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Category: Nick Musuraca-Cinematography
A Symphony of Dark Patches- The Val Lewton Legacy 1943
This post is a feature…As part of the CLASSIC MOVIE HISTORY PROJECT BLOGATHON hosted by the fantastic gang over at- Movies Silently, Silver Screenings & Once Upon a Screen– Visit these wonderful blogs during this historic event and fill your head with a collection of fascinating movie memories.
From Dreams of Darkness-Fantasy and the films of Val Lewton by J.P. Telotte:
"{The audience} will populate the darkness with more horrors than all the horror writers in Hollywood could think of… if you make the screen dark enough, the mind's eye will read anything into it you want. We're great ones for dark patches." – Val Lewton
Jane Randolph as Alice Moore in Val Lewton's Cat People 1942 directed by Jacques Tourneur
A scene from Bedlam (1946) directed by Mark Robson
During the 1940s Val Lewton and his 'Lewton Unit' used the essential vision of fantastic darkness to recreate a very unique style of horror/fantasy genre, one which challenged Hollywood's notion of the tangible monsters Universal studios had been manufacturing. Lewton, while working at RKO Studios, produced an exquisite, remarkable and limited collection of films that came face to face with a 'nightworld.' Lewton used our most deepest darkest psychological and innate fears that dwell within the lattice of shadows of our dreams and secret wish-fulfillment.
"Our formula is simple. A love story, three scenes of suggested horror and one of actual violence. Fade out" -Val Lewton
Lewton worked at MGM between 1926 and 1932 and then served eight years under David Selznick. He had published nine novels and a number of short stories. In addition he produced regular radio show versions of MGM films. He also had ties in the industry as his aunt was the the very influential silent actress Alla Nazimova.
the great stage and silent screen actress Alla Nazimova-Val Lewton's very influential aunt…
But Lewton had left his mark with Selznick and in 1940 rival company RKO was interested in hiring him..It was actually Selznick who negotiated Lewton's contract.
"My task is to initiate a programme of horror pictures to be made at the comparatively low cost of 125,000 each. Which should compete successfully with Universal horror films. Which cost anywhere from 300,000 to a million dollars. I feel I can do this quite easily and the Universal people spend a lot of money on their horror product. But not much on brains or imagination."-Val Lewton
Lewton put together a team of collaborators with whom he would work closely. He chose Mark Robson to edit. Robert Wise and Lewton worked together on Citizen Kane and The Magnificent Ambersons. DeWitt Bodeen had worked him during his time with David O' Selznick was to write the first screenplay for Cat People.. His old friend Jacques Tourneur whom he became friends with while working on A Tale of Two Cities. was brought on board to direct. He chose Nicholas Musuraca as his director of photography and Roy Webb to compose the musical scores.They all worked on countless RKO films. It was Lewton's intention to create quality pictures though he was constrained with a low budget. Jacques Tourneur had said that Lewton was an idealist who had his head up in the clouds who would come up with impossible ideas. However for Tourneur his feet were planted firmly on the ground, yet somehow they complemented each other perfectly, Tourneur claims it was a very happy time in his life, and that Lewton's gift to him was the filmic poetry that he was able to carry with him forever.
Jacques Tourneur is perhaps one of my favorite directors, with his use of shadow and and all together dreamy lens of the world, he's responsible for one of THE best classic horror films Curse of the Demon & film noir tour de force Out of the Past.
Jacques Tourneur directs Robert Mitchum and Jane Greer in Out of the Past 1947
Jacques Tourneur's moody horror with Niall MacGinnis and cat Curse of the Demon 1957
Part of the Lewton Unit- image from the documentary The Man in the Shadows from top left Roy Webb composer, Val Lewton, Nicholas Musuraca Cinematographer, Mark Robson editing/directing, DeWitt Bodeen writing and Robert Wise-director.
"Horror is created in the mind of the spectator. It's necessary to suggest things. In all my films you never saw what caused the horror. I saw people screaming in the theater when there was a young girl in a swimming pool, but you never saw the black leopard. The lights blaze up at the end. And there's Simone Simon. Something has definitely happened. -Jacques Tourneur
Jacques Tourneur looking over the film sketches
Jacques Tourneur on location for Berlin Express 1948
"Lewton gave us something quite different than what's known as Hollywood craftsmanship you can say that he presented us with a parallel world in which everything feels both real and a little unreal-familiar but strange. The characters and the viewer slip into a mysterious, troubling gray zone. Where real life and dream life come face to face. And where beauty and destruction merge. Lewton and Tourneur really created a new kind of cinematic beauty"-from The Man in the Shadows Val Lewton documentary
the golden boy from Bedlam
Learning from his last employer Selznick he made sure to supervise absolutely every aspect of the film's production, from casting, set design, costumes, the direction, and editing. He even rewrote every script himself without taking credit or under a pseudonym. In this way he developed his own visual style of storytelling, having prepared each detail before shooting.
"My feelings are generated, however by more than my gratitude for that first opportunity. They come from the warm and highly stimulating creative experience I had working with Val. He taught me so much about directing and filmmaking in general…Val Lewton was one of that fairly rare species, a truly creative producer. As such, he was able to achieve an outstanding reputation for the high quality, unusual and interesting "B" pictures he produced at RKO Studios starting in the early 1940s" – Robert Wise, March 1994
Robert Wise behind the camera
Robert Wise, Mark Robson & Val Lewton
"I remember him staying up until all hours of the night working on screenplays. He enjoyed having his hand in the writing. I used to that that he went out of his way to pick inept writers so that he'd have to redo their work. He used to write on a Royal typewriter;he used only two fingers but he was very fast. He'd talk out the different parts as he wrote them and, since my bed was just on the other side of the wall, I'd fall asleep listening."–Nina Lewton Druckman from the Reality of Terror by Joel Siegel
Robert Wise was part of the Lewton Unit, one of my favorite directors who would go onto direct some of the most outstanding films in a variety of genres, from musicals like West Side Story 1961, Sound of Music 1965, to Lewton's Curse of The Cat People 1944 and The Body Snatcher 1945, noir masterpieces, Born To Kill 1947, The Set Up 1949 and The House of Telegraph Hill 1950, I Want to Live! 1958, Odds Against Tomorrow 1959,to sci fi and Gothic ghost story masterpieces Day the Earth Stood Still 1951, The Haunting 1963 and The Andromeda Strain 1971.
Michael Rennie and Gort in Robert Wise's Sci-Fi masterpiece The Day the Earth Stood Still (1951)
Robert Wise's boxing noir The Set-Up 1949
Lewton drove himself very hard trying to achieve something beautiful of quality. He and his team were given a very small budget, a cast of veritable unknowns, and evocative titles that were sensationalist and lurid in nature and did not truly represent an accurate account of the narrative. There were no gruesome fiends nor even evidence of malevolent forces at work in his ordinary everyday environments. Yet RKO's studio head Charles Koerner dictated such titles as Cat People 1942, Curse of the Cat People 1944, Bedlam 1946, Isle of the Dead 1946, The Body Snatcher 1945, I Walked With A Zombie, The Ghost Ship and The Leopard Man in 1943 and The Seventh Victim.
"If you want to get out now, Lewton told Bodeen, I won't hold it against you"
The sensationalistic titles lead viewers to expect corporeal horrors, grotesquery and accustomed chills. As critic Manny Farber points out that while Lewton got nicknamed the "sultan of shudders" or the "Chillmaster" they were missing the point entirely. Lewton's films were purposefully inhabited by the average, the bland, the pedestrian all, so as to populate his world with normal characters. People you'd see on the streets, or doing menial jobs. And amidst this population of 'normal' stirred interesting pulp stories that were unorthodox, otherworldly and often grim. Themes like zoanthropy. a derangement in which someone believes they are an animal as in Cat People or the pervasive fear of the Vorvolakas, an undead creature in Greek folklore that drinks it's victim's blood in Isle of the Dead. Even when dealing with dreadful English asylums and the sacrilege of body snatching.
Boris Karloff and Val Lewton on the set of Bedlam
By the way… Bedlam 1946 is perhaps my favorite of the Lewton series. I'll be doing a follow up to this piece and with an aim at covering the magnificent piece of filmic art that is Bedlam. I'll also include the remaining films I love, Isle of the Dead, The Body Snatcher and his first Cat People.
Films with subversive themes like zoanthropy. a derangement in which a person believes himself to be an animal as in Cat People or the pervasive fear of the Vorvolakas is an undead creature in Greek folklore that drinks it's victim's blood in Isle of the Dead.
Karloff and Thimig in Isle of the Dead 1946
One of the things I love about Lewton's films is that he used many either lesser known actors or those who never quite attained stardom yet lived on the fringe. Wonderful character actors such as Ian Wolfe & Edith Barrett (whom I both adore) actor/director Abner Biberman, Theresa Harris, Edith Atwater Sir Lancelot former calypso singer from Trinidad, the unusual beauty of Elizabeth Russell who was a former fashion model. The portly Billy House who played Lord Mortimer in Bedlam had been a star of vaudeville or Skelton Knaggs (Terror By Night, House of Dracula) British actor worked on the stage. The handsome Richard Dix ,Tom Conway, James Bell, Anna Lee, Evelyn Brent, Helene Thimig, Dewey Robinson and Ben Bard.
Billy House as Lord Mortimer in Bedlam
The marvelous Ian Wolfe in Bedlam
Skelton Knaggs as the mute Finn in The Ghost Ship
Kate Drain Lawson as Señora Delgado in The Leopard Man
Edith Barrett and Richard Dix in The Ghost Ship
Anna Lee in Bedlam
Helene Thimig in Isle of the Dead
Julia Dean and old Mrs Farren in The Curse of the Cat People
These characters seems to transcend their positions in the background and add layers of depth and a quiet simplicity or realism that made the storytelling more rich. They possessed a certain unique expressiveness that at times eclipsed the lead actors.
RKO known for their capacity to release films that were of the fantastic and original, initially who hired Lewton to organize and run their 'B'-Film unit. RKO had a reputation for ingenuity and artistic innovation, paying careful attention to the shaping of the narratives. What he endowed them with was his deep understanding of the subtle patterns and symbols that lie within our dreams, psyche and fantasy world. Lewton satisfied the audience's desire for horror yet what he delivered was swathed in a strange and poetically beautiful style.
At his disposal he had some of the best writers who knew how to tap into this process. Writers like DeWitt Bodeen, Donald Henderson Clarke, Curt Siodmak and Ardel Wray art director Albert D'Agostino (Notorious 1946, Out of the Past 1947, The Thing from Another World 1951) cinematographer Nicholas Musuraca & J. Roy Hunt (Crossfire 1947, Might Joe Young 1949) and directors Jacques Tourneur (Out of the Past 1947,Curse of the Demon 1957), Mark Robson and Robert Wise all contributed and helped shape the vision that became the Lewton film.
Nicholas Musuraca and Jacques Tourneur
And while Val Lewton didn't direct any of the eleven films he produced for RKO, (in two cases only taking screen credit for his contributions as writer), it's rather irrelevant in terms of authorship -as collaboratively infused with talent of vision these films possess a distinct frame of reference that lead you into the fantasy realm or genre with an artistic unorthodoxy like no other. Director Jacques Tourneur directed the first three Lewton films produced by the Lewton Unit. He gave Lewton the soubriquet "The Dreamer."
Joel Siegel from his 1973 book Val Lewton tells us, "His production unit would make only horror movies with budgets limited to $150,000 per picture. The films were to be 'programmers' slated for placement on double features in less than key theaters, with a running time not to exceed 75 minutes. {Production Chief Charles Koerner's office was to dictate the titles of these films, based upon a system of market pre-testing."
Mark Robson and Val Lewton
Lewton hid much of the story in his shadow-plays and this allowed his crew to work the landscape by creating symbolism, key sounds (natural ordinary sounds become ominous premonitions and are fatalistic in tone), haunting textures, abstract shadow and a sense of dark absences. Within the more focused frames of the films are incidental point of view shots that fill in the spaces with a rich texture of realism within the fable-like quality, relying on shadow and suggestion to deliver the desired effect.
Lewton himself would usually write a rough draft, an idea adapted from a property to be filmed. Then using his grand ability to visualize a formula, manipulate the structures of conventionality so that he could compose a landscape and narrative that would best articulate his observations. Tourneur emphasized Lewton's "structure, construction, progression of high points, low points" in the narrative. Director Mark Robson suggested that Lewton had already 'thought everything out' in such detail so as not to miss a thing. Jessie Ponitz, Lewton's secretary relates, "the last draft was always his."
Lewton at his typewriter
Lewton's brilliance and vision are partly due to his understanding of how psychoanalytic symbolism, myth, dreams and archetypes influence our intimate fear of what lies invisible to the eye. The Lewton Unit embraced the collective nightmares of the human experience, bringing our dream-work into the cold light of daily life bounded to the material world. He presents us with irrational unseen forces, in particular those that lurk in our subconsciousness or dream world. His films transport his protagonists by contrasting them from the open, sense of security from daylight- immersing them into the dark regions of shadows, and the black patches of uncertainty. They do not confront conventional monsters, vampires, ghouls and malevolent spirits of the classic Universal plots- but actually come face to face with their own internal nightmares. A mechanism that emerges from the shadows of the mind. We see these images of fantasy and it triggers our most basic and personal need to belong to that which is created, however disturbing those visions are, these fantasy/horror films possess an enigmatic kind of darkness. His characters never ran away from the darkness and dread that was so pervasive they actually ran head on into it, in order to demystify it and lead themselves & us to understand it a little better.
PSYCHE OR SOUL- THE LEGACY OF THE FANTASTICAL
Jean Brooks as the mysterious Jacqueline in Val Lewton's The Seventh Victim
Lewton and his associates understood the principles of fantasy, and utilized them in the complex visual structures they created in their series of films. In writing about Lewton's use of fantasy, J.P. Telotte informs us that these films "are not mere horror stories or exercises in terror, yet 'redeem' or reunite us with a repressed side of the human experience." And this is what makes Lewton's fantastical work so unique.
As in his book America in the Dark, Thomson implies that unlike the films that consist of vampires, werewolves, and other alien presences "The Fantasy genre {…} draw fundamentally on a realm of darkness and psychic imagery for it's existence. Such films typically evoke a dreamlike environment or nightworld in which, as if it were our own sleep, we can pleasurably and profitably immerse ourselves. {…} I wish to call attention to their ability to reveal how we also might come 'to life with the dark' finding an important, even life enhancing meaning in the fantastic's dream realm. {…}"
a Palladist from The Seventh Victim
Lewton's fantasy reworks our perspective to let us 'see' the dark spaces even within the light. As Todorov writes in The Fantastic 1975, fantasy evokes an 'indirect vision' that allows us to see what is usually not visible in the ordinary world. Lewton uses this 'indirect vision' to transgress and transcend normal perception. Lewton's works suggest a disparity between the expected and reality. From this disparity, the greatest threats come from the most ordinary occurrences, objects, and the commonplace. He populates his films with figures of authority who interpret their world incorrectly, harshly or inharmonious. The sudden revelation of the ordinary frightens and disorients the viewer in unexpected ways, forcing them to be more reflexive, to show the menace in the every day. As Carl Jung believed, fantasy precedes our normal sense of reality- "The psyche creates reality everyday. The only expression I can use for this activity is fantasy."
Drawing on the psychologist James Hillman who specialized in archetypes, Lewton's films evoke a dream-like nightmarish world in contrast to the realm of truth. The style of these films are often lensed as seductive and mysterious journeys, where the audience can escape the ordinary for a while. They seduce us by taking a path which follows our hidden desires within the psyche.
This is the proper aim at fantasy, as James Hillman explains; it should challenge our normal "literal perspective, its identity with material life," since that perspective is usually "stuck in coagulations of physical realities. This perspective of reality needs to break down and fall apart, to be skinned live and sensitized, or blackened by melancholic frustration."
Isle of the Dead 1946
This fantasy forces us to look at our own limitations of vision, and how difficult it is to describe the structure of something that has no' structure' It's easy for the grey areas of fantasy to 'lapse' into absence and dissolve from a narrative field of a nightworld/dreamscape using the device of voice-over narrative or subjective camera. Lewton's images make us ask are we seeing what's really there, or are we merely informed by the dark spaces both inside the film and tapping into our individual and collective psyches. As Telotte cites Rosemary Jackson–
"Objects are not readily appropriated through the look; things slide away from the powerful eye/I which seeks to possess them, thus becoming distorted, disintegrated, partial and lapsing into invisibility."
Val Lewton had a special insight and grasp of formulas and mythic structures so that he could envision within the complex narratives, the presence of the most significant archetypal patterns. Lewton said "If you make the screen dark enough, the mind's eye will read anything into it you want! We're great ones for dark patches." What those 'dark patches' suggest is something innate in all of us, a dark region within the 'self' that gets lost, or hidden away, or even denied as we go about our daily lives doing ordinary things in the guise of normalcy.
DARK PATCHES AND THE ABSENCE OF KNOWING
In a Lewton film there is a sense of 'Lack' as an absence in the lives and environments seems to be at the core substance of these films. This play of absence and presence operates as a structural principle in Lewton's films. For the benefit of this post I will point particularly to I Walked With a Zombie, The Leopard Man and The Seventh Victim, the prior both directed by the great Jacques Tourneur. In his two films that 'lack' translates into a disturbing landscape of openness in the narrative style.
The everyday, whether it be modern urban city streets, islands in the Caribbean or the nineteenth century, there is an attentive eye for detail that weaves a texture of daily life that the Lewton unit worked so hard to achieve. Be it the costumes, the architecture and the general look of the place during it's particular time period. So much research went into developing the landscape of reality with a distinct verisimilitude. By looking at books, paintings and photographs they would try to capture the perfect light and shadow of the piece.
Although I won't be covering Bedlam in this piece, the film is a perfect example of how The 'Lewton Unit' employed this research approach prior to filming. Several shot compositions were based on William Hogarth's illustrations. Much emphasis was placed on 'context' as Lewton characters can so evidently be characterized by their station in life or occupations living in the seemingly natural world that is commonplace. Writer DeWitt Bodeen notes that Lewton "always insisted that all his characters have special occupations or professions and be shown working their jobs."
Lewton's films are populated with a texture of normalcy, people living in a visibly conspicuous and commonplace field of reality so that when the presence of the mysterious, and irrationality poke through it shatters the veil of normalcy and settles down to become abnormal and disturbing for the protagonist and us the viewer. These characters must journey through a field that is rife with coded messages, where they are not believed by the people around them.
Telotte explains, "What results is a subtle dialectic between 'substance and lack', presence and absence, replacing that of the more traditional horror films, where in the 'self' as the audience's surrogate, is opposed by a threatening otherness in the shape of a monster or murderous apparition. The tension is no less. Though it's source is different it is more disturbingly lodged in the individual and the way in which he perceives and conceives of his world."
Like the protagonists, we are laid bare with our vulnerability to the abnormal. The threat comes as an external challenge to our lives, exposing our human weakness and fears and forces us to see life in an unsettling way. Everything falls out of harmony that which is usually so ordinary. And the sense of 'otherness' fills the screen and taps into our own psyche as the formidable shadows move about with an anima. The dark patches set themselves outward as props, while strange sounds and eerie low key lighting color the screen's canvas as dark and mysterious.
Psychoanalyst Hillman refers to a 'vesperal' motion that leads us into the darker regions of the self and the human psyche with it's 'fantasizing impulse.' Lewton's Curse of the Cat People (you can read an earlier feature I did on this film-click on the link) is a more conventional initiation story focusing on the nature of innocence and 'otherness' and how it often challenges our rational perspectives of the world because it evokes the 'unknowing.'
All of Lewton's films are structured with a careful eye on the sequential narrative. Val Letwon referred to scenes heightened by shadows as signifier of something foreboding he called them "horror spots." These "horror spots' were carefully spaced through out his films in sequential scenes, as if each frame were its own visual narrative. Many potent moments though brief partly due to the limited time constraints yet remain with you forever.
These scenes were preceded by scenes of an alternating tone designated to bring relief to the audience, utilizing some form of imagery that could be very beautiful or lyrical. Joel Siegel talks about this approach as "fragmented, mosaic-like structure" of the films, with their dependence on a "series of tiny, precise vignettes which do not so much tell the story as sketch in its borders and possibilities. For film historian Robin Wood in his "Return to the Repressed," Lewton's series of films is distinct for their "often illogical poetic structure."
Early Lewton films display a narrative style which recalls Jean-Paul Sartre's prescription for fantasy storytelling: "In order to achieve the fantastic, it is neither necessary nor sufficient to portray extraordinary things. The strangest event will enter into the order of the universe if it is alone in a world governed by laws."
Lewton films do not simply strip the world of the laws which Sartre describes, as many horror films do, rather they manipulate the context within which even the most commonplace actions are perceived. In I Walked With a Zombie, the players are often viewed through a veil of elaborate shadows cast by wooden lattice, brush and thicket, Very sensual images and very flowing. The eye for detail… every frame is so well thought out. And while we as spectators have truly seen nothing tangible, there is that 'lack' reinforced by structural repetition. Drawing us in depends on our ability to fantasize and tap into the deep-rooted fears that we unconsciously embrace. This portrayal of Lewton's mysterious yet mundane environment becomes utterly frightening. Lewton explained how this process reveals the viewer's participation in that which he sees, establishing that given these kinds of visual narratives man himself "will populate the darkness with more horrors than all the horror writers in Hollywood could think of."
Robin Wood's The American Nightmare chapter of Hollywood from Vietnam to Reagan.–
"It is built on elaborate set of apparently clear cut structural oppositions : Canada-West Indies, white-black, light–darkness, life-death, science-black magic, Christianity -Voodoo, conscious -unconscious, , etc–and it proceeds systematically to blur all of them. JEssica is both living and dead.; Mrs. Rand mixes medicine, Christianity and voodoo, the figurehead is both St. Sebastian and a black slave, the black-white opposition is poetically undercut in a complex patterning of dresses and voodoo patches; the motivation of all the characters is called into question; the messenger-zombie Carrefour can't be kept out of the white domain."
Lewton's work absolutely inspired and trained Robert Wise to scare the hell out us with his adaption of Shirley Jackson's The Haunting in 1963, when in reality we never see a malevolent presence. Wise's use of absence and presence, sequential stages of darkness and shadow, odd angles, and the process of what we 'don't see' became one of the greatest ghost stories on film and I would dare to say one of the best films ever made. Wise learned this film philosophy from his time working as part of the Lewton Unit, whose contribution to film rippled outward for decades.
Julie Harris climbs the menacing spiral staircase in Robert Wise's masterpiece of Gothic ghost storytelling The Haunting 1963
"Lewton's most accomplished manoeuvre was making the audience think much more about his material than it warranted. Some of his devices were the usual ones of hiding information… he hid much more of his story than any other filmmaker and forced his crew to create drama almost abstractly with symbolic sounds, textures and the like which made the audience hyper-conscious of sensitive craftsmanship… He imperiled his characters in situations that didn't call for outsized melodrama and permitted the use of journalistic camera. {…}Je would use a spray-shot technique that usually consisted of oozing suggestive shadows across a wall, or watching the heroines' terror on a lonely walk {…} The shorthand allowed Lewton to ditch the laughable aspect of improbable events and give the remaining bits of material the strange authenticity of a daguerreotype." –Manny Farber criticquoted from 1951 in Jeremy Dyson's book Bright Darkness
There is an overall unsettling revelatory pattern to each of the Lewton narratives. While I'm only covering the 4 contributions Lewton made during the year 1943, all of his 9 fantasy/horror films isolate the commonplace through the story, the patterns, the symbolism of innocence, and the rigidity of authority. In his films our roots in proven reason and sanity are given a different value. This contrasting shadowplay create the ultimate texture and environment of fantasy/horror.
A SYMPHONY OF DARK PATCHES :
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Posted on January 10, 2014 August 20, 2016 by monstergirlPosted in 1940s, childhood nightmares, Classic Horror, Cornell Woolrich, Cult murders, Dewitt Bodeen, Directors and Filmmakers, Edith Barrett, Elizabeth Russell, Fantasy, fate, femme fatale, fetishism, film noir, Frances Dee, Freud, Jung and Hillman, Gothic Horror, Hugh Beaumont, I Walked With A Zombie 1943, Jacques Tourneur, James Ellison, Jean Brooks, Kim Hunter, man vs religion, Margo, Mark Robson, Nick Musuraca-Cinematography, occult, paranoia, psycho-sexual thriller, psychological thriller, psychos and fanatics, Richard Dix, Robert Wise, Roy Webb-composer, The devil and witchcraft, The Director's Lounge, The Ghost Ship, The Leopard Man 1943, The Seventh Victim 1943, the uncanny, Tom Conway, Top Classic Horror Films, Ubiquity, Val Lewton, wild women, women as objects, Women in Peril18 Comments
Hyper-Masculinity/Hidden Frailty: The Robert Ryan Aesthetic in Film Noir
In honor of the 40th anniversary of Robert Ryan's death July 11, 1973 with a special nod to Karen & The Dark Pages for their spectacular tribute to this incredibly real man!
"Ryan was unfailingly powerful, investing his tormented characters with a brooding intensity that suggests coiled depth. Cut off from the world by the strength of their 'feelings' his characters seem to be in the grip of torrential inner forces. They are true loners. Ryan's work has none of the masked, stylized aura of much noir acting. He performs with emotional fullness that creates substantial, complex characters rather than icons." –Foster Hirsch-FILM NOIR: The Darker Side of the Screen
Clearly Robert Ryan's infinite presence in film and his numerous complex characters manifest an embracing universal 'internal conflict' of masculinity. I tribute certain roles the actor inhabited during his striking career. Though he was cast more often in the part as the imposing heavy, the depth and breadth of Ryan's skill with his rough-hewn good looks should have landed him more roles as a lead male capable of such penetrating levels of emotion. He had a depth that suggests a scarcely hidden intensity smoldering at the surface.
Robert Ryan as Montgomery in Edward Dmytryk's Crossfire 1947
Robert Ryan in Act of Violence '48
A critic for the New York Times reviewing Act of Violence (1948) wrote about Robert Ryan's persona as the madly driven veteran bent on revenge, Joe Parkson calling him "infernally taut."
Frank Krutnik discusses 'Masculinity and it's discontents' in his book In A Lonely Street, "In order to make the representation of masculinity in the noir thriller, there follows a schematic run-through of Freudian work on the determination of masculine identity." Claiming Freud's work can be co-opted into film with an emphasis of it's relevance to analysis of the cultural machinery of patriarchy." He discusses patriarchal culture which relies heavily on the maintenance of a gender-structured 'disequilibrium' with it's roots in the myth of the Oedipal Complex. Involving not only the power-based hierarchy of male service to masculine power but the established normative gender values which inform both the male and female figure.
Act of Violence Robert Ryan as Joe Parkson co-starring Janet Leigh
Many of the characters in Ryan's noir world are informed by a cultural 'determinacy of the phallus' that authorizes toughness and strips the limits of desire as an obligation to masculine identity. Patriarchal power structure predetermines a fixed and limited role that creates a destiny of submission and impotence in Ryan's characters. But within the framework of these extreme male figures lies an intricate conflict of varying degrees of vulnerability and fragility.
Ryan manifests this duality within hyper-masculine characters. Outwardly physical, confrontational, and hostile, Ryan is a master at playing men who suffer from alienation and inferiority surrounding their own 'maleness' and self-worth. He was never just a dark noir brute or anti-hero but a complex man actualized through layers of powerful dramatic interpretation. His performances suggest a friction of subjugated masculinity bubbling within.
Ryan as Earl Pfeiffer and Barbara Stanwyck in Fritz Lang's Clash By Night
The trajectory of the male through the Oedipus Complex encompasses the male subjectivity which is a principle issue in the noir 'tough-thriller.' The 'existential thematic' link to the Oedipus myth concerns questions of male desire and identity as they relate to the overarching law of existing patriarchal culture substituted for the original fearsome 'divinity.' This element is one of the driving psychological themes underlying in any good classic film noir.
In this post I put my focus primarily on Ryan's characters within the framework of each film and while I discuss the relationship between him and the central players I do not go as in depth as I usually do discussing his co-stars or plot design.
I apply this thematic representation to much of the roles engendered in the films of Robert Ryans' that I've chosen to discuss here. A patriarchal power structure establishes the tragedy of man's destiny, a fixed and limited role in the character's own destiny as there is a predominant power that threatens them into submission and sheds light on their own impotence. So many of the noir characters in a Robert Ryan noir world are shaped by a cultural authority structured through 'determinacy of the phallus' that authorizes toughness in the male identity that strips away the limits of desire, as an obligation to 'masculine identity.'
Ryan's stoic boxer Stoker in Robert Wise's The Set Up
I'm focusing on particular Ryan's roles within a noir context that depict archetypal hyper-masculine tropes and the problematic strife within those characters. Whether Ryan is playing the deeply flawed hero or the tormented noir misfit, his characters are afflicted with an inherent duality of virility and vulnerability, an inner turmoil, alienation, persecution and masochism. It's a territorial burden that Robert Ryan so effortlessly explores.
These films show Ryan's trajectory through forces of menacing restraint and poignant self-expression. Within a noir landscape, the schism of stark virility and tenuous masculinity exposes the complexity of alienation, masochism and frailty. Robert Ryan's performances are a uniquely fierce and formidable power.
I'm discussing: The Woman On the Beach (1947) haunted & emasculated coastguardsman Lt. Scott Burnett, Caught (1949) neurotic millionaire Smith Ohlrig, The Set- Up (1949) noble over- the-hill boxer Bill 'Stoker' Thompson, Born To Be Bad (1950) misanthropic & masochistic novelist Nick Bradley, Clash by Night (1952) cynical misogynist projectionist Earl Pfeiffer, Beware, My Lovely (1952) morose psychotic vagrant handyman Howard Wilton,On Dangerous Ground (1952) unstable, alienated violent cop Jim Wilson, Odds Against Tomorrow (1959) racist persecuted ex-con Earle Slater.
Within the framework of these 'extreme' male figures lies an intricate conflict with varying degrees of vulnerability & fragility within the male psyche. The narratives don't necessarily flesh out this conflict plainly, but Ryan's performances certainly suggest and inform us about the friction of this subjugated theme bubbling to the surface as he manifests the duality within his hyper-masculine characters. Robert Ryan was a master at playing men who suffer from alienation and inferiority surrounding their own 'maleness' and self-worth.
Ryan is never just a dark noir 'brute' or anti-hero but moreover a complex male who is actualized through layers of powerful dramatic interpretation. A complexity of stark virility and 'tenuous maleness' as the narrative witnesses Ryan's trajectory transforming him through various dynamic forces of menacing restraint and poignant self-expression. Outwardly physical, confrontational, hostile and ultimately masculine, and the schism that is inwardly emotional, alienated, self deprecating, masochistic and fragile within the film noir landscape. Robert Ryan's performances still maintain a uniquely fierce and formidable aesthetic of the 'suffering-marginalized man.'
Continue reading "Hyper-Masculinity/Hidden Frailty: The Robert Ryan Aesthetic in Film Noir" →
Posted on July 11, 2013 December 12, 2014 by monstergirlPosted in A.I Bezzerides- screenplay, Audrey Totter, Barbara Belle Geddes, Barbara Stanwyck, Bernard Herrmann, Born to be Bad '50, Caught 1949, Clash By Night 1952, Classic Film Noir, Clifford Odets, Collier Young, Fritz Lang, George Diskant-cinematography, George Tobias, Gloria Grahame, Harry Horner, Jean Renoir, Joan Bennett, Joseph C. Brun-cinematography, Lee Garmes-Cinematography, Leo Tover-cinematography, man vs man, Mell Dinelli-Screenplay, melodrama, men in peril, Milton Krasner-Cinematography, Nelson Gidding, Nicholas Ray, Nick Musuraca-Cinematography, paranoia, Paul Douglas, Percy Helton, psycho-sexual thriller, psychological thriller, Robert Ryan, Robert Wise, Shelley Winters, Suspense, The Dark Pages, The Set Up 1949, The Woman on the Beach 1947, William McGivern-screenplay4 Comments


Dr. Kelly-Ann Patrice, MBBS, is an Assistant Professor of Neurology at the University of Arkansas for Medical Sciences (UAMS).
Dr. Patrice graduated from the Faculty of Medical Sciences, University of West Indies (UWI) in Kingston, Jamaica in 2007. She then completed two years of Internal Medicine Residency at the MedStar Good Samaritan Hospital before joining the Johns Hopkins Hospital for her residency training in Neurology followed by a fellowship in Vascular Neurology at the same institution.
Dr. Patrice holds numerous honors and awards. In June 2005, she received Honors in Basic Medical Sciences from the UWI and in 2007, she received an Honors MBBS medical degree also from the UWI. She was a finalist for Outstanding PGY-1 Resident of the Year in June 2013 from the MedStar Good Samaritan Hospital Internal Medicine Residency program. In April 2017, Dr. Patrice was awarded the Frank Coulson Award for Clinical Excellence, from the Miller-Coulson Academy of Clinical Excellence, Johns Hopkins School of Medicine. Dr. Patrice also earned The Guy M. McKhann Award from the Johns Hopkins Neurology Residency Program for teaching excellence.
Dr. Patrice joins the UAMS Stroke and Neurocritical Care Team. She focuses on the diagnosis and management of cerebrovascular disease, including acute stroke therapy, stroke recovery as well as primary and secondary stroke prevention. Dr. Patrice sees patients in the Jack T. Stephens Spine & Neurosciencs Institute's Neurology Clinic.


At twenty years old, Donevan Karr (a community college student) sets out to spread goodness and share his stories through music. Trying to relate with as many others as possible, he attempts to collaborate with other creative minds as often as he can.
Donevan is currently involved with a band named, "SleepLong", which focuses on pop duets featuring himself and singing partner Lauren Wilkinson. He is also the drummer for the local Portland band, "Stone Boats". Although there are many musical collaborations to be enjoyed, he agrees that there is something satisfying about writing music quietly, by himself. From this practice, Donevan has been able to produce some fun music and videos in his spare time right out of his (parents') house.


text:
HUNGARIAN UNIVERSITY GRADUATE UNDERTAKES BULGARTABAC HOLDING
Georgi Popov is the new Executive Director of Bulgartabac Holding. The decision was taken by the company's recently formed Board of Directors (BoD), whose six members gathered immediately after the general meeting of Bulgartabac's shareholders on September 11. Mr. Popov was born in 1964 in Rousse. He finished the English Language school in his native town and studied international economic relations in Budapest. Mr. Popov worked in Hungary, Bulgaria, and Greece. He was a regional manager of Gillette for the Balkans and the Mediterranean countries. Mr. Popov was also a financial director of the Amillum corn products factory in Razgrad. The Deputy Minister of Economy Lyubka Kachakova was elected Chairperson of Bulgartabac's BoD, which includes also her colleague Kaloyan Ninov, who was the State's representative at the holding's general meeting. Georgi Kostov, a former executive director of Blagoevgrad-BT in 1997-1998, is also among BoD's new members. Mr. Kostov, 48, has 10 years of experience in the tobacco holding's system. He was a commercial director of Blagoevgrad-BT for four years.The fifth BoD member is Roumen Porozhanov, a head of a department at the Finance Ministry. In the late 90s he was on the boards of three enterprises, which went private: the Arsenal armoury, the Vinprom-Plovdiv winery in Peroushtitsa, and Agrotechnica in Karlovo. The representative of the enthnic Turks' Movement for Rights and Freedoms Mithan Metin presented himself at the general meeting as a lawyer at Economic and Investment Bank.Bulgartabac is the only Bulgarian company that is in a position to become multinational and compete successfully with the leaders in the branch, Deputy Premier and Minister of Economy Nikolai Vassilev said. His words are probably a sign that the idea for the holding's divestment as a whole and not in self-contained parts is currently prevailing. The strategy for the company's sale will be ready within a month, Mr. Vassilev specified.Mr. Vassilev expects the new managerial team to manage the company professionally and prepare it for privatisation. This, according to the Deputy Premier, means that the managers should raise the holding's price by USD50MN over the next six months. However, Mr. Vassilev admitted, he did not know the present price of Bulgartabac. On his part, the Executive Director of the Privatisation Agency Apostol Apostolov hinted that up to 20% of the holding's capital would be probably put up for sale on the Stock Exchnage.Another task, set to Bulgartabac's directors by Mr. Vassilev, is to continue the audits of the companies within the holding's structure. Georgi Kostov's experience will be quite valuable, the Deputy PM underlined. And the presence of Mr. Porozhanov on the BoD suggests that the Finnace Ministry's experience will be also used when assessing the injuries inflicted to the branch. According to Mr. Vassilev, all contracts for distribution should be examined, cases of smuggled cigarettes should be investigated, and it should be checked if the holding has financed political parties. The State's representative at Bulgartabac's general meeting Kaloyan Ninov voted against releaving of responsibility the company's former BoD, headed the ex-vice minister of economy Hristo Mihailovski. His vote was decisive as it is equal to the State's share participation in the holding's capital, which is 92 per cent. The international auditing company Ernst Young Afa was nominated expert accountant of Bulgartabac.
събота, 15. септември 2001 - 01:00
Lowering heads the old way again
Golden Raspberry award* for interest tax
State-owned Enterprise Gulps down Millions for Vehicles and Paychecks

redpajama_set_name: RedPajamaCommonCrawl


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The 3D advanced chassis turns your feet into trail blazing bulldozers. It;s all about confidence.
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text:
Nijampur Majra Shekhupur - Budaun
Nijampur Majra Shekhupur Population - Budaun, Uttar Pradesh
Nijampur Majra Shekhupur is a medium size village located in Budaun Tehsil of Budaun district, Uttar Pradesh with total 97 families residing. The Nijampur Majra Shekhupur village has population of 587 of which 312 are males while 275 are females as per Population Census 2011.
In Nijampur Majra Shekhupur village population of children with age 0-6 is 93 which makes up 15.84 % of total population of village. Average Sex Ratio of Nijampur Majra Shekhupur village is 881 which is lower than Uttar Pradesh state average of 912. Child Sex Ratio for the Nijampur Majra Shekhupur as per census is 788, lower than Uttar Pradesh average of 902.
Nijampur Majra Shekhupur village has lower literacy rate compared to Uttar Pradesh. In 2011, literacy rate of Nijampur Majra Shekhupur village was 59.31 % compared to 67.68 % of Uttar Pradesh. In Nijampur Majra Shekhupur Male literacy stands at 71.92 % while female literacy rate was 45.30 %.
As per constitution of India and Panchyati Raaj Act, Nijampur Majra Shekhupur village is administrated by Sarpanch (Head of Village) who is elected representative of village. Our website, don't have information about schools and hospital in Nijampur Majra Shekhupur village.
Nijampur Majra Shekhupur Data
Schedule Caste 0 0 0
Schedule Tribe 0 0 0
Total Workers 140 135 5
Main Worker 134 - -
Marginal Worker 6 6 0
There is no population of Schedule Caste (SC) and Schedule Tribe(ST) in Nijampur Majra Shekhupur village of Budaun district.
In Nijampur Majra Shekhupur village out of total population, 140 were engaged in work activities. 95.71 % of workers describe their work as Main Work (Employment or Earning more than 6 Months) while 4.29 % were involved in Marginal activity providing livelihood for less than 6 months. Of 140 workers engaged in Main Work, 110 were cultivators (owner or co-owner) while 0 were Agricultural labourer.


Vintage Mid Century German RYA Blue sunburst rug. Very nice colours, Iconic design. Some signs of use, wear, etc. We currently can not quote for Scotland/Wales/Some parts of England.
We are happy to deal with any independent courier that you arrange. Collection within 10 days of sale.
Available to view in person at our shop. The item "Vintage Mid Century Blue Sunburst Rya Floor Rug Retro 60s 70s MCM German" is in sale since Saturday, September 1, 2018. This item is in the category "Antiques\Carpets & Rugs". The seller is "nothing-new-stafford" and is located in Stafford.


The man who was shot dead in South Belfast last night told the Andersonstown News last October that his life was under threat.
28-year-old Stephen Carson was shot in a house at Walmer Street in the Ormeau Road area at about 10.45pm on Thursday evening as the father of two was having a meal with his partner and nine-year-old son.
Police say that "at least three men carrying a hammer and a shotgun burst into the house".
Speaking to the Andersonstown News in October Mr Carson from Clonard said he had just been released from Magilligan prison where he had served two-and-a-half years for robbery.
"I've just been released from Magilligan," he said. "Just before I was getting out the prison liaison officer told me that a threat against my life had been given to Base 2 (a prisoners' support group) from the West Belfast INLA.
"I don't know why or where this is coming from and all I want is to get on with my life, get back on my feet. I can't even stay with my mum, I'm staying with a friend, keeping my head down as everything now is put on hold.
Mr Carson said that he believed those behind the threat were members of the criminal gang led by former INLA members linked to the April 2013 murder in Kennedy Way of 26-year-old Kieran McManus, who was a close friend of his.
"There was an altercation in Turf Lodge a few years back and maybe this is where all of this is coming from," he said.
The Irish Republican Socialist Party (IRSP), the political wing of the INLA, denied that the threat against Mr Carson had come from them and said that they had assured him that this was the case.
The officer leading the investigation, Detective Superintendent Kevin Geddes from Serious Crime Branch, said: "Our main line of enquiry, but not our only line of enquiry, is that Stephen was shot as part of a criminal feud. We do not believe at this stage there was any paramilitary involvement nor do we believe this was sectarian.
SDLP South Belfast MLA Claire Hanna condemned those behind the murder.


text:
Although the development process and debugging process should not change using vorteil.io, sometimes it might be required to debug the running application. Therefore vcli has gdb enabled, if the application runs in debug mode.

```vcli
vcli run -d -e yourapp
```

Turning on debug with the -d flag adds additional kernel output to the screen and starts the gdb server of KVM, VirtualBox or VMWare Workstation/Player and can be used like in other applications. The following script is an example for a .gdbinit file:

```.gdbinit
set arch i386:x86-64
target remote localhost:1234
set step-mode on
set pagination
break *0x400000
```

This example would stop the hypervisor from executing at memory location 0x400000.

!> gdb on VMWare uses port 8864, not 1234

redpajama_set_name: RedPajamaGithub


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SugarCRM processes data customers submit to our services pursuant to our subscription agreement (Customer Data). Our products may be deployed On-Demand or On-Site and customers may also engage us for professional services and customer support. To fulfill our contractual obligations, SugarCRM may access Customer Data to provide services, to correct and address technical or service problems, or to follow instructions of the customer who submitted the data, or in response to contractual requirements.


text:
'Did you not know that I must be in my Father's house?' Sunday Reflections, The Holy Family of Jesus, Mary and Joseph, Year C
By Fr Seán Coyle - December 20, 2018
The Holy Family, Heinrich Meyring [Web Gallery of Art]
Readings (New American Bible: Philippines, USA)
Readings (Jerusalem Bible: Australia, England & Wales, India [optional], Ireland, New Zealand, Pakistan, Scotland, South Africa)
Gospel Luke 2:41-52 (New Revised Standard Version, Anglicised Catholic Edition)
Now every year the parents of Jesus went to Jerusalem for the festival of the Passover. And when he was twelve years old, they went up as usual for the festival. When the festival was ended and they started to return, the boy Jesus stayed behind in Jerusalem, but his parents did not know it. Assuming that he was in the group of travellers, they went a day's journey. Then they started to look for him among their relatives and friends. When they did not find him, they returned to Jerusalem to search for him. After three days they found him in the temple, sitting among the teachers, listening to them and asking them questions. And all who heard him were amazed at his understanding and his answers. When his parents saw him they were astonished; and his mother said to him, 'Child, why have you treated us like this? Look, your father and I have been searching for you in great anxiety.' He said to them, 'Why were you searching for me? Did you not know that I must be in my Father's house?' But they did not understand what he said to them. Then he went down with them and came to Nazareth, and was obedient to them. His mother treasured all these things in her heart.
And Jesus increased in wisdom and in years, and in divine and human favour.
Christ Among the Doctors, Leonaert Bramer [Web Gallery of Art]
Today is the Feast of The Holy Family of Jesus, Mary and Joseph. On 19 March the Church celebrates the Solemnity of Saint Joseph, Spouse of the Blessed Virgin Mary. Today's gospel refers to Joseph and Mary as the parents of Jesus. Mary says reproachfully to her Son, Look, your father and I have been searching for you in great anxiety. To the puzzlement of both Mary and Joseph, Jesus replies, Did you not know that I must be in my Father's house?
St Matthew shows clearly the role of St Joseph in the life of Jesus: An angel of the Lord appeared to him in a dream, saying, An angel of the Lord appeared to him in a dream and said, "Joseph, son of David, do not be afraid to take Mary as your wife, for the child conceived in her is from the Holy Spirit. She will bear a son, and you are to name him Jesus, for he will save his people from their sins" (Matthew 1:20-21).
Joseph's first responsibility was to be the husband of Mary and, as such, was to name her Son, thereby becoming his legal father. In some paintings of the Nativity St Joseph is a background figure, or partly hidden in the dark, but clearly protective of Jesus and Mary, and in an attitude of worship towards the Infant.
The Nativity, El Greco [Web Gallery of Art]
But in depictions of the Flight into Egypt, of which there are many, we often find St Joseph leading the way, as in this woodcarving.
The Flight Into Egypt, Unknown Flemish Master [Web Gallery of Art]
The Greek-born Doménikos Theotokópoulos, (1541 – 1614) who settled in Toledo, Spain, as a young man was known as 'El Greco', 'The Greek'. In the painting below he captures the role of St Joseph as a protective parent.
St Joseph and the Christ Child, El Greco [Web GAllery of Art]
As a child I saw my parents as my father and mother. Now I remember them not only as that but as a married couple. And sometimes I think that the Church over-emphasises the importance of the family at the expense of marriage, which is the foundation of the family. St Joseph's primary responsibility was to be the husband of Mary and, as such, to be the one known as the father of Jesus, even though Mary's Son wasn't his.
And in today's gospel Mary painfully discovers that, in a sense, he isn't hers either, as he says, Did you not know that I must be in my Father's house? At the beginning of his adolescence Jesus was, in his humanity, coming in touch with his heavenly Father's will. The mystery of Jesus being both God and Man is something we cannot fathom. St Paul says that Jesus though he was in the form of God, did not count equality with God a thing to be grasped (Philippians 2:6).
But this incident shows us that Mary and Joseph as parents suffered the same pain that every parent of an adolescent goes through. They were learning that they did not 'own' Jesus, that they would have to let him go at some stage.
I recall some incidents involving my father. One was when I was no more that three, possibly only two. Like St Joseph, he was a carpenter and made a little saddle that he put on the crossbar of his bicycle, on which he went to work every morning. I recall him taking me for a 'spin', probably on a Saturday afternoon, in the area where we lived at the time, I sitting joyfully on the little wooden saddle he had made. It's like a photo in my mind that captures a moment of delight between father and son.
Then when I was around ten he taught me how to ride a bicycle. I borrowed that of a cousin a little older than me. Dad held the back of the saddle tightly so that I wouldn't lose balance and stayed with me patiently. Then at a certain point I realised that he wasn't holding it anymore and that I was moving forward without falling. He knew when to let go.
[Source: Coloring-pictures.net]
He taught me how to swim around that same time, with the same approach. He gave me a sense of security - but didn't cling on when I didn't need that kind of security anymore.
My parents taught me what trust was by trusting me. In Ireland the symbol of adulthood was - and maybe still is, I don't know - the key to the house. I was given the key when I was only 13. None of my friends had that privilege. Even on one occasion three years later when I came home very late on my bicycle from a dance and they were waiting at the door sick with worry - nobody on our street had a telephone and mobile phones probably weren't even in the imaginations of science-fiction writers - all I got was a well-deserved scolding. They still trusted me to use my key responsibly.
I saw too that on occasions when there might be a combination of heat and coldness in their relationship for a few days, they still took care of each other. After attending a very early Mass Dad would come home, prepare my mother's breakfast and bring it to her in bed before heading off for work. And when he came home in the evening his dinner would be always ready. I remember his amusement on the only occasion in their married life when my mother didn't have it ready. She had been delayed by something unexpected and was really embarrassed. Dad just laughed.
In Worldwide Marriage Encounter one of the things we emphasise is that Love is a Decision. It's not a feeling, though feelings are related to it, of course. I saw that in my parents' lives and I also saw that they made important decisions together. One example was when I was 13. My father was asked to take on a job for six months in a town in the south of Ireland. This meant that he would be able to come home only one weekend per month. I know that my parents discussed this thoroughly and also spoke to us, their two sons, about it, before deciding that Dad should take on the job.
This cartoon, which I found on a friend's Facebook, captures in a humorous way what Love is a Decision means. (I think that the cartoon has been been to many places in cyberspace.)
As I look back now, I see clearly that my parents were husband and wife first, and father and mother second. That did not mean that they saw parenthood as being of lesser importance but that they saw it as being a consequence of being married. I think they had their priorities right.
The Feast of the Holy Family reminds us that marriage is the root of the family. Do not be afraid to take Mary as your wife, for the child conceived in her is from the Holy Spirit. She will bear a son, and you are to name him Jesus, for he will save his people from their sins" (Matthew 1:20-21).
The liturgical Season of Christmas continues until the Feast of The Baptism of the Lord on Sunday 13 January. The Sussex Carol is a traditional English Christmas song but has an Irish connection in that the words were first published by Bishop Luke Wadding, who was Bishop of Ferns, Ireland, and who died in 1691.
El Greco Heinrich Meyring Leonaert Bramer Sunday Reflections The Holy Family Unknown Flemish Master Worldwide Marriage Encounter


text:
#include <string.h>

#include <grpc/support/alloc.h>
#include <grpc/support/log.h>
#include <grpc/support/sync.h>

#include "src/core/ext/filters/client_channel/client_channel.h"
#include "src/core/ext/filters/http/client/http_client_filter.h"
#include "src/core/ext/filters/http/message_compress/message_compress_filter.h"
#include "src/core/ext/filters/http/server/http_server_filter.h"
#include "src/core/ext/transport/chttp2/transport/chttp2_transport.h"
#include "src/core/lib/channel/connected_channel.h"
#include "src/core/lib/iomgr/endpoint_pair.h"
#include "src/core/lib/iomgr/iomgr.h"
#include "src/core/lib/resource_quota/api.h"
#include "src/core/lib/surface/channel.h"
#include "src/core/lib/surface/completion_queue.h"
#include "src/core/lib/surface/server.h"
#include "test/core/end2end/end2end_tests.h"
#include "test/core/util/port.h"
#include "test/core/util/test_config.h"

/* chttp2 transport that is immediately available (used for testing
   connected_channel without a client_channel */

struct custom_fixture_data {
  grpc_endpoint_pair ep;
};

static void server_setup_transport(void* ts, grpc_transport* transport) {
  grpc_end2end_test_fixture* f = static_cast<grpc_end2end_test_fixture*>(ts);
  grpc_core::ExecCtx exec_ctx;
  custom_fixture_data* fixture_data =
      static_cast<custom_fixture_data*>(f->fixture_data);
  grpc_endpoint_add_to_pollset(fixture_data->ep.server, grpc_cq_pollset(f->cq));
  grpc_core::Server* core_server = grpc_core::Server::FromC(f->server);
  grpc_error_handle error = core_server->SetupTransport(
      transport, nullptr, core_server->channel_args(), nullptr);
  if (error == GRPC_ERROR_NONE) {
    grpc_chttp2_transport_start_reading(transport, nullptr, nullptr, nullptr);
  } else {
    GRPC_ERROR_UNREF(error);
    grpc_transport_destroy(transport);
  }
}

typedef struct {
  grpc_end2end_test_fixture* f;
  const grpc_channel_args* client_args;
} sp_client_setup;

static void client_setup_transport(void* ts, grpc_transport* transport) {
  sp_client_setup* cs = static_cast<sp_client_setup*>(ts);

  auto args = grpc_core::ChannelArgs::FromC(cs->client_args)
                  .Set(GRPC_ARG_DEFAULT_AUTHORITY, "test-authority");
  auto channel = grpc_core::Channel::Create(
      "socketpair-target", args, GRPC_CLIENT_DIRECT_CHANNEL, transport);
  if (channel.ok()) {
    cs->f->client = channel->release()->c_ptr();
    grpc_chttp2_transport_start_reading(transport, nullptr, nullptr, nullptr);
  } else {
    cs->f->client = grpc_lame_client_channel_create(
        nullptr, static_cast<grpc_status_code>(channel.status().code()),
        "lame channel");
    grpc_transport_destroy(transport);
  }
}

static grpc_end2end_test_fixture chttp2_create_fixture_socketpair(
    const grpc_channel_args* /*client_args*/,
    const grpc_channel_args* /*server_args*/) {
  custom_fixture_data* fixture_data = static_cast<custom_fixture_data*>(
      gpr_malloc(sizeof(custom_fixture_data)));
  grpc_end2end_test_fixture f;
  memset(&f, 0, sizeof(f));
  f.fixture_data = fixture_data;
  f.cq = grpc_completion_queue_create_for_next(nullptr);
  fixture_data->ep = grpc_iomgr_create_endpoint_pair("fixture", nullptr);
  return f;
}

static void chttp2_init_client_socketpair(
    grpc_end2end_test_fixture* f, const grpc_channel_args* client_args) {
  grpc_core::ExecCtx exec_ctx;
  auto* fixture_data = static_cast<custom_fixture_data*>(f->fixture_data);
  grpc_transport* transport;
  sp_client_setup cs;
  client_args = grpc_core::CoreConfiguration::Get()
                    .channel_args_preconditioning()
                    .PreconditionChannelArgs(client_args)
                    .ToC();
  cs.client_args = client_args;
  cs.f = f;
  transport =
      grpc_create_chttp2_transport(client_args, fixture_data->ep.client, true);
  client_setup_transport(&cs, transport);
  grpc_channel_args_destroy(client_args);
  GPR_ASSERT(f->client);
}

static void chttp2_init_server_socketpair(
    grpc_end2end_test_fixture* f, const grpc_channel_args* server_args) {
  grpc_core::ExecCtx exec_ctx;
  auto* fixture_data = static_cast<custom_fixture_data*>(f->fixture_data);
  grpc_transport* transport;
  GPR_ASSERT(!f->server);
  f->server = grpc_server_create(server_args, nullptr);
  grpc_server_register_completion_queue(f->server, f->cq, nullptr);
  grpc_server_start(f->server);
  server_args = grpc_core::CoreConfiguration::Get()
                    .channel_args_preconditioning()
                    .PreconditionChannelArgs(server_args)
                    .ToC();
  transport =
      grpc_create_chttp2_transport(server_args, fixture_data->ep.server, false);
  grpc_channel_args_destroy(server_args);
  server_setup_transport(f, transport);
}

static void chttp2_tear_down_socketpair(grpc_end2end_test_fixture* f) {
  grpc_core::ExecCtx exec_ctx;
  gpr_free(f->fixture_data);
}

/* All test configurations */
static grpc_end2end_test_config configs[] = {
    {"chttp2/socketpair", FEATURE_MASK_SUPPORTS_AUTHORITY_HEADER, nullptr,
     chttp2_create_fixture_socketpair, chttp2_init_client_socketpair,
     chttp2_init_server_socketpair, chttp2_tear_down_socketpair},
};

int main(int argc, char** argv) {
  size_t i;

  grpc::testing::TestEnvironment env(&argc, argv);
  grpc_end2end_tests_pre_init();
  grpc_init();

  for (i = 0; i < sizeof(configs) / sizeof(*configs); i++) {
    grpc_end2end_tests(argc, argv, configs[i]);
  }

  grpc_shutdown();

  return 0;
}


*Please note, personalisations are limited to 6 characters. Short names or initials are recommended.
Provide the name or initials required during checkout or message us via Etsy once purchase is complete.
Encased in hand cut buffalo leather, the books are sewn and crafted together using natural handmade paper made from the Lokta plant. 4 size choices means that your choice of book can serve as a secret diary, an everyday journal or even a unique project book/sketchbook.


Gathering -> Mining, fishing, foraging (for like herbs n stuff), stuff like this to collect raw ingredients.
Mining -> Mining will be for gathering ores to be used for Weapons, accessories, and gems. You can use a pickaxe on nodes scattered around the world. For weapons, probably tiers of stronger steel, accessories like rare metals such as silver and Blade And Soul Gold, and gems usable for enchanting.
Weaponsmithing -> Just like it says. Use metals from Mining to create weapons.
Tailoring -> Use hides and plants and gems and precious metals to weave clothing. this one is really iffy since i'd prefer to see costumes exclusive to the Item Store for people to buy at their leasure, but I could see it being fun to be able to craft outfits for guilds, and have tailoring lines of fancy threads all up in the market.
Jeweler -> Since we don't really wear an armor per say, but have a lot of accessories, we could use a variety of previously mentioned materials to create our own rings, necklaces, stuff like that.
Cooking -> I see food as a source of buffs. Cook epic meal, eat said epic meal, get + somethingsomething for a half hour, hour, whatever. Stuff to help long term hp regen, ATK %, DEF %, stuff like that to give a slight advantage. It'd also be pretty fun to be able to make Banquets and serve them up at the start of group dungeons for your team to eat and all share a big boost together.
Enchanting -> Enchanting can be used with gems to make specific socketable gems. You know, increase attack, life drain, critical hits, stuff like that.
Just to make it clear, a person should not be able to say... Go mine Mythril from the get go. They need to start from the bottom and mine tier 1 resources, use tier 1 fishing equipment, etc etc. They can level up and gain Skill exp per resource gathered allowing them to grow and get better with time.
This would also keep from over farming high tier resources and power leveling skills that way.
1) Toggle pvp outfit. It's just annoying having it sit in inventory and have to open inventory to put it on, or take it off. I think there should just be a little button on the side to turn pvp on and off when needed.
2) More class differentiation. Everyone kind of just builds the same for high damage output, and i get it. But it'd be nice to have roles to rely on. Maybe a class with less damage more survivability for tanking bosses, or a squishy with support skills for healing and shields and such. People DO like this sort of thing.
3) Faction revamped. So Red vs. Blue, real original lol. How about dropping factions all together though... This takes away a whole lot of attention from Guilds since it essentially puts you in a guild from the get go. Remove factions, expand upon Guilds, let guilds come with outfits an Emblems customized by the Guild leader, and let them toggle pvp function.
Say a guild leader can create an outfit and turn PvP to OPEN, so they can attack anyone else flonting their flags, or to ENEMY, and a guild leader can register other guilds to the Enemy list, allowing you to specifically target enemy guild members.
I'll probably expand upon a guild/faction revamp in a new post but yeah.


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Bolton ( or locally ) is a town in Greater Manchester, in the North West of England. A former mill town, Bolton has been a production centre for textiles since Flemish weavers settled in the area during the 14th century, introducing a wool and cotton-weaving tradition. The urbanisation and development of the town largely coincided with the introduction of textile manufacture during the Industrial Revolution. Bolton was a 19th-century boomtown, and at its zenith in 1929 its 216 cotton mills and 26 bleaching and dyeing works made it one of the largest and most productive centres of cotton spinning in the world. The British cotton industry declined sharply after the First World War, and by the 1980s cotton manufacture had virtually ceased in Bolton.
Close to the West Pennine Moors, Bolton is 10 miles (16 km) northwest of the city of Manchester. It is surrounded by several smaller towns and villages that together form the Metropolitan Borough of Bolton, of which Bolton is the administrative centre. The town of Bolton has a population of 139,403, whilst the wider metropolitan borough has a population of 262,400. Historically a part of Lancashire, Bolton originated as a small settlement in the moorland known as Bolton le Moors. During the English Civil War the town was a Parliamentarian outpost in a staunchly Royalist region, and as a result Bolton was stormed by 3,000 Royalist troops led by Prince Rupert of the Rhine in 1644. In what became known as the Bolton Massacre, 1,600 residents were killed and 700 were taken prisoner.
Former Premier League football club Bolton Wanderers play home games at the Reebok Stadium (Reebok, the sportswear company, was founded and based for many years in the town) and the WBA World light-welterweight champion Amir Khan was born in the town. Cultural interests include the Octagon Theatre and the Bolton Museum and Art Gallery, as well as one of the earliest public libraries established after the Public Libraries Act 1850.
Bolton is a common Northern England name derived from the Old English bothl-tun, meaning a settlement with a dwelling. The first recorded use of the name, in the form Boelton, dates from 1185 to describe Bolton le Moors, though this may not be in relation to a dwelling. It was recorded as Bothelton in 1212, Botelton in 1257, Boulton in 1288, and Bolton after 1307. Later forms of Botheltun were Bodeltown, Botheltun-le-Moors, Bowelton, Boltune, Bolton-super-Moras, Bolton-in-ye-Moors, Bolton-le-Moors. The towns motto of Supera Moras means "overcome difficulties" (or "delays"), and is a pun on the Bolton-super-Moras version of the name meaning literally, "Bolton on the moors".
Climate in the Greater Manchester area is generally similar to the climate of England, although owing to protection from the mountains in North Wales it experiences slightly lower than average rainfall except during the summer months, when rainfall is higher than average. Bolton has mild differences between highs and lows, and there is adequate rainfall year round. The Köppen Climate Classification subtype for this climate is "Cfb" (Marine West Coast Climate/Oceanic climate).
At the time of the 2001 Census, there were 56,390 people in employment who were resident within Bolton. Of these, 21.13% worked in the wholesale and retail trade, including repair of motor vehicles; 18.71% worked within manufacturing industry; 11.00% worked within the health and social work sector and 6.81% were employed in the transport, storage and communication industries.
Bolton has several theatres including the Octagon and independent groups such as Bolton Little Theatre and the Phoenix Theatre Company. Inside the Town Hall there is a theatre and conference complex, the Albert Halls. Le Mans Crescent, home to the central library, museum, art gallery, aquarium, magistrates court and town hall, is to be the centre of a new Cultural Quarter. The library and museum are to be extended into the area now occupied by the Magistrates Court. Bolton Museum and Art Gallery houses a collection of local and international art, including work by the Bolton-born American artist Thomas Moran.
The towns daily newspaper is The Bolton News, formerly the Bolton Evening News. There is a weekly free paper, the Bolton Journal and Bolton Councils monthly newspaper, Bolton Scene. The town is part of the BBC North West and ITV Granada television regions, served by the Winter Hill transmitter near Belmont. Local radio is provided by Tower FM, which broadcasts across Bolton and Bury; Bolton FM began broadcasting in 2009.
The fictional village of Newbank in Benjamin Disraelis novel Coningsby was based in part on the industrial village of Barrow Bridge. Spring and Port Wine by playwright, Bill Naughton was filmed and set in Bolton and The Family Way based on Naughtons play All in Good Time was also filmed and set in the town. Peter Kay filmed comedy TV series That Peter Kay Thing in the town.
Bolton buildings have stood in for other towns and cities. Le Mans Crescent has featured as a London street in the Jeremy Brett version of Sherlock Holmes and a Russian secret service building in the 1990s comedy series Sleepers. The 1990s BBC drama Between the Lines filmed an episode in Victoria Square.
In A grammar of the dialect of the Bolton area by linguist Graham Shorrocks, the local dialect is described as being distinct from those of nearby Salford and Manchester.


text:
Democrats snatch 2 statehouse seats in Oklahoma surprise
By SEAN MURPHY, Associated Press | Posted - July 12, 2017 at 4:18 p.m.
OKLAHOMA CITY (AP) — Oklahoma Democrats, who have taken routine beatings from the GOP over the last decade, unexpectedly snatched two state legislative seats from Republicans in special elections this week and are now hoping to carry momentum into grabbing bigger prizes in 2018, including congressional seats and the governor's mansion.
Democratic candidates benefited from voter frustration over state budget problems and recent sex scandals that led GOP incumbents to resign.
"We've got a lot of energy right now," said Anna Langthorn, the Oklahoma Democratic Party's new 24-year-old leader. "I think it's a good sign for the remaining special elections and for 2018."
However, Republicans still hold a 3 to 1 advantage in legislative seats along with every statewide elected office, both U.S. Senate seats and all five U.S. House seats.
Tuesday night's Democratic victories happened in districts in Oklahoma City and Tulsa with a mix of urban and suburban precincts, the kind of places where Democrats have made pickups in recent years. The larger cities have increasing populations of minorities and young professionals, who are more likely to vote Democratic. The Hispanic population in Oklahoma County, where Oklahoma City is located, grew 13.5 percent from 2010 and 2015.
And in both districts, veteran Republicans resigned amid a scandal.
State Rep. Dan Kirby of the Tulsa area stepped down after two former legislative assistants accused him of sexual harassment. In Oklahoma City, Sen. Ralph Shortey faces three felony charges alleging he solicited a 17-year-old boy for sex.
Republican candidate Joe Griffin, who lost by 10 points to Democratic attorney Michael Brooks in the Oklahoma City race, said that while the scandals "certainly didn't help," more voters were aggravated by the state's constant budget problems after tax cuts approved by the GOP-controlled Legislature. Declining revenue led to reductions in school budgets over the last three years.
"There's great concern over our education system, and year after year, the Legislature has failed to tackle these issues," Griffin said.
In the race for the Tulsa seat held by Republicans since the 1980s, Democrat Karen Gaddis, a retired schoolteacher, built her campaign around supporting education and criticizing Republicans for mismanagement of state government. She won the race despite a 2-to-1 GOP advantage in registration.
Another factor in both contests was minuscule turnout. Gaddis won her race by fewer than 100 votes, while Brooks edged Griffin by 331 votes out of 3,600 votes cast.
Democratic candidates for governor in 2018 already are hammering on the budget and education issues as term-limited Republican Mary Fallin leaves office, and Democrats believe the congressional seat held by Republican Rep. Steve Russell in Oklahoma City could be within reach.
In other conservative states, such as Texas, Democrats now dominate congressional elections in the big cities.
But Pat McFerron, a Republican strategist and pollster, said that while the demographics in big cities are changing, Democrats are still at a disadvantage.
"In 12 or 15 years from now, maybe," McFerron said of flipping Russell's seat. "But not now."
Follow Sean Murphy at www.twitter.com/apseanmurphy
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text: export { default } from './BaseSystem'