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HOW I GOT INTO SOUND POST-PRODUCTION … by Ben Simpson
My response to the question: "Oh that's Sound Post-Production … what got you into that then?" – by Ben Simpson
It wasn't so much that I was incapable of doing the work at A Level, it was more that I wasn't in the right state of mind to make a good job of it. I know I can't be the only one to ever feel this way – too much time spent being talked at rather than to. I suppose the insipid teaching is partly responsible. After I came out with two AS levels in Law and Psychology and an A level in Drama, I felt my time in education was over and so I went into full time work.
The monotonous tedium of jumping from job to job got old all too quickly and all I knew was that I wanted to be involved in music, creating it, producing it and making it sound like the tracks I'd admired for so long. I decided that now was the best time to 'follow my dreams' (kind of) so I enrolled in a BTEC course in Music Technology. Three tutors in particular were very encouraging and kept pushing my limits, which I loved because it gave me a challenge that high school never could. It was the best experience I'd ever had in education – apart from Reception because you could just mess around in the sand pit all day; you do that now and people think you're odd.
It was during this course that I did my first post-production module and knew that I'd found what it was I wanted to do with my life. It had never occurred to me before that sound should be recorded separately from where the film was shot. It sounds silly to me now obviously, but not many people will believe you when you tell them that, for example, 98% of the sounds in 'The Lord Of The Rings' were created entirely separate from the filming. Foley and composition were the main parts of post-production that stood out for me. I got to write music and also create some natural effects with weird and wonderful techniques, such as kicking a bin in various ways with different things in it to create the sound of an exploding tank. It's all about layers – like an ogre.
From here I managed to convince an award-winning director to let me compose some music for his short film 'Grotto'. By this time the film was already picture locked and so I asked if he would give me a few days to compose something to it and if he didn't like it, then at least he would know he made the right decision. From what I can gather, it is now being made into a feature length film, which is awesome. I wasn't as confident with Foley back then as I am now and so I didn't dare apply for that role too and potentially ruin it! Though with hindsight (being 20/20), it would have been well worth just trying to get involved in it somehow because although I wouldn't have been able to contribute all that much, I might have been able to help now and again and would have learned a lot. Sometimes though, you want to make a splash when you do something for the first time instead of just wading in slowly from the shallow end and have everyone think you can't do full lengths of butterfly. My plan was to get good behind closed doors, then kick it down like ironman with the sound effects to boot!
I worked so hard at college that I got the best possible grades, showing me at least, that not all intelligence is measured in academia, and the value of a person in society should not be forever coupled to the measure of how well they could regurgitate what they were told as a teenager. As Albert Einstein said, "Everyone is a genius, but if you judge a fish on how well it can climb a tree, it'll go through it's whole life thinking it's an idiot."
I chose to go on to University to do a Music Production BA, knowing I could specialise in post-production, and doing so for my second year as well as for my final year project. I have been taking every opportunity, which has lead me to talking to some of the top Foley artists in the industry for advice and insight, get advice from seasoned professionals by the sheer luck of going into the right church just to ask if I could record some Foley in there for the ambience, be the composer for a excellent final year film project for the Leeds Beckett Film School, be a Foley artist for a TV series pilot that is currently – at the time this is written – filming, record the Leeds Symphony Orchestra and write this article – all alongside my work for my final year. To get the composition job I used my old trick of "give me a few days and I'll send you something over, I know I can deliver what you're wanting." This time it wasn't picture locked so I couldn't sync the music to the picture, I just had to capture the feel of the whole thing by reading the script over and over and listening to what the director and producer were saying they wanted. It works, for me, like an inverted mind map. The centre is the goal and I have to use my knowledge surrounding it to get there, as opposed to expanding outward endlessly.
University – although 'expensive' – has been one of the best ways to get to know people in the industry, so that's the route I've gone. I was the antipode of a typical student, I think I went out 'on the town', so to speak, only once. To be honest though, I really dislike drinking, being deafened by endless dubstep and 'dancing' around sweaty drunken strangers anyway, so it worked out for the best!
However, I believe that because I've worked hard it has given me confidence in my abilities. I can demonstrate and discuss what I do and why I do it, meaning when I apply for positions and opportunities, I do so more positively and with more equanimity. That is one of the most important lessons I have learnt from University. The grade is mostly in the justification. If you can't justify why you've done something creative then it can be confusing, but if you can, then it becomes more understandable and shows off your creativity in the light you intended. Think of all that modern art – an unmade bed was one I believe, as was a light switch and a bin full of make-up – it's how it was justified that made it artistic.
The way of the creative industries is that no one is "the best". Ask a group of people who is the best actor is and I'd wager it'll be a while before you get a repeated answer … unless it's the morning after the Oscars when "Best Actor" has just been awarded – but again, that's the opinion of a certain group of people – and why would their opinion change yours? What I'm trying to say by bringing up subjectivity and justification is that I've found that you can have sound coming from a spaceship whilst in space, you can have elephants shaking the ground with their steps and you can have longbows creaking when arrows are drawn, as long as it makes sense with the film.
I am confident that – with this work ethic – I can continue to be part of wonderful projects, each of them improving my knowledge and making me more and more pleased to have dropped out of work to go after what made me happy. So I tinker around on a piano making nice sounds for brilliantly creative films and it seems my journey through education has come full circle, because ironically enough, I spend a large number of my days messing around in sand pits after all … and I don't care if people think I'm odd, I love it!
The author's self-portrait
Posted by networkninenews on February 3, 2015 in Sound Department, Uncategorized
Tags: Albert Einstein, art department, composing, documentary, drama, editing, education, feature film production, film production, film score, foley, Leeds Symphony Orchestra, media courses, music, music copyright, Music Technology, post production, sound design, sound effects, sound track
CARE FOR WHAT YOU SHOW by Peter J Knight
Peter J Knight
The most important thing is the way that a film is screened for the audience. It is, after all, the very last link in a production chain which will have taken a huge amount of money and involved hundreds of talented people – so if it is not presented in the best possible way then all of that effort has been wasted.
I was asked by Wendy to write this article back in 2009 when digital cinema was actually a bit of a way off, although definitely on the horizon – but there were still projectionists working in the box and they were still a very important part of the audience's enjoyment.
For various reasons the article was started but never finished and, over the intervening years, things have changed at a great speed, which has seen the majority of projectionists lose their jobs. In most large multiplex environments, the technical roles have been taken over by cinema managers. However, I wrote an article about the Art of Projection: http://www.indieplex.org/the-art-of-the-projectionist/ and this article for Network Nine News came back into mind and this article takes a look at some of the history of the projectionist but also why it is still important to put on a good show.
I call myself a projectionist and am likely to do so for a good few more years – sometimes I add AV Technician as well – but I am still a projectionist. I have been a projectionist for nearly 16 years which, compared to many in the industry makes me fairly junior, especially when you consider I'm only part time. However, one of the things I have always found and been told, or had reinforced to me, is that the projectionist is the last link in a massive film-making chain which has evolved through thousands of people, years of work and millions of pounds/dollars – and if you get it wrong at the point of screening, it has all been wasted.
In the early years of cinema, the projectionists were the showmen who entertained audiences, usually in village halls or fairgrounds showing off this latest technology – a sight which many would have been unaccustomed to. Many of these showmen went on to make their own films, people such as William Haggar, who produced many short films in the early 1900's for his local Welsh audience.
Early cinema shows were often known as 'cinevariety', as it wasn't just the one film which was screened – there would be a news reel, followed by a 'B' movie and then the main feature so with all the projectors and stage lighting there could be anything up to five people in the projection room – this went on until the multiplexes came into fashion.
The usual way that a projectionist was recruited was as a young boy (or girl), often replying to a slide advert in the cinema. Like most trades and apprenticeships, projectionists would start at the bottom, learning about cleaning (projection rooms were always kept sparkling clean) then perhaps going on to be a rewind boy.
Projectionists are a weird bunch; they spend the majority of their lives in darkened rooms with their closest friend often the flickering light on the screen. Through history the projectionist has been responsible for the care of the presentation of a film. Written in numerous projectionist manuals is a line to the effect …"The Projectionist is the last link in the filming making chain and it is your responsibility to show that film in the best possible way". It was this belief and value which was instilled into the projectionist for more than a century. Right from the very beginning, showmanship and presentation was at the heart of the role. Once upon a time the projectionist would have to hand crank the film, working out the best way to make the projector work and to crank the machine at the proper frame rate!
Often the projector and film would be bought without any instructions in the early days, when many 'bioscopes' were run and operated by funfair showman. These basic affairs of a tent with a few benches and a screen got more and more ornate as the showmen tried to out-do each other and persuade the audience to visit their film show rather than a rival. There were big fair organs, powered by steam engines, as well as live stage shows. All required a great deal of skill to make it happen. In the USA it was common for small storefronts to be converted into theatres, charging five cents for a show, thus the ubiquitous name 'nickelodeons'.
A projectionist would have to earn their way to being chief projectionist by learning the requisite skills, starting as a rewind boy and spending all their time cleaning the projection room, often for many months before being allowed anywhere near any film – and it would be a long time before they would be allowed to touch a projector.
This extract from what is obviously a much longer document demonstrates very clearly the care and attention that went into the projectionist's work – cinema showmanship Late 40′s style: http://www.youtube.com/watch?v=FvQWMSZS-Rs. In fact, such was the importance and value given to the projectionist, that there was an 'Operators Creed' – this was not written by me but was found in a 1935 Projectionist Diary – but is just as true today as it was then!
THE OPERATOR'S CREED
Remember yours is one of the most highly skilled jobs in this modern wonder age and technical developments succeed one another with bewildering rapidity.
Concentrated within the spool-box is the consummate artistry of playwrights, actors, producers and camera-men. You are the last and the most important link in a great chain.
According to your diligence and craftsmanship, so has this artistry, this anxious care, this enormous expense been wasted or justified.
Yours is the task of taking thousands of your fellow men and women away from the cares of an often drab and colourless existence, transporting them on your magic carpet to a land of make-believe and sending them away refreshed to tackle the world of reality with renewed zest and high courage.
To achieve this you have to master a formidable list of highly technical subjects, you have to be resourceful in emergency, calm in danger and unremitting in sacrificing your time and, if need be, your person in the interests of the public you serve.
A noble and inspiring calling that is surely, if slowly, receiving the recognition it deserves.
However, slowly and over time, cinema chains have decided that it is no longer necessary to have curtains, masking or lighting adjustments in the auditoria. Audiences now walk into a cinema with a big, white, blank screen – and some of the awe that had once filled the auditorium was inexorably and finally lost. With the advent of Digital Projection it is possible for the presentation of an entire cinema circuit to be controlled from a room, anywhere in the world, by only one person. For the majority of cinemas, a single uniform presentation style began to be implemented. Only a very few independent venues still have a projectionist because of their desire to continue to do some theatrical presentation.
Cinema has become more complicated with all the different formats, aspect ratios, sound systems and other requirements from content makers. This film which shows the number of different aspect ratios which have appeared over the years helps demonstrates some of this: http://vimeo.com/68830569.
While the everyday films can often be run by low-paid, non-skilled workers who have no sense of whether the film is being shown in the best possible way, or whether all the speakers are working properly, or if the lighting source lamp is aligned correctly, or if the 3D filter is in its proper place – and so many other questions that most of these amateur 'projectionists' don't even know to ask. This work is often delegated to concession workers, assistant managers, or anyone who just happens to be available when something needs to be done in the booth – or if, heaven forbid, something goes wrong during a screening.
The new digital technology has convinced cinema owners that the projectionist can go the way of the lighthouse keeper or the steam train stoker. Where once there may have been five or more projectionists in the box, now there will be nothing but blinking lights and whirring fans as servers and other digital equipment which replace the showmen of yesteryear. Like all technology, it is great when it works but it is when it is misbehaving, or when there is something unusual and technically tricky to screen – that you need the hands, eyes and experience of the expert projectionist.
Even in modern cinema with all the latest technology, there is still the need for a projectionist, or at least a technical person in the box. While the everyday requirements of making up and running a film may have been reduced in their overall complexity, a projectionist is still a useful person to have around. Digital projectors still need maintenance, still need someone to reboot them when something goes wrong – but that is the easy part. Cinemas are looking to making use of this new technology through hiring the venue for alternative content which is where a technical person is of most value – there are now more formats and aspect ratios and ways of connecting equipment than ever before – and someone who knows how to get the best from the equipment and wants to put on a good show should still be an essential part of the cinema experience.
It doesn't matter what your role is or where you work, the most important thing is the way that a film is screened for the audience. It is, after all, the very last link in a production chain which will have taken a huge amount of money and involved hundreds of talented people – so if it is not presented in the best possible way then all of that effort has been wasted. It should not matter whether it is a big blockbuster, a low budget, or a short – people have spent their time and money to make that dream come true – so is vital that the film is shown in the best way possible.
About the author: Peter J. Knight, otherwise known has The Mad Cornish Projectionist (www.madcornishprojectionist.co.uk), has been involved in the cinema exhibition industry since 1997, when he was started as an assistant projectionist at Flix – Loughborough Student Cinema. Later becoming head projectionist and actively involved with the overall running of the organization. After graduation Peter moved to London where he has freelanced as a Projectionist/AV Technician since in a variety of different venues from arts centres to preview theatres and even at the Glastonbury Music Festival. Peter is chairman of the Projected Picture Trust (www.ppttrust.org), an organization interested in the preservation of cinema technology equipment, and is also the vice-chairman of the BKSTS Cinema Technology Committee, an organization which is interested in the education of the current day cinema technical worker and cinema technological development. Peter also writes extensively about all areas of the cinema industry and the technical elements of projection. He has also recently just launched We Can Still Show Film (www.wecanstillshowfilm.com) a free international website which is aimed at recording all the people, venues and companies still able to handle film.
Posted by networkninenews on July 30, 2013 in Cinema Projection
Tags: camera footage, cinema, cinema projection, cinematography, digital cinema, digital projection, documentary, drama, feature film production, film production, film projection, global audience, marketing, performance, sound track
THE EARLY DAYS OF NEWSREELS by Kenneth Gordon – from an 1950s lecture in London.
Kenneth Gordon 1890-1969
Ken Gordon 1890-1969 was employed on lighting duties in 1904 by Films Limited at their show at Hengler's Circus in London and was soon working as a projectionist both there and at the Earls Court Exhibition.
Gordon wanted to become a civil engineer and studied electrical engineering whilst working as a stills photographer with Bolak's Press Agency. He afterwards became a press photographer on the Daily Mirror and, in 1908, covered the stadium events at the London Olympic Games.
After a number of provincial jobs returned to London in 1911 to work in the laboratories at Gaumont, making the transition from press photography to newsreel work. He was the replacement for Brooks-Carrington and his first major assignment as cameraman was at the Coronation of King George V in June 1911.
In 1944 Gordon also covered the liberation of Paris and was instrumental in organising the Association of Cine Technicians (ACT), in conjunction with George Elvin. In September 1944 the ACT reached an agreement with the Newsreel Association over staff wages and the employment of 'learners', for which Elvin and Gordon received the credit.
German surrender on Luneberg Heath 1945
In May 1945 Gordon filmed the German surrender on Luneberg Heath and the first demobilization of British troops in Belgium. After the war he spent six months in Germany, filming both the occupation and the war crimes trials – including the Belsen trial in September 1945, where he worked alongside Ian Struthers of Paramount. He also provided film for the Coronation of Queen Elizabeth II in June 1953. Gordon officially retired in 1955, but was still filming for Pathé News in 1965.
Now read on……
Queen Victoria in Dublin – 1898
The filming by Robert W Paul of the Derby in 1896 may be described as the first newsreel. This was followed the next year by the record of Queen Victoria's Diamond Jubilee. The story of the late René Bull, the great war artist, building a rostrum of bamboo poles in order to film the charge of the Dervishes in the Battle of Omdurman – and the London Times' report of filming the action in Crete in 1897 by the war correspondent, F Villiers, constitute the first coverage of war news.
The First Newsreel – The first regular news coverage was by the Biograph Company, an American firm which established laboratories in Great Windmill Street in London. Each subject was only 160ft in length and a single frame measured 2¾ins by 2ins – this will give some idea how short the subjects were.
In 1898 A J West inaugurated his combination of news and interest films of the Royal Navy which, for so many years ran in the West End of London under the title of 'Our Navy'. Shortly afterwards came the era of Charles Urban, Will Barker and W Jeapes. Their firms – the Warwick Trading Company and later the Charles Urban Trading Company – dealt mainly in one-reel news events such as the Grand National, the Derby and the Boat Race.
A number of new firms were started to cover the great news events. Cecil Hepworth, whose pioneering work did so much for British film production, came into the picture. WS Barker founded the Autoscope Company and WC McDowell and A Bloomfield, two members of the Biograph Company, started British & Colonial Films. Each of these firms covered news as well as story pictures.
The Biograph cameramen, WKL Dickson and J Rosenthal, covered the Boer War and the Russo-Japanese War. During the Boer War the two photographers carried their very heavy camera – which perforated the stock at the same time as the film was exposed – in a bullock cart!
Newsreel Equipment – Later came the newsreels as we know them today. Pathé Gazette was at first filmed here and then processed in Paris. It has been stated that the Gaumont Graphic followed only a few days later. Shortly after came the Warwick Chronicle (founded in 1903 by Charles Urban), Topical Budget (founded by Jeapes and W Wrench, the projector engineer), the Williamson News and the Éclair Journal. All produced two issues weekly at 2½d per ft (much less than a current 1p!)
The cameras used were hand-cranked – Pathé used their French model with outside boxes, Gaumont use the Prestwich (an English model) also with outside boxes. Moys, Williamsons and Éclairs were also used. Later, Topical Budget used Debries, and Warwick started using the first automatic Proszinski Aeroscope. This was run by compressed air and the first models were fitted with a gyroscope to keep them steady when hand-held.
The Provincial Cinematograph Theatres, whose cinemas were amongst the first to be built as such in England, had darkrooms in their main theatres. Local films were taken, processed in the local cinema and shown the same night.
The Prince of Wales
Carnarvon 1911
Speed of Production – About this time Charles Urban introduced the Kinemacolor and William Friese-Green was experimenting with a process known as Biocolor. King Edward's funeral and the Coronation of King George V gave a great incentive to the newsreel producers. Many production records were broken with the laboratories working day and night. One of these speed records was made by Gaumont Graphic – they filmed the Investiture of the Prince of Wales at Caernarvon. On the pilot engine of the Royal Train were coupled a pair of large milk vans – these were turned into travelling darkrooms. The negative was developed, dried and rough cut – and a print was made on the way to London. As we sped along, every time we crossed any points the developer, hypo and washing water would splash over and cover us. The developer was so low when we developed the print that it did not cover the frame – but the movement of the train saved the day – and the resulting film, nearly 1,000ft in length, was shown the same night at the Electric Theatre in Marble Arch. The negative was re-washed before further prints were made.
News in Colour – It was the colour version of this film, made by Charles Urban, that put newsreels in the big money class. Kinemacolor was made on a black and white print, using rotating filters both in the camera and in the projector, therefore it was able to be processed in the same manner as black and white. The colour film ran for a long while at the Scala Theatre and many other key theatres throughout the world.
Charles Urban and Biocolor had some difficulties with patents. The costs of the resulting law suits rendered them both bankrupt. Gaumont brought out Chronochrome which stopped during the First World War.
About this time I had my first assignment in Turkey. This was during the Balkan War. My apparatus was an inside-box Prestwich camera fitted with 3in and 6in lenses.
The First World War – During the First World War the newsreel firms banded together and formed the War Office Film Committee under the Chairmanship of Sir William Jury. This enabled cameramen to work to a common purpose. One of them, JB McDowell, won the MC and the OBE for his work on the battlefield.
The Government bought up Topical Budget and ran it as an Official War News. I joined them after the war and went to Russia as a war cameraman. Jeapes re-purchased Topical from the Government and attracted the attention of many newspaper owners.
After this I went to Ireland to get some shots of the internal strife prevailing. The resulting films attracted bottles of ink when shown in the cinemas – some people even used my films of the Black and Tans for target practice with revolvers!
Still from WWII footage
Newsreel War – In England at this time a newsreel war was developing. The main cause of trouble was the granting of exclusive rights of the various sporting events – the Grand National was an example of this. This was the end of the 'closed season' for unemployed cameramen – all who could stand were certain of work, either as a 'pirate' with all expenses paid, or in the official party. One stranger, a 'pirate', was looking around for a position – I carried his gear, installed him and left him quite contented – but ignorant of the fact that I had left a 'minder' with him to see that no film was taken!
At the last Cup Final at Stamford Bridge, the flats at one end of the pitch was the position of one Pathé camera. This had been spotted by Topical Budget, who had exclusive rights to this match, as was intended. Topical planned to fly a balloon in front of the camera with a banner hanging from it in an attempt to stop us 'pirates'. They did as they had planned but we had another camera already in place which was put to good use, much to the consternation of Topical. This was the time the Debrie 'Sept' automatic camera was introduced – it would run only 15ft of film. I managed to get shots of the King inspecting the teams, a fair coverage of the game and, by good fortune, the only goal – which was a penalty. Every roll was taken back to the office by messenger as soon as it was ready.
Exclusive Rights – Then Gaumont entered the war, buying up all the rights they could, some of which they shared with Movietone. Pathé lost the rights to the Grand National by being outbid and we had to become 'pirates' at this fixture. Pathé used scaffold towers and fights took place around these, although they were outside the racecourse. The towers were built at the last minute – on our stand were Jock Gemmell, with his range of long focus lenses and myself, with the slow-motion camera. Then the fight was on! Our opponents got hold of the rope which we used to lift our gear and started to pull the tower over. Just as this 60ft tower was about to topple over someone cut the rope and we just managed to get our cameras lined up – the race had started – then we were attacked for a second time. Fireworks were fired in front of the cameras, which frightened the horses causing the favourite, Golden Miller, to fall in front of our slow-motion camera.
That season's cricket test matches brought out balloons, heavy netting and many other tricks to stop filming. The balloons were punctured by airgun fire and the pictures stolen!
Later the Newsreel Association was formed and agreement reached on the conditions of exclusive rights. By competitive bidding the price demanded for the exclusive film rights had risen out of all proportion to the earning capacity of newsreels.
Footnote – An unnamed radio & television presenter, in his thanks to the lecturer said '….there is still a tremendous vigour and enthusiasm in the newsreel business and, wherever and however the film industry develops, the newsreel men will be right out there in front. Newsreels were there to see the twentieth century in and will still be in the picture when we see the century out….'
Posted by networkninenews on March 13, 2013 in Cinematography, How It All Began
Tags: ACCT, camera, camera footage, cinematography, documentary, editing, film, film history, global audience, newsreels, pathe news, photography, post production, sound track, sports coverage, television
F.A.B! by Gerry Anderson MBE
Gerry Anderson (1929 – 2012) with Thunderbird 2
This is an article written for Network Nine News by the legendary Gerry Anderson in 2009. Gerry sadly passed away in 2012 but his story continues with the new Gerry Anderson Legacy Site www.launch.gerryanderson.co.uk
Born in 1929 in London into a poor family, education wasn't high on the list of priorities and being evacuated during the war didn't help at all – so, with extreme optimism I decided that I wanted to be an architect and applied to enter a training course! Luckily, the local polytechnic had other building-related courses and I found that I had an aptitude for fibrous plastering and creating decorative pieces which were used for film work. I enjoyed this work enormously for some time but developed an allergy to plaster and had to give up.
I had developed a passion for film work by then and so spent the next few months tramping round the film studios looking for a job. Eventually, I was taken on by the Colonial Film Unit which was run by the Ministry of Information. Filming was on 35mm and they had a 6-weekly rotation programme so that the trainees got comfortable with all the disciplines – camera, picture editing, sound, direction, projection- and under the guidance of the legendary George Pearson I found that I had a great affinity for editing. George gave me a piece of advice which I've always remembered … 'when you are filming don't forget to shoot a few feet of a bowl of tulips for cutaways!' ….
Growing in confidence I applied for and got a job with Gainsborough Studios in Shepherds Bush as 2nd Assistant Editor then worked my way up to 1st Assistant on 'The Wicked Lady' in 1945, 'Caravan' in 1946 and many more – all for the princely sum of £10 per week!
Then, as did everyone in those days, in 1947 I was 'called up' for National Service with the RAF, where I spent my time as a Radio Telephone Operator. It was a requirement that, after National Service, everyone was re-instated into their previous job but Gainsborough had closed and I was re-located to Pinewood Studios – then moved to Shepperton as a Sound Editor working on films such as 'They Who Dare' in 1954 for the acclaimed Director, Lewis Milestone ('All Quiet on the Western Front', 'Pork Chop Hill', 'Ocean's Eleven', 'Mutiny on the Bounty') who terrified everyone on set – although I got on with him very well.
'Thunderbirds' character Alan Tracy with Chief Puppeteer Christine Glanville
In 1956 I formed a production company with Arthur Provis – I think that we were one of the first (if not the only) small production company working at that time, calling ourselves AP Films and renting space in an Edwardian mansion in Maidenhead. We had a filing cabinet, a telephone and headed paper, so we were ready for anything! However, six months went by without any offers and we all had to do extra work to keep ourselves afloat – then the phone rang!! It was a lady called Roberta Leigh who had 52 scripts for a children's series called 'The Adventures of Twizzle'. We were over the moon, our big chance to show what we were made of – then she dropped the bombshell that it was a puppet show – but, we were hungry for work and even the modest budget and the tight schedule didn't put us off.
I hated what I had already seen on television as puppet shows and so we decided to add a few 'film' techniques to make the sets more realistic with cut-outs in mid and foreground to add depth – also, whenever the puppets were meant to look at each other they always seemed to miss the eyeline as the puppeteers, who by now we had moved up to a high gantry to give more set space, had a very restricted view, so we painted arrows on the puppets heads to make it easier!
Every episode we made we got a little better. Christine Glanville was the chief puppeteer and made the heads herself from cork dust, glue and methylated spirits – which was infinitely better than the original papier maché as they could be sanded down to a smoother finish. Eventually all the puppets would be made of fibreglass. We noticed that, as the puppets eyes were made of wood, the grain was very noticable when they moved – so we called in William Shakespeare! No, not the bard but a nice man who made glass eyes – and he produced the first pair of plastic puppet's eyes for us. As he said, he had never ever been asked for a pair of false eyes before!
Around 250 set-ups were needed for a half-hour episode and the 1/3 life size sets were built on moveable stages to be wheeled in and out very quickly.
'Thunderbirds are Go!' – Lady Penelope and Parker on an undercover mission in France!
So successful were we with 'Twizzle' and before the series was finished, Roberta Leigh came to us with another new series, 'Torchy the Battery Boy'. The budget was increased to nearly double and the team wanted to see how far they could go to improve the look and 'workability' of the puppets – finer wires, a spring in the jaw to snap the mouth shut to simulate speaking without the head bouncing up and down as the puppeteers jerked the wires. Eventually mouth movement was controlled by an electro-magnet device – another first – this was when we came up with the name 'Supermarionation'
We were working on 35mm film with a Mitchell camera and I wanted to see what the TV audience would be viewing as we were working. I bought a lightweight video camera and fixed it to the Mitchell camera we were using so it looked directly down the lens, linking to a monitor and giving us a constant picture. This 'Video Assist' technique was soon adopted by the film industry worldwide.
The next series, 'Four Feather Falls' finished in 1960, and 'Supercar' came along in 1962 with the support of Lew Grade and the ITV network. Eventually 'Supercar' was broadcast coast-to-coast in the USA and became the top rated children's programme.
'Fireball XL5' followed closely behind in 1963 with 'Stingray' in 1965 made in our new home in a large warehouse in the Slough trading estate. I think that 'Stingray'was possibly the first puppet series to entertain an adult audience, was shot in colour and had an enormous budget at that time of £20,000 per episode.
Gerry leaning on FAB 1 – a full-size working model of Lady Penelope's car in 'Thunderbirds are Go!'
While 'Stingray' was still in production I was writing a new series which eventually would be called 'Thunderbirds'. Public response when the series was aired was phenomenal! Apparantly the astronaut Alan Shepherd was a fan! The very futuristic 'Captain Scarlet and the Mysterons' came out in 1968 followed by 'Joe 90' in 1969.
Shortly after this Lew Grade came apologetically to me and said that, as all the programmes we had produced were being repeated so much on television, we were drowning in our own product so unfortunately, I would have to switch to live action! What joy – all I'd ever wanted to do was live action! So 'UFO', ' Space 1999' and 'Space Precinct' followed
Major developments and change have always been an essential part of the industry. Puppet work has been superceded by CGI and we dipped our toe in the water with 'Lavender Castle' and re-made 'Captain Scarlet' in 2005 using the latest software – except that I still worked with film people for storyboards and set design to make sure that it had that '3-dimensional' film feel.
The 2005 CGI version of 'Captain Scarlet'
I always remember something that Lewis Milestone said to me way back in 1947 when I was working with him. He said 'Do you want to be famous?' … I was slightly taken aback by the question but obviously answered ..'Yes'. 'Never second-guess your audience' he said 'make what you want – if they like it you'll become famous, if they don't you might as well open a greengrocer's shop!' I have lived up to this advice throughout my career!
I really enjoy what I do and can't imagine retiring – the technology and techniques during my career have changed so much and continue to evolve, so it makes each fresh project an exciting and rewarding challenge.
Ed: Gerry brought much joy and entertainment to several generations of of fans. Hopefully, through re-runs and perhaps through unfinished projects which may be completed in the future, his legacy will continue.
Gerry Anderson's film & television credits include: New Captain Scarlet – 2005; Lavender Castle – 1999; Space Precinct – 1994; Dick Spanner – 1987; Terrahawks – 1983; Space 1999 – 1975; The Protectors – 1972; UFO – 1970; Doppelganger – 1969; Joe 90 – 1968; Thunderbird Six – 1968; Captain Scarlet and the Mysterons – 1967; Thunderbirds are Go – 1966; Thunderbirds – 1965; Stingray – 1964; Fireball XL5 – 1963; Supercar – 1960; Four Feather Falls – 1959; Torchy the Battery Boy – 1958; The Adventures of Twizzle – 1957
Posted by networkninenews on June 28, 2012 in Animation
Tags: animation, art department, camera footage, captain scarlet, CGI, cinematography, computer graphics, feature film production, film, film director, film producer, film sets, film studios, global audience, in camera effects, puppeteers, puppets, set construction, set design, set dressing, sound design, sound track, special effects, storyboards, supermarionation, technical drawing, television, thunderbirds, vfx, video assist, visual effects
The Sound Editor
Eddy Joseph using his trusty DAR work station on 'Harry Potter and the Philosopher's Stone'
After more than 40 years in the Film Industry and 30 years as a Supervising Sound Editor, I have learnt this – if you want to make the Film Industry your career, talk to as many professionals as you can, always display keenness, never be late, never complain about having to work ridiculous hours, learn the basics before you even try to get a job, be humble (you may think that you can do the job better but don't forget they already HAVE the job) and, above all, learn to make a good cup of tea! Best job in the world!
This is from an article published in Network Nine News written by Eddy Joseph – if you want to subscribe to the magazine contact info@network-nine.com or go to the www.network-nine.com 'Publications' page
I left school at 17 with a smattering of 'O' and 'A' levels but no interest in further education. It was thought that, as I was good at mathematics, I would make an acceptable accountant! After less that two years commuting to London and wearing a suit, I left and wandered – somewhat aimlessly – making pork pies, injecting plastic lipstick cases, training as a clerk for the Inland Revenue (oh, the stories I could tell – but I signed the Official Secrets Act!), delivering for the Victoria Wine Company and studying for an HND in Business Studies (didn't finish that either)
Eventually my Dad, film producer Teddy Joseph, said in exasperation, 'What DO you want to do?' Now, I have to say that I had also failed as a singer/songwriter, although I had appeared with Tom and Jerry (later to become Simon and Garfunkel) in a Folk club in Chesham, so my artistic ambitions were severely dimmed. 'Wouldn't mind getting into the film industry Dad, like you'.
In June 1967 I was employed as Production Runner on 'Salt and Pepper' at Shepperton Studios at £12 a week plus overtime plus holiday credits. It was BRILLIANT! Only problem was, what to do when the shooting was over? A friend I had made in the Shepperton Bar (where else?) called Peter Keen – incidentally a superb sound editor – told me that there was a 2nd assistant picture editor's job going at MGM Studios in Borehamwood with Archie Ludski and David Grimsdale on Ivan Foxwell's 'Decline and Fall of a Birdwatcher'. I turned up not having much clue what a 2nd assistant did but, knowing that I wanted to work in the film industry more than anything else, it was a stepping stone. Whilst hanging around the cutting rooms and reading the script a union organiser (ACTT then, BECTU now) knocked on the door and asked to see my 'ticket' (Union card). So by lunchtime on the first day of my new job I was ushered out of the studios. The rule then was 'you couldn't get a ticket without a job but you couldn't get a job without a ticket!'
Another friend I had made at Shepperton told me that Illustra Films, a successful commercials company in Soho, were looking for a trainee assistant editor and, by training in the cutting rooms, I would eventually get my 'ticket'. Illustra didn't need a trainee but they did need a bookkeeper! I agreed to sort out their books provided that, when an opening arose in the editing department, I would move across. After a couple of months this happened. I was trained up to assist, to cut Sunday Times commercials, to run around Soho and generally have a great time. A year later I got my ticket, forgot about working on the production side and got a call from John Taylor, a music editor on a TV series at Pinewood Studios called 'Strange Report', telling me that they needed a 2nd assistant picture editor. On that series I worked with a wonderful man, Keith Palmer, who later took me as his assistant on both picture and sound projects.
In 1974 I assisted Leslie Hodgson on 'The Odessa File' and subsequently, an ITC/RAI TV series 'Moses the Lawgiver' starring Burt Lancaster. When all the editors had left, Roger Cherrill (the owner of the Post House) asked me to be the sound editor on the re-cut feature version. The main editor was Gerry Hambling. I assisted him for a few years on films such as 'Midnight Express' and 'Fame'. Then in 1981 Alan Parker asked me to be the sound editor on 'Shoot the Moon'. That was my first film as Supervising Sound Editor and sound editing has been my life for 30 years.
WHAT QUALIFICATIONS ARE NEEDED?
I progressed through a form of apprenticeship. I don't think that there were any film courses when I started. Unfortunately, the editorial structure has changed since 35mm magnetic and not many sound editors now have the luxury of an assistant – but I learned from watching over the editor's shoulder and absorbing the knowledge by a form of osmosis.
There are many courses now at film schools and universities that flirt with sound editing and design and some, like the National Film & Television School, which specialise. The problem is always how to leap from the confines of education to the élitism of the cutting room. Luck, application, hard work and more luck are needed – and it is still 'who you know' more than 'what you know'.
To answer the question. There are no specific qualifications required to start sound editing. It would be useful to have a technical background and a working knowledge of ProTools or a similar sound editing tool. A degree, HND or BTEC in some area of sound could be an advantage but is not necessary. Indeed one of the foremost sound designers in the UK left school at 16 and started straightaway in the cutting rooms.
HOW DO YOU HAVE TO INTERACT WITH OTHER DEPARTMENTS?
We couldn't operate without a close relationship with the editorial department. In fact, it was always the picture editor who chose the sound editor. That isn't so much the case these days as sound editors can be appointed by the director, producer – or be a part of a post-house package . The sound editor's loyalty, however, must always be to the director and the picture editor.
We should be able to take the editor's working track, which may include sound effects that we have already supplied and start from there. The picture assistant should be encouraged to liaise with the sound department whenever changes are made to the picture.
ANECDOTES – PROBLEMS – PRIDE
I was interviewed in the mid 90's by a director who was looking for a sound editor for his high profile project. 'I shall expect alternatives for the sound effects' he said. 'Oh' I said 'you'd better look for someone else. I don't lay up alternatives'. 'Why ever not?' he questioned. 'Well, when I track-lay the effects that I feel are right for the particular scene, I move onto the next scene. Surely you should employ someone who is confident in their creative ability?' I got the job, didn't lay alternatives and was never asked for one!
Using a synchroniser on 'Angel Heart' in 1986 at Elstree Studios
During the crossover period between magnetic and digital sound, we realised that the new technology was really not tried and tested. We were the guinea pigs. One of the problems was how to keep the projector, the 35mm recording master and the digital play-off tracks in sync. On one film the re-recording mixer and I were so concerned about sync slippage that we transferred out all the dialogue premixes onto 35mm and I spent all night re-cutting those premixes so that they were perfectly in sync with the picture.
'Angel Heart', directed by Alan Parker in 1986, was a wonderful film to work on. Apart from it being a fascinating film for sound design, most of the post-production was done in Paris! Although we started the premixes in Elstree, we finalled in Los Angeles at Warner Hollywood Studios. It was my first experience of mixing in Hollywood!
MENTORS ETC
One of the reasons I moved over to sound editing was having the privilege of working with Alan Bell. In 1969 I was the 2nd assistant picture editor on 'I Start Counting', a thriller directed by David Greene. The editor, Keith Palmer, brought on Alan Bell two weeks before the end of principal photography to do the sound. This practice has long gone. It is now considered perfectly acceptable to start the sound department after the film has been locked, rarely leaving enough time to think the project through. Alan was a stocky, heavily bearded ex-Merchant Navy man with a penchant for roll-ups and drink. Many drank then – in fact it was normal to have a couple of pints every lunch-time. It didn't seem to affect efficiency and creative perception! An early scene in the film featured a teenage girl (Jenny Agutter) going into the woods to play in a deserted cottage. In the corridor near Alan's room I could hear strange bird coos and wing flaps. What Alan was doing was laying pigeon sounds as if they were emanating from the roof of the porch so that whenever Jenny (or anyone else for that matter) went in or out of the cottage the birds would be disturbed. I realised then how important 'sound' was to story telling and that one sound could create or destroy a mood.
TECHNIQUES & TECHNOLOGIES
I started working on 16mm and 35mm (both picture and sound), editing in mono on Synchronisers and Moviolas. Sound accuracy (on 35mm) was to one sprocket or 1/96 second. When the mix was complete an Optical 35mm Negative would be shot, processed overnight and, after the print had dried, played back the next day. The last mono film I worked on was 'Another Country' in 1983, although I had track-laid and mixed for 6 track Magnetic and Dolby Stereo on 'Pink Floyd the Wall' in 1982. The Dolby 2tk Stereo was a fantastic advance which I enjoyed using on 'Birdy'in 1984.
On the Todd mixing stage in Los Angeles for 'The Commitments' in 1992. Alan Parker in the foreground with Eddy 2nd from right
The first 'digital' film for me was 'Damage' in 1992. Louis Malle's sound recordist, Jean-Claude Laureux, decided to record the production dialogues digitally on a DAT machine. Louis requested that the dialogues should be edited digitally. I was offered the sound editor's job by John Bloom provided that I learned to use a Digital Work Station. I only track-laid one more 35mm magnetic film after that. My first DWS was a DAR 8 track and I stayed with DAR until 'Cold Mountain' in 2003 when Walter Murch suggested I should use a ProTools system.
When I started, I was taught how to scrape the magnetic oxide off the track to reduce clicks, sibilance and to create fades. How different it is now! There were also a maximum of 3 sound editors on a film. The sound effects editor supervised with a dialogue editor and a foley (footsteps) editor – each editor had an assistant. Now there can be as many as 10 editors but only 2 or 3 assistants on the big films and there is much more specialisation. There are sound editors known for certain facets of sound for example, vehicles, guns, animals and atmospheres. There are usually 2 dialogue editors, one for production dialogue and the other for ADR. You may get a foley supervisor and several foley editors and, of course, specialist sound designers.
Eddy Joseph's credits include: Green Zone – 2010, Nowhere Boy – 2009, Last Chance Harvey – 2008, Quantum of Solace – 2008, Casino Royale – 2006, United 93 – 2006, Corpse Bride – 2005, Charlie & the Chocolate Factory – 2005, King Arthur – 2004, Cold Mountain – 2003, The Life of David Gale – 2003, Harry Potter & the Sorcerer's Stone – 2001, Enemy at the Gates – 2001, Angela's Ashes – 1999, Lost in Space – 1997, Evita – 1996, Michael Collins – 1996, Interview with a Vampire – 1994, Little Buddha – 1993, The Commitments – 1991, We're No Angels – 1989, Batman – 1989, Angel Heart – 1987, Birdy – 1984, The Killing Fields – 1984, Fame – 1980, Midnight Express – 1978, Sunday Bloody Sunday – 1971, Salt & Pepper – 1968
Posted by networkninenews on April 3, 2012 in Sound Department
Tags: camera, drama, editing, feature film production, film, film director, film producer, film production, film score, film studios, post production, sound, sound design, sound track, television
PRODUCER SAVED FROM MUSIC BUDGET NIGHTMARE
Ivan Chandler
'A CINEMATIC RELEASE?'….ALL MEDIA WORLDWIDE IN PERPETUITY?….THIS WILL BE QUITE A FEW THOUSAND!', SAID THE MUSIC PUBLISHER , SMILING DOWN THE TELEPHONE WITH GLEE! THE MORAL OF THE STORY? GET SOMEONE WHO KNOWS ABOUT MUSIC AND COPYRIGHT!!
Once upon a time in a production office not too far away, a producer was discussing with the director the music they would like for their newfairytale drama.
However, they did not have much money left for music – only about five hundred pounds in fact – as they had spent it all on fancy camera work, costumes, make up, limousines for the ageing fading ex-Hollywood starlet as well as a some special effects that went tragically wrong and had to be re-made by an expensive computer graphics firm who managed to misinterpret what was required.
After hours and hours and hours of editing, the film was close to being finished. The producer admitted he didn't know much about copyright and had been promising to go along to an Indie Training Fund Music Rights seminar for about three years.
Nevertheless, he knew that some music was out of copyright and always liked Cavalleria Rusticana by deceased Italian composer, Pietro Mascagni. He played some tasty extracts to the director who loved it. So they used it as most of the score of the film.
Then a little bird mentioned that, as the copyright in musical compositions lasts for 70 years after the composer's death, should they not check that out. It turned out that Mascagni died in 1945 and therefore there was still a further three and half years or so to go before they could use it for free. 'Oh dear' said the producer 'it's still in copyright!'.
A quick email to the PRS told them to go to the publishers. 'A cinematic release?….All media worldwide in perpetuity?… This will be quite a few thousand!', said the publisher probably smiling down the telephone with glee. 'Well, we could negotiate it – you've used a lot of the score but this is not going to be cheap you know'.
The producer said that the recording was out of copyright as it was over 50 years old and, even with the
extension of the copyright term in sound recordings to 70 years, it was an old recording as he had the vinyl to prove it. However, his recording was so scratchy that they had used a CD, a re-released of the original recording. No-one told them that re-mastered recordings with all the scratches, pops and crackles taken out constitute a new copyright recording. A call to the label resulted in a quote for fees on an MFN basis with the publishers. 'MFN? What's that?', said the producer. The label told him that, whatever the publisher wanted, the label needed to charge the same.
Oh, and as the some of the music is over the closing credits, the fee is three times as much. Oh, no! This is a runaway music budget nightmare!
They asked to look at the licence to check the wording and there was a clause about gaining consents from the performers on the recording. On enquiring further, as the recording they had now decided on using (not the original) was first made in England, it turned out that the Musicians' Union required re-use fees. How many musicians? 70!
Then, as the fees were catapulting higher and higher and whilst the producer and director simultaneously threw their arms up in the ear, a young Production Manager popped her head into their office. She said, 'I went to one of Ivan Chandler's Music Copyright Seminars and I know just what to do'. 'What, what?', they literally screamed.
You could easily use a library recording for only a few hundred pounds and, if you use lots of extracts from the same recording from the same library, they might even give you a good discount.
The library rates cover the publishing, sound recording and performers' consents. In fact, you could also use a few special sound effects where appropriate and, in many scenes, by using no music at all, you could even save more!!
The producer, director and production manager clasped hands, jumped round the room and opened a bottle of champagne. Unfortunately, it was taken from the financier's vintage collection and valued at, guess what, £500.00!
The moral of the story? Get someone who knows about music and copyright!!
Ivan Chandler, Founder & CEO,
Musicalities Ltd,
Music Copyright & Licensing Consultants
www.musicalities.co.uk
Ivan's Film Credits include: Mouth to Mouth – 2005, My Kingdom – 2001, The Man Who Cried – 2000, 24 Hours in London – 2000, Waking Ned Devine – 1998, The Tango Lesson – 1997, Shooting Fish – 1997, Bring Me The Head of Mavis Davis – 1997. Television Credits include: Raw – 2012, The Cost of Living – 2005.
Posted by networkninenews on March 20, 2012 in Production Office, Sound Department
Tags: documentary, feature film production, film producer, film production, film score, music, music copyright, post production, sound design, sound track, television


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WHATSON SLING ENTERTAINMENT DRAMA MOST MIND-BLOWING MOMENTS ON 'MR. ROBOT' (SO FAR)
Most Mind-Blowing Moments on 'Mr. Robot' (So Far)
Five times Sam Esmail's pitch-dark hacker drama blew our minds.
USA Network's hacking drama Mr. Robot is a twisted show, figuratively and literally. There are moments where, for example, a very pregnant woman engages in rough sex or a corporate executive blows his brains out on live TV. Twisted stuff.
There's also the plot twists. Clever viewers have sometimes spotted these in advance (which the show's creator, Sam Esmail, doesn't think is such a bad thing). However, taken cumulatively, the dizzying plot of Mr. Robot leaves you with a disoriented feeling. In this respect, the show's style is a reflection of its lead character, Elliott Alderson, a brilliant hacker with serious mental health issues.
If you haven't watched the show and don't like SPOILERS, this is the time to swerve away. Here's a look at five times "Mr. Robot" blew our minds.
Getting the Axe
Prolific actor Bobby Cannavale joined "Mr. Robot" for its third season in the role of Irving, a used car salesman who also works as a fixer for the hacking collective the Dark Army. In the season 3 finale, Santiago, the group's FBI insider, takes an axe to the chest courtesy of Irving, who subsequently recruits the shrewd agent Dominique DiPierro (Grace Gummer). Naturally, Dom isn't thrilled with the prospect of becoming the inside woman for the Dark Army, but a few well placed chops of the axe along with some specific allusions to her family members and Dom is theirs. It may not be pretty, but as a recruitment tactic, dismemberment tends to get the job done.
Elsewhere in season 3, Elliott works feverishly to prevent Stage 2 of the attack on E-Corp. And he believes it worked …until he sees a news report indicating that thousands have died after attacks on 71 different E-Corp facilities.
The first season ended with Elliott having pulled off Stage 1 of fsociety's revolution: to encrypt (and effectively erase) the world's financial records, re-leveling the playing field. But this "victory" proves pyrrhic, throwing the whole world into chaos, and by season 3, Elliott has realized how misguided his mission was in the first place. The successful Stage 2 attack, which occurs about halfway through the season and destroys the hard copies of all the encrypted records (along with 71 buildings and countless people) hits Elliott like a punch to the gut: Neither he, nor the viewer, saw it coming.
Mama's Big House
After the depth of Elliott's troubles are revealed at the end of season 1, he spends much of season 2 ensconced in comfortable routines. Working out of his mother's house, he shares his meals with his new friend Leon and even attends group therapy sessions. However, as with many things on Mr. Robot, this all feels just a little "off" and viewers rightly suspected that something else was afoot.
In the seventh episode of the season, we finally learn what was really going on: Elliott hasn't been at his mom's house, he's been in the Big House, thanks to the hack on his therapist's philandering boyfriend back in season 1. The jailhouse reveal may not have been as shocking as some of the others we'll get to, but it too helps establish the show's bewildering atmosphere.
Evil Empire Strikes Back
The contrasting story arcs of Elliott and his lifelong friend Angela (Portia Doubleday) is one of the show's strongest themes. Although they both lost their parents to E-Corp's corporate negligence, their attitude and tactics are almost always in opposition to each other. To bring them down from the inside, Angela accepts a position with E-Corp, where she is mentored by the CEO, Phillip Price (Michael Cristofer). However in the season 3 finale, Price goes full Darth Vader and reveals that he is her biological father. Although this particular plot point has become somewhat cliche over time, in the context of Mr. Robot, it's more of a comment on the changing nature of relationships and alliances than a "gotcha" plot twist.
I Am Mr. Robot
Of course, the biggest twist in the show is the one that came first, the one that probably kept you watching: the big reveal in the second to last episode of season 1 that Elliott is also Mr. Robot. Obviously, this particular twist (alongside the plot of wrecking the world's financial system on behalf of the people) owes something of a debt to David Fincher's 1999 classic Fight Club. However, the way the twist unfolds is downright elegant. The previous episode ended with Elliott's discovery that Mr. Robot is his dead father, which was plenty shocking on its own. But this sleight of hand ultimately proved to be a distraction from the real revelation. It's very well executed, in no small part because those of us who figured it out were duped into thinking we were wrong, until we weren't. Like we said, this show is twisted in more ways than one.
The final season of Mr. Robot premieres Sunday on USA Network and Mondays on demand.

redpajama_set_name: RedPajamaCommonCrawl


Four years on we're back in Olympic season and I have a sealed box of 60 Team GB minifigures #8909-18 I'm willing to part with. I've given it a brief look over and would consider the box condition Very Good if not MINT.
Looking to ideally sell within the UK but might consider shipping abroad. Sealed boxes don't appear to come up for sale too often.
Offers welcome and I will pass 20% of the sale to Thames Hospice (Charity number 1108298).
Just out of curiosity how many sets did did they put in these boxes? 6 sets of 9 and 6 extras? Anyway good luck with the sale and rest well for the raffle tonight!
Yes. I believe there there are six full sets and and a seventh of each a Swimmer, Relay Runner, Judo Fighter, Tennis Player, Gymnast and Archer.
Still available? Offers on here or via PM ?
@DarthMorl Now you have my attention! I don't get paid till the 24th, alas.
Good to know @mmozzano and @MattDawson.
I'd be interested in as set if the price is right and shipping isn't too much to the USA?
@DarthMorl @mmozzano @MattDawson @SprinkleOtter I'm in for a set but who will do the feeling and who gets to keep the box? I would like to get mine sealed in the bag though. And how do we split off the extras?
Ok, I would be interested in being the fifth... I would like sealed in bag, as well, if possible.
I would be interested in a single Relay Runner sealed packet. I need one as a gift for a British friend of mine who's a marathon runner.
I'm happy to have opened packets and no interest in the box. How much does a box/set run for? Could the spares be sold separately or does one person want the extras?
Has anyone spoke to Legoboy to get an idea what he's after cost wise?
So I thinking maybe the box and extras could be raffled off to the highest bidder within the group of 6??
I'm sure @Legoboy would be happy to blind feel complete sets for us?
A case of sealed GB figures generally goes for around 1200 US. So for 6 people it will cost 200 US plus shipping per person.
An open box from a 0 feedback seller isn't really a fair way to value these. I was thinking about grabbing these, did a bit of research and have seen boxes hit £1100 twice recently and many full sets going for well over £200 a set.
Eek! For that kind of money I'd have to say "I'm out!"
Ok so maybe the best thing to do is post or PM me with the max that each can afford?
@joel4motion are you saying you would like to be included in the group purchase should we be able to sort out an agreeable amount?
So I have a pm from @MattDawson.
Possibly time for me to speak up.
I'd be happy to split a sealed box into 6 sets and sell the individual sets sealed for a minimum of 5 purchasers - I'll be happy to keep the 6th set if a 6th purchaser isn't found.
PM @DarthMorl if you're interested.
@Legoboy Would that 175 include shipping to the US?
Good point. £185 to the US and I'll swallow the extra.
They are $290 on Amazon.
If still available I would like to be the 6th purchaser.
Ok so price has been put up by Legoboy and everyone has gone very quiet!!
please pm me or post in here to let me know if your in or out??
i'll buy a set if they are sealed in the foil.
If I count correct that makes 5xcomplete set and 1xsome of the spares? Or is it 4x?
Hi, I think I was a little bit confusing in my last post... What I meant to ask was If we had enough people willing to buy a set. I counted 5people for the complete set (could be 4) and 1 persoon who wanted to buy the spares.
@DarthMorl is the official score keeper. @DarthMorl, where are you at?
So currently the only confirmed buyer is @absolut3 and myself. We need 4 more so please pm me if you want in on the action!
@Legoboy Just a note to everyone here. Legoboy was correct, I found a sealed set with a decent box for $250 US here so I'm out for this one. I even got 10% back in Ebay bucks with it so it was cheaper to buy in the states.
It was a fair while since they previously confirmed so completely understandable if they no longer have the thirst.


It's not every day your vehicle of choice gets featured by the manufacture who made it - A manufacture who is the cream of the crop when it comes to their class, and holds a 113 year legacy for making the most badass bikes known to mankind. A company who carved out a niche and who's creations spawned super-stars and legends, and is responsible for creating the image for what the world sees today as a biker, and bike culture all-together. So when Harley-Davidson decides to blast your bike to 1.4 million in tune followers it's something special. And even though it may have been just an Instagram/Twitter post it was an honor, and made our day that they decided to feature the Heat Wave Visual FXDB a couple weeks back. To see the entire 7th st. photo set for Harley-Davidson well, just keep scrolling.
Copy, view or save the photo source for FULL Hi-RES versions.


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Touching back on the 'Commies for Illegals' day,
mASS BACKWARDS has a note on just what the nation of Mexico required from an American living in Mexico to get a work visa:
"During that six months our Mexican and US Attorneys were working to secure a permanent work visa called a FM3. It was in addition to my US passport that I had to show each time I entered and left the country. Barbara's was the same except hers did not permit her to work.
To apply for the FM3 I needed to submit the following notarized originals (not copies) of my:
1. Birth certificates for Barbara and me.
2. Marriage certificate.
3. High school transcripts and proof of graduation.
4. College transcripts for every college I attended and proof of graduation.
5. Two letters of recommendation from supervisors I had worked for at least one year.
6. A letter from The St. Louis Chief of Police indicating I had no arrest record in the US and no outstanding warrants and was "a citizen in good standing."
7. Finally; I had to write a letter about myself that clearly stated why there was no Mexican citizen with my skills and why my skills were important to Mexico. We called it our "I am the greatest person on earth" letter. It was fun to write. All of the above were in English that had to be translated into Spanish and be certified as legal translations and our signatures notarized. It produced a folder about 1.5 inches thick with English on the left side and Spanish on the right."
But Fox & Co. are demanding that Mexicans be allowed to enter the U.S. and work at will with no restrictions.
I repeat, Fox & Co. can kiss my ass. And if our government doesn't get real serious about stopping this crap, then all of them- R's and D's both- need to be kicked the hell out of those offices and replaced with someone who will.
This is one of those "I heard it at the shop" things
Went into a local store (Outdoor Outfitters if you must know; nice place and nice people) and, having discovered they carry the Hornady TAP 12guage I wanted, wound up in the conversation with a gentleman looking at a pistol. He was looking for something for in the home and had little handgun experience, and was looking at a- to put it bluntly- POS semi-auto in .380 because it was inexpensive cheap. Talk went round about different pistols and I finally asked if he'd considered a good revolver? Talk turned to the good points of one and the counter guy pulled out a S&W hammerless .38 Special. Which the guy really liked. He was still looking around and didn't buy today, but I think he had a better perspective on what to look for.
During the course of all this the salesman mentioned what they'd been hearing about a "certain female politician" who, if winning the White House, had a New Brady Bill planned(he didn't say where the info came from and I didn't ask). Included in the plans were:
Any firearm with a muzzle velocity of more than 2200fps restricted to law enforcement & military only.
Any firearm with a magazine capacity of more than six rounds, LE and military only, handgun AND rifle.
If you wanted to keep your firearms at home you would have to have a government-approved(i.e. expensive and heavy) safe properly installed and inspected; and if this passed you can bet there'd be a note that the authorities could enter your home any time to 'inspect' your home for 'safe storage and compliance'.
If you couldn't afford/didn't want the above, you could only store your arms at a licensed gun club.
That's what they'd been hearing from people. I assume that also included in this would be some federal licensing scheme for gun owners(expensive and difficult as possible) and federal restrictions on concealed carry. Unless, of course, you're like Schumer and Feinstein and Boxer and company and are more important than common citazens and need a special permit to carry and keep at your home without the safe, etc.
I tend to believe it; it sounds like the kind of crap Clinton & Co. would like to ram down our throats. It also brings us something I was thinking about after this, which connects to the 'what is your trigger?' question. Lots of people have planned to have some no-paperwork firearms and ammo hidden away for dire emergency. I only have one problem with that outside of natural disaster/terrorist attack scenarios; if you're doing is so you'll still have a gun after a government ban? If you have a firearm or two hidden away but you're not able to shoot it or let anyone else know about it because the minions of government will show up with a SWAT team, then we're screwed. Not just gun owners, everybody. If it hits that point of control & intrusiveness, then the 4th Amendment as well as the 2nd and probably the 1st- at minimum- will have been trashed, and EVERYBODY is screwed. And we're into the real serious "Not is it too soon to shoot the bastards, but too late?" question.
And it will get very, very messy and nasty.
And some good news on 'Stand Your Ground'
This bill has been passed by the state Senate and is on the Governors' desk.
Had you heard about the miners trapped in Tasmania?
Tim Blair has been following this. Apparently when an earthquake caused a cave-in, these two were somewhat protected by a cage. They've drilled a hole to get food and water to them(and Ipods for entertainment) and they now have a boring machine cutting a rescue tunnel.
Deep-hole mining; that's a job I don't know if I could do, even without the threat of earthquakes.
A friend sent me this,
and now I've seen it various places(curses, they beat me to it!)
As the friend said, "Look at his hat!"
May 3rd, seven years later
May 3, 1999, we had a bloody awful tornado outbreak. If I remember right there were seventy-some tornados in Oklahoma that day & evening with several big ones. The one that got the most attention, and still does, is the one that started near Chickasha in southwest OK, came northeast and just about wiped a couple of towns, turned east just south of Oklahoma City, went through Moore, then northeast again through(mainly) Midwest City, continued through a town called Stroud and finally broke up and went away.
One of the things that made it famous was it was the first time the National Weather Service stormchasers were able to get their doppler radar trucks(two of them) in position to get windspeed readings on a F5 tornado. Official reading 319mph. Of course they said there's a seven mph error factor, so it could have been as low as 312 or as high as 326. In any case, it was bad.
My family and acquaintances came through ok. Couple of people I know at work lived in the Midwest City area and took home damage; I and the ex and kids live in the northwest side and it missed us completely. I'd been at the forge most of the day, and in the afternoon I finally stepped back, stretched, got a drink and for the first time that day actually looked at the sky and felt the air. And decided I should put the fire out and turn on something to check the weather. Cut the fire off, put what I could away- some stuff had to cool off- washed up, turned on the tv and got a drink. I came out of the kitchen about ten seconds before the broadcast showed the monster touching down. Wasn't that big at first, but it grew. And grew. I called the kids to make sure they were ready just in case, and watched it progress. One of the things that made this much less lethal than it could have been was the fact that both on the ground and in the air the NWS and at least three tv stations and a radio station or two had chasers following the thing from the time it touched ground almost until it disappeared.
So people could listen to and watch the progress, and head for their holes or in the case of drivers get the hell out of the way. It was heading for southwest OKC when I called a friend who lived down there to make sure she was aware; she was, and getting her closet ready to hide in. Now, a regular closet wasn't going to mean a damn thing to this beast, but seeing as she was already worked up I didn't say that. I did tell her that I didn't think it'd hit her area; big funnels often make a right turn at some point, and I thought it might(my crystal ball was working that day). It skirted about 1.5-2 miles south of her- too damn close, she later told me in as close to profanity as I ever heard her get- and headed for Moore. Note: one of my forecasting aids was the dogs. They were scared to death of severe storms, and either hid or, if you were outside, stuck to your legs and wouldn't move away, but today they were in the middle of the yard playing.
So we watched it move along, video from ground and air both(one news chopper had been following it so long they had to land and refuel) as it got bigger. To give you an idea, at its' widest on the ground it was right at one mile across; on doppler radar the circulation in the storm creating it was six miles across. And the choppers followed it as it went through the cities like a vacuum through a dirt spill on the floor. Block after block of houses became clean foundation slabs surrounded by rubble, and right in the middle of this I got a phone call that I at first thought was a guy from work. Went like this:
"Are you ok?"
me "Yeah, I'm fine"
pause. " I think I got the wrong number. Where are you?"
"I'm northwest OKC"
"What's it doing there?"
"Little wind, little rain, that's about it."
"Well, I'm in Midwest City in the storm cellar with eight neighbors and three dogs, and it sounds like hell outside."
We talked a minute, then he said he had to call the one he'd intended to and hung up.
So it stomped and tore its' way through and left the metro area. Further out, a couple of guys from a radio station were in a hurry to get home; a wind gust blew them into the drainage ditch along the turnpike and both saved their lives and gave them a ringside seat as the thing destroyed the Stroud mall. And then it went away.
We lost some people, only a few; wasn't that long ago there would have been hundreds from a beast like this. Lots of property damage and lots of property destroyed. Bear safe company dealer had a picture he used for quite a while of a foundation swept clean except for the safe standing there; the owner had bolted it down properly and it hadn't budged. But most everything else in the path just went away.
And everybody came out. People looking for neighbors, people for miles around coming to help. People loaded injured in their trucks and took them to the nearest hospital, often on four flat tires from all the metal and glass in the streets. Very little in the way of looting reported, probably because the scum that would think of it realized that if they got caught the least they could expect was a royal ass-kicking.
About two weeks after I had to drive through the area on NE 10th street, and what it looked a lot like was some pictures I've seen of an area after either a major bombing attack or an artillery barrage that walked through; they damn sure couldn't have done any more damage.
Every time I think about this I remember that phone call.
Oh, and there's a severe thunderstorm watch area over most of western OK. It's that time of year.
And while I have a moment, before I leave my soapbox,
behold the bullshit ongoing in the Duke 'rape' case. I put it that way because at this point there is not one solid piece of evidence that I've heard of that proves these guys did it. Note: if they DID in fact rape her, they need to be hung up by the short & curlies for a while. For a start. However...
The 'They're accused, they're guilty!" crap has gone on far too long. Between feminist nutcases and the 'blacks are always victims' groups, it seems we should dispense with those little extras like 'innocent until proven guilty' and 'fair trial' and just get around to hanging them.
God, what a load of crap.
has been a bloody mess for quite a while now. The 'official' notice of the ongoing genocide and general rapes, murders and slavery have been noted for what, three years now? Various people and groups have been screaming about it for that whole time, and basically all that's happened are words. LOTS of words. And, of course, the U.N. is right in the middle of it throwing words and hints of disappointment and so forth.
But now, it is a Cause! It has been Noticed! For George Clooney and Barak Obama have taken notice! And they're speaking out and urging Action! Right Now!
Which does bring up the question "Where have you been for the last couple of years or so, jackass?
Oh yeah, protesting Bushy McChimplerburton and his Evil War, yeah!
I've been sick of these clowns for a long, long time and they just seem to like making the nausea worse. There've been a number of articles in various papers and whatever talking about it, and urging 'action'. Usually unspecified 'action' but it needs to be done now! Oh, and who's at fault? Why, Bushy McChimplerburton, of course! Never mind that even most of these jerks admit he's actually tried to do more than anyone else in a national leadership, HE HASN'T DONE ENOUGH! 'Course, if he found a couple of divisions of infantry with nothing else to do and dropped them into the place with orders to clean it up, whatever it takes, these same jerks would be calling him a racist and a murderer, etc., for acting without(among other things) 'international agreement'. Which is code for "The UN should be in charge!", which would mean nothing would be done except the spending of lots of money and the exhalation of lots of greenhouse gases from many bloviating officials and politicians.
One of the various things that really pissed me off about the mess in Kosovo was a cartoon in some paper(from Europe somewhere, mind you) showing some guy reading the paper; the headlines were about the reported mass murders, etc., and this guy is saying "This is terrible! When are the Americans going to do something?" The God-cursed European powers wouldn't do squat, the U.N. blue helmets were basically acting as speed bumps for the idiots on both sides, but WE are supposed to take care of it. All under the wise guidance and control of the U.N. and European leaders, of course.
It's been mentioned before, but you know what would really set these people off? Arms. Get a boatload of small arms and ammunition and some people to train and send it to the people being murdered and raped and enslaved. Give them the arms and knowledge to protect themselves. The ANSWER commies and the 'peace activists' and the U.N. and all the usual politicians here would scream like a raped ape and give birth to masses of kittens. But something would get done. And the people being trampled would be doing it for themselves. Which is actually what would scare the above-noted usual suspects the most.
There is no easy answer for this, and the crap level is in large part due to the inaction of the U.N., etc., so far. Much better and easier to talk and talk and talk over piles of bodies and lines of people in chains than to actually do something, right?
What's my trigger point?
Over at The High Road there've been a couple of posts over the last while asking "What is the point/what is the act that sets you off?", as in at what point would you tell the government rep that shows up at your door to go to hell?
I'm thinking about that because it hit me at the range yesterday. I was putting away the .30-30. It's an old Model 94, with damaged bluing on the right front and bottom front of the receiver. My parents gave it to me when I was 14. In the years since I've fired something on the order of a richeous buttload of ammo through it. I once tried out one of the side-mount scope setups, I fiddled with things to the irritation of my dad("It works fine now!") but it's always been mine. After all that, now it sits with the original rear sight removed and a filler block taking up the dovetail, a Williams aperture sight on the receiver and the front bead replaced with a post. When putting the post on, I tapped on the bead base and the whole sight came off; it seems there was a touch of solder at the very front and the very back and nothing in between, God knows why it didn't pop off while shooting at some point. So clean and tin and drag the torch in the house and resolder it... My son fired it a lot, starting when he was so light he had to put the rear beanbag between the butt and his shoulder, and had to move it back so he could reach far enough ahead to cycle the action all the way.
And it hit me as I looked at it; if someone came for it, I'd fight. Politician or some poor bastard in uniform, I'd fight. If the clowns in D.C. or the state capitol and their minions decided that peasants like me could not be trusted with such a thing and came to take it, that's it. The anger that washed over me at the thought was fearsome. There's a big difference between theoretical discussion of something and something grabbing you by the guts and saying "THIS IS IT".
This is not the only thing that would by the line for me; it's the thing that, in most recent history, has brought home to me that there is a line that cannot be crossed without violence. That is a fearsome thought; it makes hormones flow and emotions spike. And it should. It's like the rage I felt against the murdering shits that attacked us on 9/11 and have been murdering people around the world before and since. It's the fury at being told by some slimy politician- all too often grown up in wealth and privilege and never having had their hands dirty in work- that you don't know what's best for you, and "us smart people, those deserving of authority, will take care of the thinking for you. It's looking at what happened to some kid and thinking "If someone touched my kid that way, their only two choices would be prison or grave", and meaning every damn word.
This is a nation of laws, and yet we keep seeing politicians being and using people who think the laws don't apply to them; who think that the Constitution is something to be stretched and cut and folded and chopped to fit what they've decided is appropriate for the current world("After all, can't let that outmoded thinking get in the way of progressive ideas, now can we?"). I truly believe that the reason some people want the citazen disarmed is not because of crime concerns, it's because they fear trying to push some of their crap through if people have an actual way to draw a line and say "No. Step over this line and the Restoration War starts."
It's not a pleasant line of thought, and putting some of this down scares me a bit. Hell, it scares me a lot. But it's something that has to be looked at and dealt with.
And trying not to think about it won't work.
New Orleans is officially the Stupid AND Corrupt City
Today we find that "Mayor Ray Nagin unveiled a new evacuation strategy for New Orleans on Tuesday that relies more on buses and trains and eliminates the Superdome and Convention Center as shelters."
You know, kind of like the plan they had BEFORE Katrina? The one that this corrupt, sorry clown threw out BEFORE the hurricane hit? The trains the mayors office TURNED DOWN the use of? The places the OLD plan said shouldn't be used as shelters? Etc.?
Several things here: That this clown was reelected; that the election pitted two faces of the same corroded coin; that the media seems to be letting him get by with this 'new strategy' crap; put all of it together, and I don't give a crap anymore how much of history is tied up in that damned city. If, after a disaster of this level, with the corruption and incompetence shown, they can't clean house by voting the bastards out, then to hell with the place. Not one more bleepin' dime of our tax money do I want to see wasted down there. Oh, and who's he facing in the runoff? "First, however, Nagin faces an election runoff. His challenger, Lt. Gov. Mitch Landrieu, the son of former New Orleans Mayor Moon Landrieu, got 29 percent to Nagin's 38 percent in the April election." Gee, 'Landrieu', where have I heard that name before? Oh, yeah, his sister Mary.
God help the state of Louisiana.
Ref Commie Day for Illegal Aliens
Didn't go find any local marches or search out any of the weenies; went to the range, then took care of stuff around the house. According to local news, there were a number of mexican restaurants closed so their employees could go march.
Did hear an idiot with MechA on Sean Hannitys' show, basically saying the U.S. screwed up the northern & southern American continents, that's why people try to come here and it's OUR responsibility to make everything right; we are(of course) a RACIST NATION, etc., etc., and our borders should be open to ANYONE who wants to come here. Friggin' idiot.
Michelle Malkin has a collection of reports here, here, here; and notes idiocy by the NY state government here. Isn't it interesting that the media somehow doesn't 'report' on the anti-American and commie-loving actions of these clowns?
Enough to piss off the Good Humor man.
It's almost too bad the Germans didn't invade Switzerland;
There'd have been a hell of a lot less of them after the attempt
Range report, K31
To an extent you could sum it up by the above statement
First, let us sing the praises of range day! The sky was clear, the temperature cool, the wind light and the birds were singing. Including a mockingbird sitting on the range house tv antenna not ten yards from my position, who kept singing throughout. And there I was, with a sixty-some-odd year old military rifle in fine condition which, thanks to the Framers, I have the noted right to own. It's good.
Ahem. First a couple of notes. I was using the Swiss surplus ammo with, I believe, 174-grain FMJ bullets. Second, remember I said the front sight was set in a diagonal dovetail?
So windage means, instead of moving the sight left or right, you drift it forward or back. Why this method I don't know, but it works well. The muzzle crown is deeply recessed:
well-protected from getting dinged in the field. And it has an unusual trigger:
What you see is the trigger, the sear is the vertical bar and the horizontal link at the top both holds things in place and provides the pivot for the sear, and the coil spring provides the tension for the works. You pull the trigger, the trigger pivots on its pin at the bottom of the sear as the sear pivots on the pin with the link, which pivots around the pin at the back which is part of the receiver; the sear slides down to the first stage stop, then a little more pressure pulls it down through the second stage. Sounds odd, but it works very well.
I say again, very well. First, to see if the sights were roughly on, set up a target at 50 yards and fired three:
Ok, no complaints there, and no need for the second target I'd stapled up. So over to the 100 yard line.
First three at 100:
Ok, fire four more:
For me, with iron sights, that ain't bad a'tall. They grouped a bit to the left, so drifted the sight back(back means 'left' on this, remember), fired a couple, tapped it back just a touch more, and everything from then on was nicely centered.
I fired a little over thirty rounds, and very much wished this range allowed setting clay pigeons up on the backstop; this rifle would be a wonder at busting them. Last four I fired from a sitting position, elbows resting on knees:
The circled holes are the ones fired, the one real high and real low are from something else(no, I won't talk about it right now). The one out of the bull was a called flyer, sight drifted a touch just as I fired. If that's not good enough for you, shut up. For me, from a little-practiced position with a new rifle and iron sights? I'm pretty damn happy.
So, 1. good sights, easy to see
2. very good trigger; first stage long takeup, second breaks clean at about 3 or 3.5 pounds
3. I'd call it mild recoil, no worse than a .30-30 in a Winchester carbine
4. it looks a bit awkward, but it handles very well. I put my right thumb along the top of the grip behind the cocking piece, angle & thickness is such that I could not comfortably wrap it around
5. very good accuracy.
6. forgot to add earlier; Og, yes, it is as slick an action as you've heard. Doesn't show as well in just sitting and cycling it. But fire a shot and it's just pull-push and the next shot is ready. Very quick, very smooth.
If you wanted to scope one of these, there's one problem for a standard mount: it ejects like a Winchester lever gun, straight up and back, so a scope has to be offset to the side. Personally, I think I'd rather go with one of the 'scout' mounts that fit into the rear sight base. Stick a long-eye-relief scope in that and you're good to go. I think that would be a very good setup with this rifle.
Overall, Kim's right; if you don't have one of these, you should try to get one. I could wish the surplus ammo was not as expensive, but there are commercial loads out there with reloadable brass for decent prices, so if you planned to shoot a lot the stuff for reloading is available. This rifle, which(as previously mentioned) came from AIM Surplus, is well worth the money. There are a number of dealers with them, and no, I'm not listing all of them; buy a copy of Shotgun News and check it out. Or fire up the search engine of your choice and check around.
And now, I've got firearms to clean and a stock to prepare for refinishing. Or at least to take down and get ready for refinishing.
My will
Was watching some show on some terrible disease with the wife the other night and I told her "If anything ever happens to me, I don't want to be kept alive like a vegetable, with some machine and a bottle keeping me alive. That ever happens, I want you to pull the plug."
So she got up, unplugged the tv and threw out my beer, the bitch
Well, well, a variety of news
Found this over at High Road:
"On April 20, Governor Brad Henry (D) signed House Bill 2696, sponsored by Representative Trebor Worthen (R-87). This important legislation will eliminate any threat of restrictions being imposed on lawful uses of firearms or ammunition during a state of emergency. HB 2696 passed the House overwhelmingly with a vote of 94-1, and unanimously in the Senate with a vote of 46-0.
On April 25, HB 2615, the "Stand Your Ground Law," passed the Senate with a vote of 39-5, and will now go back to the House for concurrence. HB 2615, sponsored by Representative Kevin Calvey (R-94), recognizes that the citizens of Oklahoma have the right to expect absolute safety in a place that he or she has a right to be.
So that's one down and one to go. I found out that my state Rep voted against 2615, and I have sent a note asking him why, we'll see if I get an answer.
Checked my rain guage this morning, and total from the time the rains started to then was a touch over two inches. That's the most rain we've had since late last October if I remember right. It won't get us up to norms, but it'll make a hell of a difference in lake and pond levels, and with the greenup this'll kickstart, should cut the wildfire risk for a while.
Thanks to Tex at Whacking Day, we have a wonderful illustration of something besides cartoons that annoys the hell out of islamist fascists:
And you jerks want to either kill someone like this or stick her in a burkha? You've got problems, boy.
Hadn't looked there in a while, but at IMAO they had an excerpt from Tony Snows' first press conference:
"First off," Tony stated, "I'm already a hundred times the journalist of all you hacks added together, so, instead of answering your moronic queries, I'm just going to state everything you need to know and you'll jot it all down and report that. Are we clear?"
"Mr. Snow, we need--" a reporter started to say, but then screamed in pain as he fell to the ground.
"Now, one thing you need to know," Tony said, "is that I can now shock you through your press passes. This wasn't my idea; it was done by Homeland Security. Now, on to politics. While there are many troubles in Iraq, it's going much better than you shills report. Progress is being made daily. With Iran, many options are being looked at, but nothing has been decided on. Finally, the Democrats are all morons and you waste time reporting on anything they do or say. I think that covers everything."
"What about how Karl Rove will be--" A horde of screaming demons crashed through the ceiling, grabbed the reporter, and flew off.
"It should be mentioned," Tony said, "that questions about Karl Rove will cause screeching demons to come after you. That's out of my hands."
"And there are also reports that secret police are taking away anyone who questions the White House," a reporter stated. "What is your reaction?"
Some men in black ran into the room, grabbed the reporter, and dragged her away.
"Next question," Tony said in a bored voice
Wouldn't you just love to see that conference?
With all the noise about the mass 'strike' by illegal aliens and sympathizers tomorrow(on May 1st? With the commies at International ANSWER helping? What were you idiots thinking?!?) and all the disruption they're hoping for. As has been pointed out, if they DO manage to shut down a city area or majorly disrupt things, the primary outcome will be to piss people off even more than they may already be. Then there are the firings. Both in media and on various sites there've been reports of managers/bosses saying "You don't come in Monday and have no proper doctors visit/leave/etc., you're fired". 'Course, the asshats will probably claim that's discriminating against them and scream more about that, but I don't give a rats ass. You claim to be Americans, but wave Mexican flags and fly our flag upside down? You say our laws don't count? You don't want to have to speak English to do business? Then get the hell out; we DO discriminate against people who want to take over this country.
Also for the jihadi types, from Cowboy Blob:
I wonder if they're jihadis from New Orleans? They're living out of a trunk like the dickhead who cheated friends of mine out of money.
Oh well. I've got ammo loaded and targets packed, and I get to hit the range tomorrow to shake out the K31 among other things. Later, folks.
It's almost too bad the Germans didn't invade Swit...


If you have been declined for life insurance all hope is not lost. Insurance underwriters don't like uncertainty. If a client has medical issue the underwriting department would rather see a period of time between the occurrence and the treatment provided as well as successful follow-ups. Any ambiguity and they always assume the worst. No news is bad news.
1. Pick A Better Company – If you worked with a captive agent then the solution that was presented to you at application was within whatever company that agent represented. Clearly that wasn't the best fit.
2. Shop Around – Companies change their underwriting standards. Some companies are more aggressive with certain health issues than others. Sometimes depending on their existing portfolio a company could more lenient on diabetes or heart issues for example.
3. Avoid a Second Decline – Companies can view your history through the MIB. One red flag like a decline that pops up is less than ideal but, a second would really sting.
4. Better Explanation of Your Situation – An underwriter just reviews the material that's put in front of them. A conversation or a cover letter outlining your past declination may present your case in a better light and many times can change the mindset of the insurance company.