, when Whannell was working at a job he was unhappy with and began having migraines. Convinced it was a brain tumor,[10] he went to a neurologist to have an MRI; and, while sitting nervously in the waiting room, he thought: What if you were given the news that you had a tumor and you were going to die soon? How would you react to that?[6] He imagined the character Jigsaw having been given one or two years to live and combined that with the idea of Jigsaw putting others in a literal version of the situation but only giving them a few minutes to choose their fate.[6]

Wan did not intend to make a "torture porn" film, and the script only had one short segment of torture. He said the film "played out like a mystery thriller". It was not until the sequels that the plot focused more on torture scenes.[6]

Funding[

edit

]

Whannell and Wan initially had $30,000 to spend on the film, but as the script developed it was clear that more funds would be needed.[7] The script was optioned by a producer in Sydney for a year but the deal eventually fell through.[8] After other failed attempts to get the script produced in Australia from 2001 to 2002,[6] literary agent Ken Greenblat read the script and suggested they travel to Los Angeles, where their chances of finding an interested studio were greater.[11] Wan and Whannell initially refused, due to lack of traveling funds but the pair's agent, Stacey Testro, convinced them to go.[11] In order to help studios take interest in the script, Whannell provided A$5,000 (US$5,000) to make a seven-minute short film based on the script's jaw trap scene, which they thought would prove most effective. Whannell played David, the man wearing the reverse bear trap. Working at the Australian Broadcasting Corporation, Whannell and Wan knew cameramen who were willing to provide technical assistance for the short.[12]

I guess the term 'torture-porn' doesn't affect me one way or the other. I don't love the term, nor do I really hate it. For me, it's kind of hard to have any bad feelings about the term, because I guess torture-porn has given me a lot of good things, like being able to work in the film industry and work as a screenwriter. I guess I'm just thankful to be part of a film that made it, and anything after that is just a champagne problem.

—Leigh Whannell (screenwriter) on his feelings of the film being labeled "torture porn".[6]

Wan shot the short with a 16mm camera[10] in over two days and transferred the footage to DVDs to ship along with the script. Whannell wanted to play the lead character in the feature film. The short helped show that Wan and Whannell were a "director-actor team" rather than just wanting to sell the script. Wan said, "Leigh and I just loved the project so much and we wanted a career in filmmaking so we stuck to our guns and said, 'Look, guys, if you want this project, we're coming on board — Leigh has to act in it and I have to direct it."[11]

In early 2003,[13] while in Los Angeles and before they met with producer Gregg Hoffman, Hoffman's friend pulled him into his office and showed him the short. Hoffman said, "About two or three minutes into it, my jaw hit the floor."[14] He quickly showed the short and script to his partners Mark Burg and Oren Koules of Evolution Entertainment.[6] They later formed Twisted Pictures as a horror genre production label.[15] The producers read the screenplay that night and two days later offered Wan and Whannell creative control and 25% of the net profits.[16] Even though Wan and Whannell received "better offers" from studios like DreamWorks and Gold Circle Films, they were not willing to chance Wan's directing and Whannell acting in the lead role.[6] In order to finance the film, Hoffman, Burg, and Koules put up a second mortgage on their Highland Avenue headquarters.[17] Saw was given a production budget of between $1 million and $1.2 million.[note 1]

Casting[

edit

]

It took one day for

Shawnee Smith

's scenes to be shot, which Wan described as "physically taxing".

[20]

Cary Elwes was sent the short film on DVD and immediately became interested in playing Dr. Lawrence Gordon in the film. He read the script in one sitting and was drawn in by the "uniqueness and originality" of the story.[21] Koules was Elwes' manager at the time.[22] To prepare for his role as an oncologist, he met with a doctor at UCLA's Department of Neurosurgery.[23]

Shawnee Smith, who is not a horror fan, initially refused the role of Amanda Young, describing the script as "horrific". However, after watching the short, she agreed to the role, which was the part that Whannell portrayed in the short.[24] Wan offhandly suggested Smith when his casting director asked who he wanted to play Amanda, as he had had a crush on Smith since his teenage years, and was surprised when his casting director secured her on the role.[25] Similarly to Smith, Danny Glover was impressed by the short and felt attracted at the prospect of playing David Tapp.[26]

On taking the role of Jigsaw, Tobin Bell said, "I did Saw because I thought it was a fascinating location for a film to be made. These guys locked in a room, to me, was fresh. I did not anticipate the ending when I read the script, so I was quite caught by surprise and it was clear to me that if the filmmakers shot the scene well, the audience would be caught by surprise as well. The film was worth doing for that moment alone".[8] Wan primarily cast Bell because of his voice.[25] Mike Butters was originally offered the role of Jigsaw, but declined as he felt that that role didn't have enough exciting scenes.[27] Butters, a friend of one of the producers whom he used to play hockey with, ended up cast as Paul Leahy, the Jigsaw victim who perishes in the razor wire maze trap.[25]

Filming and post-production[

edit

]

With a shooting budget of $700,000,[6][28] Saw began principal photography on September 22, 2003[17] at Lacy Street Production Facility in Los Angeles[14] for 18 days.[28] The bathroom was the only set that had to be built.[29] There were no chairs on the set.[30] Other sets like the police station were shot in locations where other productions had built similar sets. The bathtub scene was filmed the first day of filming, and it was once then that Whannell realized that they didn't have money left in the budget to hire a stuntman to shoot the scene, forcing him to perform the scene himself. It took six days to shoot all the scenes in the bathroom, and these were filmed chronologically to avoid continuity jumps and help the actors stay in character. To film the scenes of the two protagonists, Wan made sure most of Dr. Gordon's shots were very steady and controlled while Adam's shots were shaky and handheld to match the characters' personalities.[25] Instead of using a camera dolly or a tripod, cinematographer David A. Armstrong shot the entire film with the camera over his shoulder.[30]

There was not time for Elwes and Whannell to rehearse their scenes together to not conflict with the schedules of Danny Glover and Michael Emerson, who were only available for a certain number of days.[22] Glover completed his scenes in two days.[31] According to Elwes, his dialogue averaged 12 to 16 pages a day, which he considered a great challenge.[30] Due to the tight shooting schedule, Wan could not afford to shoot more than a couple of takes per actor.[32] "It was a really tough struggle for me. Every day, it was me fighting to get the shots I did not get. I had high aspirations, but there's only so much you can do. I wanted to make it in a very Hitchcockian style of filmmaking, but that style of filmmaking takes time to set up and so on", Wan said about the very short shooting schedule.[6] He said the style instead ended up being "more gritty and rough around the edges due to the lack of time and money that we had to shoot the movie with" and it ultimately became the aesthetic of the film.[6]

$400 were spent on reshoots Wan and Whannell did on their own. For the reshoots, Whannell served as a stand-in to Smith and Ken Leung in the scenes of Amanda searching for her key and of Steven Sing entering into Jigsaw's lair.[25] In post-production, Wan found he did not have enough shots or takes to work with as he was basically shooting rehearsals. Having a lot of missing gaps in the final product, he and editor Kevin Greutert created shots to mend together during editing; such as making a shot look like a surveillance camera feed and using still photographs. "We did a lot of things to fill in gaps throughout the film. Whatever we cut to newspaper clippings and stuff like that, or we cut to surveillance cameras, or we cut to still photography within the film, which now people say, 'Wow, that's such a cool experimental style of filmmaking', we really did that out of necessity to fill in gaps we did not get during the filming", he explained.[6]

Music[

edit

]Main article:

Saw (soundtrack)

See also:

Hello Zepp

Saw: Original Motion Picture Soundtrack

Soundtrack album

by various artists

ReleasedOctober 5, 2004

Recorded2004

Genre

Alternative rock

electro-industrial

Length57:29

Label

Koch

Various artists chronology

Saw: Original Motion Picture Soundtrack

(2004)

Saw II: Original Motion Picture Soundtrack

(2005)

The soundtrack was mainly composed by Charlie Clouser, and took six weeks to complete.[33] Other songs were performed by Front Line Assembly, Fear Factory, Enemy, Pitbull Daycare and Psychopomps. Megadeth's song "Die Dead Enough" was originally set to be featured in the film, but was not used for undisclosed reasons.[34][35]

The soundtrack was released on October 5, 2004 by Koch Records. Johnny Loftus of AllMusic gave it three out of five stars. He said that Clouser "really nails it with his creaky, clammy score" and that he "understands that Saw's horror only works with a heady amount of camp, and he draws from industrial music in the same way". He particularly liked, "Cigarette"; "Hello, Adam"; and "F**k This S*!t", commenting that they "blend chilling sounds with harsh percussion and deep-wound keyboard stabs".[36]

Saw Original Motion Picture Soundtrack

No.TitleWriter(s)ArtistLength

1."Sturm"

Rhys Fulber

Bill Leeb

Front Line Assembly

6:07

2."Hello, Adam"

Charlie Clouser

Clouser3:57

3."Bite the Hand That Bleeds"

Burton C. Bell

Fear Factory

Raymond Herrera

Olde Wolbers

Fear Factory

4:01

4."Last I Heard ..."ClouserClouser4:40

5."Action"

Jason Slater

Troy Van Leeuwen

Enemy

3:43

6."Reverse Beartrap"ClouserClouser4:47

7."You Make Me Feel So Dead"Stephen Ladd Bishop

Charles Todd Conally

Don Van StavernPitbull Daycare3:49

8."X Marks the Spot"ClouserClouser4:34

9."Wonderful World"Flemming Norre Larsen

Jesper Schmidt

Psychopomps

5:00

10."Cigarette"ClouserClouser3:07

11."We're Out of Time"ClouserClouser3:48

12."F**k This S*!t"ClouserClouser4:09

13."

Hello Zepp

"ClouserClouser3:00

14."Zepp Overture"ClouserClouser2:38

Total length:57:29

Release[edit]

Lionsgate Films picked up Saw's worldwide distribution rights at the Sundance Film Festival days before the film premiered on January 19, 2004.[37] There it played to a packed theater for three nights to a very positive reaction.[13] It was the closing film at the Toronto International Film Festival on September 18, 2004.[18] Lionsgate initially planned to release the film direct-to-video, but due to the positive reaction at Sundance, they chose to release it theatrically by Halloween.[16] It was released on October 1, 2004 in the United Kingdom, October 29, 2004 in the United States and December 2, 2004 in Australia. The film was originally rated NC-17 (No children under 17 permitted) by the Motion Picture Association of America for strong graphic violence, though after being re-edited, it was released with an R rating.[29][38] Lionsgate held the inaugural "Give Til It Hurts" blood drive for the Red Cross and collected 4,249 pints of blood.[39][40]

Tenth anniversary re-release[

edit

]

On October 31, 2014, in honor of the film's 10th anniversary, Saw was re-released to select theaters for one week.

The release earned only $650,051 in its opening weekend, and is the third lowest-grossing wide opening.[41] At the end of its run, the release had grossed $815,324, bringing the film's overall domestic gross to $56,000,369.[42]

Home media[

edit

]

The theatrical version of the film was released on VHS and DVD on February 15, 2005 in the United States. After its first week, it made $9.4 million in DVD rentals and $1.7 million in VHS rentals, making it the top rental of the week.[43] For the second week it remained as the number one DVD rental with $6.8 million, for a $16.27 million two-week total. It dropped to third place in VHS rentals with $1.09 million, for a $2.83 million two-week total.[44] The film went on to sell more than $70 million worth of video and DVDs.[13] A two-disc "Uncut Edition" was released on October 18, 2005 to tie in with the release of Saw II. The short film, also entitled Saw, was included on the DVD.[45] The film was subsequently included in a boxed set with all six sequels entitled Saw: The Complete Movie Collection, which was released in September 2014 for the film's tenth anniversary. The set contained the unrated editions of all seven films, though it lacked any of the special features from previous releases.[46]

Full Disclosure Report

[

edit

]

Full Disclosure Report is a 2005 mockumentary, pseudo-documentary set in the Saw franchise, taking place between the events of Saw and Saw II, around one year after the beginning of the Jigsaw murders, following television host Rich Skidmore as he commentates on the murders and the police work in the yet-unresolved case. Donnie Wahlberg appears as Detective Eric Matthews, prior to his appearance in Saw II.

Reception[edit]

Box office[

edit

]

Saw opened at #3 on Halloween weekend 2004 in 2,315 theaters and grossed $18.2 million, behind Ray ($20 million) and The Grudge ($21.8 million).[47] According to Lionsgate's exit poll, 60% of the mostly male audience was under 25 years of age. Saw had also become Lionsgate's second best opening, after Fahrenheit 9/11's $23.9 million (2004).[48] On its second weekend, an additional 152 theaters were added, bringing the theater count to 2,467. It dropped to number four, making $11 million, a 39% drop from the opening weekend.[49]

Saw opened in the United Kingdom to $2.2 million in 301 theaters, grossing a $12.3 million total in seven weeks.[50] In Australia, it opened in 161 theaters with $1.2 million and totaled out to $3.1 million in six weeks.[51] In Italy, the film opened on January 14, 2005 in 267 theaters to $1.7 million and grossed $6.4 million in six weeks.[52] Saw opened to $1.5 million 187 theaters in France on March 16, 2005 and made $3.1 million by the end of its four-week run.[53] Saw came to gross $55.1 million in the United States and Canada and $47.9 million in other markets for a worldwide total of $103 million.[1] At the time, it became the most profitable horror film after Scream (1996).[54]

Release date

(United States)Budget

(estimated)Box office gross

[1]

North AmericaOther territoriesWorldwide

October 29, 2004$1,200,000$55,185,045$47,911,300$103,096,345

Critical response[

edit

]

On review aggregator Rotten Tomatoes, the film has an approval rating of 51% based on 188 reviews, with an average rating of 5.6/10. The site's critics consensus reads, "Saw ensnares audiences with a deceptively clever plot and a myriad of memorable, nasty set pieces, but its lofty ambitions are undercut by a nihilistic streak that feels more mean than profound."[55] Metacritic gave the film a weighted average score of 46 out of 100, based on 32 critics, indicating "mixed or average reviews".[56] Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale.[57]

Dennis Harvey of Variety gave the film a negative review after its Sundance premiere. He called it a "crude concoction sewn together from the severed parts of prior horror/serial killer pics". He called the screenplay "convoluted", criticizing the use of "flashbacks within flashbacks" and red herrings. He described the film as being "too hyperbolic to be genuinely disturbing".[58] Carla Meyer of the San Francisco Chronicle gave the film a positive review, saying the film "combined B-movie acting with a twisted mind-set and visual tricks designed to camouflage cheap effects" and that it was "terrifying at some moments and insinuatingly creepy at many others." She called the killing scenes "amazingly evocative for such a low-budget movie".[59]

Empire's Kim Newman gave the film four out of five stars. He said Saw is styled like early David Fincher films and "boasts an intricate structure — complex flashbacks-within-flashbacks explain how the characters have come to this crisis — and a satisfying mystery to go with its ghastly claustrophobia." He ended his review saying, "As good an all-out, non-camp horror movie as we've had lately."[60] Owen Gleiberman of Entertainment Weekly gave the film a B minus, calling it "derivative and messy and too nonsensical for its own good." He described Jigsaw's intent as "to show you the serial killer lurking inside yourself". Gleiberman criticized Elwes' performance by saying, "[Elwes] ought to be featured in a seminar on the perils of overacting."[61] Daniel M. Kimmel of the Telegram & Gazette called it "one of the most loathsome films this critic has seen in more than 20 years on the job".[62]

The New York Times's Stephen Holden gave a mixed review, saying the film "does a better-than-average job of conveying the panic and helplessness of men terrorized by a sadist in a degrading environment, but it is still not especially scary. What sets its demon apart from run-of-the-mill movie serial killers is his impulse to humiliate and torture his victims and justify it with some twisted morality." He said the film is "seriously undermined by the half-baked, formulaic detective story in which the horror is framed."[63] Carina Chocano of the Los Angeles Times also gave the film a mixed review, saying, "Saw is so full of twists it ends up getting snarled. For all of his flashy engineering and inventive torture scenarios, the Jigsaw Killer comes across as an amateur. Hannibal Lecter would have him for lunch." She said the film "carelessly underscores its own shaky narrative at every turn with its mid-budget hokiness". She also noted that Elwes and Whannell had trouble keeping an American accent.[64] Another mixed review came from Roger Ebert, who gave the film 2 out of 4 stars and lamented the gimmicks and plot contrivances but nonetheless described Saw as "well made and acted, and does what it does about as well as it could be expected to".[65]

Entertainment Weekly's Owen Gleiberman compared the plot to Seven saying, "In a blatant imitation of Seven, Saw features a lunatic sadist whose ghoulish crimes are meant, in each case, to mirror the sins of his victims. The twist here is that the psycho doesn't do the killing."[61] Richard J. Leskosky of Champaign-Urbana's The News-Gazette said "Saw wants to be taken as another Seven. Though it features perverse gross-out scenes and a villain with a superficially pedantic motive behind his crimes (his victims, if they survive, have learned to appreciate life more), it lacks the finesse and polish of the David Fincher film."[66] When asked if the 1995 thriller film Seven was an inspiration to Saw, Whannell said "For me as the writer, definitely. I mean, Seven is just a very well constructed film, and if you're writing a thriller, it can't hurt to study it. In terms of the story though, James and I never really felt Seven was that close to our film. I guess if you stand back, you have two detectives chasing a psychopath, who uses vile methods to teach people lessons, and those points echo Seven. What we always liked about Saw, though, was the fact that the story is told from the point of view of two of the psychopath's victims, instead of the police chasing after him, as you so often see."[10]

Accolades[

edit

]

Bloody Disgusting ranked the film tenth in its list of the Top 20 Horror Films of the Decade, with the article calling Saw "perhaps the most influential horror film of the decade”, which kick-started a franchise consisting of more than 9 movies spanning over, as of July 2022, 17 years (2004-2021). In light of it’s small production budget of $1.2 million, the film's quality relative to bigger-budget horror films is striking. It also takes itself seriously, which came as a breath of fresh air following the trend of wimpy tongue-in-cheek horror movies that had dominated the film’s industry post 1996’s Scream. More than anything, the premise of the film’s twisted take on morality is a story made truly for horror fans; it's gory, it's depraved, and, best of all, it introduced a new horror icon in the form of a doll on a child’s bicycle accompanied with a message on a tape recorder.[67] The Daily Telegraph listed the film number 14 on their Top 100 list that defined the 2000s.[68]

AwardCategoryRecipient(s)Result

Brussels International Fantastic Film Festival

Pegasus Audience Award

James Wan

Won

Fantasporto

International Fantasy Film Award- Best FilmWon

Golden Trailer Awards

Best Horror—Won

Festival international du film fantastique de Gérardmer

Special Jury PrizeJames WanWon

Youth Jury Grand PrizeWon

MTV Movie Awards

Best Frightened Performance

Cary Elwes

Nominated

San Sebastián International Film Festival

Audience Award- Best FeatureJames WanWon

Satellite Awards

Outstanding DVD Extras (Uncut Edition)—Won

Saturn Award

Best DVD Special Edition Release

—Won

Best Horror Film

—Nominated

Teen Choice Awards

Choice Movie Scream Scene

Leigh Whannell

Won

Choice Movie: Thriller—Won

[brookstonalmanac]

Birthdays 2.2

Beer Birthdays

Frank Senn (1838)

Anton Schwarz (1839)

Luke Nicholas (1971)

Jamie Floyd (1972)

Five Favorite Birthdays

Christie Brinkley; model (1954)

Blake Clark; comedian, actor (1946)

Donald Driver; Green Bay Packers WR (1975)

Stan Getz; jazz saxophonist (1927)

James Joyce; Irish writer (1882)

Famous Birthdays

Eva Cassidy; singer (1963)

Data; android on Star Trek: Next Generation (2338)

Andrew Davis; orchestra conductor (1944)

James Dickey; writer, poet (1923)

Barry Diller; television executive (1942)

Havelock Ellis; writer (1859)

Farrah Fawcett; actor (1947)

Pebbles Flintstone; cartoon character (1963)

John Glover; chemist (1817)

Gale Gordon; actor (1906)

Solomon R. Guggenheim; philanthropist (1861)

Nell Gwyn; actor, royal mistress (1650)

George Halas; Chicago Bears founder (1895)

Jascha Heifetz; violinist (1901)

Bo Hopkins; actor (1942)

Holly Hunter; actor (1958)

Howard Johnson; hotelier (1897)

Fritz Kreisler; composer (1875)

Burton Lane; songwriter (1912)

Orlando "Cachaito" Lopez; Cuban bassist (1933)

Arthur Lyman; jazz vibraphonist (1932)

Robert Mandan; actor, "Soap" (1932)

Louis Marchand; composer (1669)

Graham Nash; rock musician (1942)

Ayn Rand; writer (1905)

Shakira; singer (1977)

Liz Smith; gossip columnist (1923)

Tom Smothers; comedian (1937)

Brent Spiner; actor (1955)

Brandy Talore; porn actress (1982)

#Birthdays

[anisioluiz]

Glover Squad

With my February 1 deadline constantly in mind, I worked intently on the Salem book all weekend with the exception of Saturday afternoon and early evening  when my husband and I drove over to Marblehead for a tribute to Revolutionary War Brigadier General John Glover. Well, two tributes really: the revelation of the acquisition of… Glover Squad

View On WordPress

[theloniousbach]

FROM THE ARCHIVE: SARAH HANAHAN with Benito Gonzalez, Elam Friedlander, and Hank-Alan Barfield, SMALL’S, 12 OCTOBER 2023

The week before SARAH HANAHAN came to Jazz St Louis, she had her monthly Small’s late Thursday night gig, the one Nicole Glover had for some months in 2021. On Monday on her return, I saw her live at Small’s with Joe Farnsworth. All this to say, I’ve been on a Hanahan run.

She’s an impressive player, inventive and powerful. She plays the alto with the growl and attack of a tenor player. She was all that at this gig, save for Old Folks which proved that she and her band can play a ballad. She toned things down a bit with Peter Martin and Generation S here, but she was once again in full modal, stretch things out mode here as she was with Farnsworth when they, including Tivon Pennicott, did Ole for 40 minutes and Impressions for half that time.

While Benito Gonzalez was big and modal too and as such following McCoy Tyner, here the source wasn’t John Coltrane, but Jackie McLean. Appointment in Ghana was the twenty minute opener which established the mood of power and spaciousness. Rene McLean’s Dance Little Mandissa added some catchiness but the family resemblance was there in the compositions of father and son. Nothing else was announced but, like Martin’s Groove Echo Chamber, the first set closer and their last tune of two in the second set before the open jazz session unfolded, built up from riffs. The former settled into a jaunty lilt whereas the latter was smoky and funky. The second set opener was another modal sprawl and Hanahan blew particularly hard, but I was struck how Gonzalez and Hanahan were differently modal.

Hank Alan-Barfield had sufficient power to drive this band and, in the few quieter moments, it was clear that Elam Friedlander was making a difference. In the first set closer, she made a point of making eye contact with her bassist to line up the riff. That tune also stood out as one solo was a joint effort between piano and alto where they sympathetically traded choruses.

While this is the Hanahan I have heard before and will again while hoping she overtime reins things in a bit, knowing what she can do under someone else’s leadership helped me understand how she sprawls, growls, and wails.

#concert review #jazz #small’s live #small’s jazz club #2023 #from the small’s live archives

[spacetimewithstuartgary]

NASA search and rescue team prepares for safe return of Artemis II crew

When Artemis II NASA astronauts Reid Wiseman, Victor Glover, Christina Hammock Koch, and Canadian Space Agency astronaut Jeremy Hansen splash down in the Pacific Ocean after a 10-day mission around the moon, NASA's landing and recovery team will be ready to bring the Orion capsule and our astronauts back to land.

A major player in the capsule recovery and Artemis II crew safety is NASA's Search and Rescue office based at the agency's Goddard Space Flight Center in Greenbelt, Maryland, and managed by the Space Communications and Navigation (SCaN) program at NASA Headquarters.

For over 40 years, the search and rescue office has aided the international Cospas-Sarsat Program in the development of search and rescue technologies. These technologies allow hikers, boaters, and pilots activate a distress beacon should they find themselves in trouble. Since 1982, the system has been responsible for saving over 50,000 Earth explorers.

Now, the office is applying their years of expertise to support NASA's Artemis moon missions. For Artemis II, NASA is equipping second-generation beacons called Advanced Next-Generation Emergency Locators (ANGEL) on the astronauts' life preservers and installing another location beacon onto the Orion capsule so both can be located quickly.

The ANGEL beacon is a palm-sized device that integrates into the Orion Crew Survival Systems suit the astronauts will wear during launch and landing. If there is a contingency, such as a launch abort or landing outside the target splashdown zone, the ANGEL beacons will allow NASA's Search and Rescue team to find the astronauts.

"Our role in human spaceflight across all of NASA's crewed programs mirrors the daily work we do to support worldwide rescue, protecting those in distress in some of the world's harshest conditions," said Cody Kelly, NASA search and rescue mission manager for national affairs. "Our astronauts are one of our most valuable resources and everything we've done in the last few years with Orion and Artemis has been to make sure we can really embody the Artemis goals not just of exploration, but bringing the crew safely home."

In addition to contingency planning, the search and rescue office helps track Orion on the day it returns to Earth. As the capsule re-enters Earth's atmosphere, search and rescue team members will be on board the U.S. Navy ship involved in recovery operations, tracking Orion's beacon to determine exact splashdown location.

This is achieved through the search and rescue intelligent terminal, or SAINT, which was successfully tested during the uncrewed Artemis I mission in 2022. Once the main parachutes deploy on the capsule, the beacon is activated, and SAINT begins feeding location data to the recovery crew. The beacon is only turned off once recovery forces are at the capsule.

In July 2023, as part of the Artemis Underway Recovery Test 10, members of the search and rescue team were aboard the USS John P. Murtha putting their recovery hardware and procedures to the test. The team validated their mission posture and ensured that ANGEL, SAINT, and Orion's beacon will all operate as planned. Additionally, they used this recovery test to simulate different recovery scenarios to ensure their communications channels and hardware work as intended.

Though the team hopes they will not have to use the ANGEL beacons during the Artemis II mission, NASA's Search and Rescue office is standing by, tracking the Orion capsule and ensuring astronauts make it home safely.

#science #space #astronomy #physics #news #nasa #astrophysics #artemis #sls #orion

[ricardotomasz]

Such is life! Behold, a new Post published on Greater And Grander about Danny Glover’s Producing Partner, Carolyn McDonald; S2 E18

See into my soul, as a new Post has been published on https://greaterandgrander.com/danny-glovers-producing-partner-carolyn-mcdonald-s2-e18

Danny Glover’s Producing Partner, Carolyn McDonald; S2 E18

With a diverse career in the film industry, Carolyn McDonald continues to expand her creative disciplines. Some of her recent endeavors include, executive producing, co-writing and directing P.N.O.K., a short film featuring Irma P. Hall, Danny Glover, Robert Ri'chard and Elle Fanning, executive producing Country artist Big Kenny Alphin's (Big & Rich) documentary "Bearing Light" which aired on National Geographic Channel, directing the Shannon Sanders music video "Run" and co-writing the comedy "Return of the Sweetbirds" from her story for 20th Century Fox.    As partner of Danny Glover at Carrie Productions, she executive produced the Emmy & Image Award nominated TNT civil rights saga, "Freedom Song". Written and directed by Oscar® nominee Phil Alden Robinson ("Field of Dreams"), the film features Vondi Curtis-Hall, David Strathairn and Loretta Devine. Carolyn also co-produced the critically acclaimed Western "Buffalo Soldiers". Earlier at Carrie, she executive produced the prestigious HBO trilogy "America's Dream". Comprised of powerful short stories by celebrated African-American authors, Maya Angelou, Richard Wright & Dr. John Henrik Clarke, the film featured Wesley Snipes, Danny Glover & Jasmine Guy, with segments directed by Bill Duke, Kevin Sullivan & Emmy-winner Paris Barclay. The program won 4 Cable Aces and an NAACP Image Award for Best Made-for-TV Movie.    Prior to joining Carrie, Carolyn served as a Creative Executive at Cinecom Entertainment Group, where she was involved in various stages of development & production on such films as "The Handmaid's Tale", "Once Around", "Mississippi Masala" and "Tune in Tomorrow".    Fresh out of NYU's Dramatic Writing Program, Carolyn joined the East Coast advertising/publicity division of Warner Bros. Television in New York. There she ran buyer screenings and developed network publicity campaigns for such films as "The Road Warrior, "Chariots of Fire" and "Blade Runner", and conceived marketing campaigns for the Warner Bros. cartoon catalogue.    Committed to giving back to youth and community, Carolyn produced and directed the documentary and short film "Who's Real" for Nashville Film Festival's Youth Outreach Film Program. She continues to produce the program, comprised of inner city teens generating short films based on their own lives. In 2011, she produced and directed the documentary "Design Your Neighborhood" for the Nashville Civic Design Center, a program also supporting youth education.    Carolyn was a consultant for the American Film Institute's Digital Content Lab, a mentor for FilmIndependent's Project: Involve, studied acting with Uta Hagen and Geraldine Page, and is an alumni of Judith Weston's Actor/Director Lab.

You can also check out Carolyn in Film Festival Radio about her new book “Light Needs Night” which she will be shooting a short film adaptation for in April. 

Connect with her on Instagram at https://www.instagram.com/createdbycarolyn/ 

Credits Include...

Buffalo Soldiers starring Danny Glover

America’s Dream starring Wesley Snipes

Freedom Song starring David Strathairn

Fly starring Bruce Boxleitner

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Music is Snowbound by Dennis Mitcheltree.

Episode still image is from the film Buffalo Soldiers, owned by Turner Pictures and TNT, Director of Photography William Wages.

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