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Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Thursday, July 14, 2011
Are you a "Drawsigner" ?
Recently our faculty hosted an Advisory Council meeting with members of the various industries for which we train our students. Industry partners who attended were from print and web media, design and advertising, and the packaging and printing industries. It was an enlightening experience. I was encouraged to hear all around the table that our industry partners, when planning to hire a recently graduated graphic designer, looked for one particular skill: the ability to draw. Imagine that.
Designers who draw... its not a new concept. While researching my recent posts on Ben Shahn, and how he influenced mid-century illustration by incorporating elements of graphic design into his work, I stumbled across a very interesting post at the Design Observer blog. Written by Adrian Shaughnessy in 2006 and entitled "Graphic Design vs. Illustration," it raises some thought-provoking points that are just as relevant today as they have been for some years now. I strongly encourage you to read that post and all the comments that follow it. What I took away from that discussion can be summed up by my friend Von Glitchka, who commented on Adrian Shaughnessy's article, and with whom I corresponded in preparation for this post.
In our correspondence, Von wrote, "I'm of the opinion that the fundamental problem with the illustration community is it seems to not be willing to admit it falls under the larger banner of "Graphic Design." There are many designers who are also good illustrators and leverage both to make a living. I fall into that camp. But I have a lot of purely illustrator friends who get stuck in a 20 year old mentality when it comes to illustration, of which "One style fits all" is the chief one. That applied in the past decades but is simply outmoded in today's marketplace. Don't get me wrong I love working in a few signature styles I have but if I held to them alone, making a living would be very, very difficult. And when illustration in it's purest sense is not knocking on the door, I do design oriented work."
So is the era of the 'pure illustrator' over? Hardly.
There's probably more opportunity to illustrate today than at any other time in history... just not so much in the public eye. Most 'pure illustrators' today work behind the scenes, creating concept art in support of larger project like movies, animation, video games etc. rather than having their work incorporated into magazine and newspaper articles and print advertising campaigns. That's not to say there aren't still many illustrators doing artwork that gets seen by the public. But, for the vast majority of them, its just not as prominent or lucrative a career as it had been during most of the last century. In fact, the circumstances under which many illustrators find themselves working today can be downright demoralizing, as described in this jaw-dropping anecdote recounted on drawger.com by legendary illustrator Bill Mayer.
Gary Taxalli, in a comment on that Bill Mayer post, writes, "We're all feeling the decline of print commissions within the industry. There is little control we have beyond continuing to produce the best work we can and maintain professionalism. As a result of this, we achieve something that is far above and beyond more important than anything else, and that is self respect and peer respect. Without that, we have nothing. All the medals and sexy, cool jobs we have under our belts are meaningless if our peers think of us someone who would work for low fees."
For illustrators who find themselves without work and/or poorly paid for their work, and unwilling or unable to become part of the concept art industry, what's the solution? I return to Von Glitchka's note and the many pearls of wisdom it contains. Von wrote:
"Many designers (young AD and CD's specifically) simply don't know how to work with illustrators because illustrators in many respects don't do a good job of marketing themselves or explaining how to make the process easy for a designer. This is why you're seeing a lot of creatives approaching illustratives needs on their own, one reason why the naive style is so popular right now. Starbucks on a corporate level encourages their designers to do this, and it's established now as part of their brand equity. Some naive is good, other naive even within Starbucks product line is just bad illustration with a thin veneer of class."
"To answer your statement about dying out directly: The vast majority of designers can draw worth crap. But since they are creative, and like to create, most will try to do what they need - and this is possible with some but not most. I see the problem as illustrators not communicating and accepting their place within the industry well as the source for that type of gloomy outlook. There is more opportunity now as an illustrator to do all kinds of things than there ever has been in the history of our industry. They just need to leave behind the old school modus operandi and embrace the change. If they want to do art shows, fine, but don't assume most ADs and CDs will understand how they can work with you if you're not marketing yourself in an appropriate way to them."
So what's my conclusion? I return to the top of this post where I described how employers from all areas of the graphic arts industries told us at Mohawk that they want to hire designers who can draw. Maybe illustrators need to remember that design is at the heart of every picture they make - and embrace the idea that, because they understanding how to design and how to draw they actually have the opportunity to lead the graphic arts back to the place Adrian Shaughnessy described in his Design Observer article:
"There was a time when graphic design and illustration were indivisible. Many of the great designers of the 20th century were also illustrators and moved effortlessly between image-making and typographic functionalism. Traditionally, most designers viewed illustration with reverence; many even regarded it as inherently superior to design. And with good reason: design was about the anonymous conveying of messages, while illustration was frequently about vivid displays of personal authorship."
Maybe its time for the 'pure' illustrator to embrace a trend that began long ago with people like Ben Shahn, George Giusti and yes, even the artist whose work I chose to 'illustrate' today's post: Al Parker. In 2007 Barbara Bradley wrote a post about Al Parker for me where she said, "What a fascinating combination he was, a superb graphic designer and draftsman all in one." That, my 'pure' illustrator friends, is what i think we should all aspire to.
I'd love to hear your opinion on this. How are you finding today's marketplace? Are you succeeding as a 'pure' illustrator or are you, as my friend Von Glitchka calls himself, a 'drawsigner' ?
31 comments:
Without commenting on the broader ideas in your post I'll just answer the question you ask at the end, how do you survive. I survive by working with people who aren't hiring a wrist to do their bidding.ReplyDelete
I hold that my skills are just that and I don't hire the out my body without my brain attached to it.
People who want to roam chameleon like through the work place aping whatever style is asked for by the AD can do so, but that's not why I became an artist.
The times I've worked as an AD I've allowed the artist to solve the problem in their own way. I try to act as a bulldozer clearing a path for them not a steam roller flattening them if they don't do my every whim and bidding.
- Rich3:33 PM
Real tough questions, dear Armand the Bulldozer/Steam Roller:ReplyDelete
I'm at a loss:
Does your acronym "AD" refer to "Art Director" or "AD vertisement"?
Art Director...
I've only worked as an advertisement once though if the economy stays bad for another couple of years you might see me here in VA wearing a sandwhich board and holding a tin cup.
Way back when I was always told by "professionals" that I had too many drawing styles and my lack of a "singular style" was a hindrance. Then again I made more as a union Ironworker than the feast or famine artist. Now I just paint what I want and take commissions as they come.ReplyDelete
Leif, this subject has always been a point of interest and was even a necessity for me. As you know, I began my career in the early 60s' before the bottom dropped out of the print industry and illustration noticeably diminished from the public eye. I just wanted to do pure illustration, and didn't have a strong interest in the graphic design or the AD part of the industry. That changed due to necessity in the industry and personal decisions. It was primarily because I decided to make my career on the West Coast.ReplyDelete
My first job in a studio required that I wear many hats.. illustrator, graphic designer, AD, comp artist, paste up artist,production manager, photo stat and darkroom work and setting up displays and doing studio photo shoots. It was a valuable and necessary learning experience for 2 years. After that, I tried focusing on pure illustration for the ad agencies, magazines and the book publication industries, but found that there was much more opportunity if I solicited all my learned skills and not just illustration. That opened doors to projects and assignments that required the complete package.. AD, layout, design, production and I usually had control over choosing and doing the illustrations and graphic design renderings. Since different assignments required different illustration approaches, I was sometimes doing traditional realistic illustration and sometimes decorative or design oriented illustrations. Occasionally, I would do a logo design, which always came easy for me. The more hats I wore, the more experience I got, which opened more doors of opportunity. The bottom line was that it kept me busy and provided a steady income.
By the late 80s', most of the work that I and many other West Coast illustrators produced, was often not in the public eye, as mentioned in today's post. It consisted of concept development, comp layouts and illustrations for TV commercials, the movie industry and software development and illos for the electronics industry. But it required good drawing skills, good design skills and creative thinking that SOLVED PROBLEMS.
Many times I was told by AD clients in ad agencies, that computer skills were "a dime-a-dozen" coming out of art schools, but what they really wanted were people that could conceptualize and could DRAW!
Tom Watson
Armand; Its good to hear you're surviving and happy with your career choices. :^)ReplyDelete
I'm a "drawsigner", or as Von Glitska coins it, an "illustrative designer". I am happy to enjoy, practice and teach in both disciplines. My degree is in illustration and I make my living as a graphic designer who draws, or and illustrator who designs.ReplyDelete
When I was in school, everyone, no matter what their design discipline, studied drawing and painting as part of their visual foundation. But when it came to specialties and major focus, one was an illustrator or a designer, not both. Although there was a major known as "advertising illustration", it carried the stigma of being the dump where the less adept draftsmen were put.
The traditional elitism among illustrators is fading, I think, by necessity. They're not really separate disciplines, they're very much intertwined. I'm thinking of William Morris, JC Leyendecker, Maxfield Parrish, Howard Pyle - illustration's "Golden Age-ers" and the Arts and Crafts designers who both drew and designed as a blended discipline. One did not draw without designing the page and one did not design the page without drawing. We lost that understanding somewhere along the way.
Pure illustration should be able to exist in the realm of design. Design should embrace and integrate the created image.
What do you think about the concept of using your creativity for design as well as painting? What I'm getting at (and I think Von is as well) is that there are many opportunities in the current market for creatives who embrace the idea that they are designer/illustrators (and perhaps art directors, etc. as Tom Watson describes in his comment).
The fact is that today it IS feast or famine for most illustrators... but it doesn't need to be. Some artists were showing us they way decades ago - others, like Von, are using that same formula to enjoy steady success today. I'd love to hear more from you on the subject. :^)
Tom; I thought of you when I wrote this because of course we've discussed your career before, and I thought it was an excellent example of what we're talking about. Thanks for your comment. :^)ReplyDelete
Thanks Alvalyn; great comment! I hope you'll have a look at that article I linked in my post, on designobserver.com. As an illustrator, I was taken aback by how removed many of the designer commenters were from illustration - like it was some quaint artifact they'd read about once in a book. This is something we need to turn around. Illustrators, imo, have largely made this bed for themselves. By embracing graphic design and taking up the role of being in charge of creative projects, we have an opportunity to really steer things back to that 'golden age' (or at least some modern version of it).ReplyDelete
This is very interesting. Anyone in the business can tell you that available illustration work seemed to be cut in half a couple years back. I think a lot of illustrators are having to broaden their idea of what it is to be an illustrator. Self generated projects, illustrated product lines etc. seem to be more common. I also feel that a lot of editorial Art Director's have had power slowly stripped from them by their editors, which makes it more difficult to collaborate with them as an illustrator. They are also usually under insane timelines, workloads and budgets, so don't seem to have the time or desire to work with illustrators in creative new ways... play with type, contribute to design etc.ReplyDelete
I've worked in situations (for years at a time) when it was clear that being able to draw or create an illustration was viewed as an unnecessary drag on the system. Just be quiet, design, and use clip art. Where/how does one find (create?)a position that values the "drawsigner"? As my mother would say, they seem scarce as hen's teeth. I know that people with a lifetime of experience read Leif's blog, and I hope someone can shed some light. Thanks.ReplyDelete
It's funny. On my illustration degree concept-art seemed almost unheard of by lecturers, like they didn't recognise it as their world (illustration). I always thought it was the one form of illustration that is undoubtably illustration. It has grown increasingly apparent to me that there are two types of illustrations. Those who draw (99.9% concept artists) and those who don't. (99.9% out of work). I'm exaggerating and being a bit of a dick, but you know what I mean.ReplyDelete
It seems to me that anyone who comes at something from a somewhat unique perspective, bringing in knowledge and skills from other areas, can be really successful. I know of an illustrator who predominantly makes puppets and costumes for theatre and plenty of illustrators who are now more what you'd call designers. It make me wonder if illustration today is just a field of misfits. I certainly took illustration because I didn't want to do graphics or fine art, and it seemed like the "best of both". Not sure if my choice was a good one in retrospect. Illustration seems like a lazy alternative in many ways. Lacking skills from the other two and meandering along trying to find its place.
Wonderful post - a frequent topic of conversation that I've shared with many in undergrad and in my young professional career.ReplyDelete
I've changed my title many times now, sticking mainly with Illustrative Designer - would love to think of a nice little word that sounded just right.
Thanks for sharing!
Just wondering,what title do the artists use when they file their tax forms?ReplyDelete
I learned to draw well since that was what I wanted to do from the beginning. All my art heroes were superior draughtsmen and illustrators. I wanted to draw like them before I knew what I wanted to do with that skill. When I say "like them" it wasn't to ape their style, but to draw well as they drew well. Find what was it that made them good, and learn that.ReplyDelete
All those artists were excellent designers as well, but my awareness of that came later. Good design is fundamental for good illustration. Good draughtmanship? Maybe, if the job calls for it, which is rare. I tried to squeeze it in whenever I could.
- Rich5:03 PM
Drawsigner or Signdrawer:ReplyDelete
The signs of our times are inter-disciplinary.
(Crossreference-wise, imo;-)
@Steve Fastner: The first time I met with a fellow to help fill out my taxes, he asked what he should put down as "occupation."ReplyDelete
"Artist," I responded proudly.
He shook his head, saying he couldn't use that. Not descriptive enough I guess, at least not for his approval.
"Illustrator?" He made a frown. "Graphic Designer?" He nodded and used that since I guess it sounded familiar to him; something he'd seen appear in the classifieds. Some time later I expanded that to Graphic Artist and haven't had any complaints.
Great post, Leif. I tend to consider the best illustrations to be well-designed, and my drawing skills always inform my design decisions. I see you're from Hamilton. I used to be in a band from North Carolina that was signed to Hamilton record label Sonic Unyon. We played a show on top of your local shopping mall once! Ahh, the Hammer.ReplyDelete
Definitely a drawsigner. All the best designers drew, and all the best illustrators designed. Drawing is still the best tool for learning how to observe, interpret, and visually translate the world around us - whether you are an illustrator, graphic designer, art director, fine artist, interactive designer, animator, film maker etc ad infinitumReplyDelete
Another note: a designer's brain and it's unique ability to problem solve are essential. However, it is only part of the equation. Visual art is a VISUAL language, and drawing is still the most direct way to translate thoughts, work out ideas, and solve problems. From head, to heart, to hand...
Every job I've gotten has come down to the fact I can draw. It's such a huge advantage in an industry flooded with designers. Drawing is the easiest way you can show that you've got something others don't.ReplyDelete
And having an angle like that is vital.
We make our own career choices. The only difference is that are we gonna survive it as happy as day one?ReplyDelete
- Remo11:46 AM
I contend that drawing skill is second to having a distinct vision.To convey ideas effectively in visual form is more important than having an ability to draw accurately- and I say this as someone with reasonable drawing skills.The drawing is a means to an end in illustration. In fine art, comics and storyboarding there's a different rationale, but illustrators need to think of themselves first and foremost as visual communicators, it is this coception that unites two very different talents as,say, Syd Mead and Ben Shahn.ReplyDelete
- Rich3:16 PM
In my opinion Remo's right - there's something about drawing skills versus a distinct Vision.ReplyDelete
Another can of worms;-)
Hey LeifReplyDelete
Don't know how I missed this article until today. I was just talking to my SVA illustration teacher, Sam Martine, yesterday about this very subject, though he was lamenting the fact that so few artist incorporate design into their work than the fact that most designers can't draw. Great seeing you on video and GREAT POST. Hope you don't mind that I linked to it.
P.S. I work at Winterhouse and did a little work on Design Observer.
Also--You should change your blogger favicon to your lil' smoking devil.
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Spurred on by mass-market consumer adoption of smartphones, bringing your own device into the workplace has become a mainstream phenomenon.
At its most basic level, this typically means setting up an iPhone or Android device to connect to an Exchange ActiveSync service, and using it to get corporate push mail, calendaring, and contacts—and also letting IT guys remotely wipe the phone should it get lost.
That's just the tip of the BYOD iceberg, though. iOS supports the development and deployment of in-house applications that bypass the public store process, allowing not just e-mail but rich client applications to run on employee-owned devices. At the most extreme, even laptops and desktops can be brought into the workplace, using application virtualization or remote desktop and VDI to provide secure access to business applications.
Or you can just stop caring about the client completely and deliver all your applications through the Web.
While it was arguably Apple that made BYOD a thing that C-level executives started to care about—because they really wanted to use their fancy new iPhones at work—Microsoft in particular is keen to get in on the BYOD action. The company is trying to straddle both universes: powering devices that consumers want, but that enterprises won't be scared of, by ensuring that its software offers rich and capable management options.
Windows Phone 7 supported ActiveSync, but had weak support for policies, enterprise app deployment, and other BYOD features. Windows Phone 8 and Windows RT are going to be a different story altogether. Microsoft first announced that Windows RT would be managed through System Center 2012 Configuration Manager and Windows Intune back in April; the company has elaborated further in the intervening months, and recently released a beta of SCCM 2012 SP1, which gives SCCM users the first taste of Windows RT and Windows Phone 8 management.
What has BYOD meant to you and the organization you work for? Has it embraced user-provided devices, creating a happy workplace where everyone uses what they like? Is the IT department snowed under with trying to support the infinite variations of PC devices available? Is it a better way of working, or just a cynical ploy to get employees working at home and reduce CapEx? Tell us about your BYOD experiences in the comments section.
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Here you'll find sermons, talks, and lectures that I have given around the Episcopal Diocese of Texas and other dioceses around the country. You can learn more about my weekly Bible Study here and my Amplified Church project here.
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Natural Remedies For Hair Loss
Naina Srinivas May 25, 2018
About The Author
Naina Srinivas
Naina is a fashion and beauty expert who promotes healthy living with DIY home remedies. She believes that living organic is the way of life. She explores many home remedies and DIY recipes and contributes her knowledge and expertise in this blog. She is also an avid fan of arts and crafts.


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In His Own Words: Living With Gout
Gary M. is a 48-year-old senior vice president of marketing at a hospital on the East Coast. Though it was only three years ago when he found himself nearly crippled by the painful swelling of gout, today he has the chronic condition nearly under control. Gout is recurrent attacks of joint inflammation caused by a build-up of uric acid crystals. The father of three talks with fellow sufferers regularly and works with his doctor to minimize symptoms as he continues to live an active life with his wife of 18 years.
What was your first sign that something was wrong? What symptoms did you experience?
I had a stereotypical onset of gout three years ago, right after Christmas. I had been eating a ton of crabmeat, shrimp, and fine foods at holiday parties. One night, I was in a meeting with doctors, working late. All of the sudden, it felt like I pulled a tendon in my right foot. Over the course of two days, I was hobbled. It was absolute torture that happened overnight.
The pain settled into the ball of my right foot. Even the pain of a bed sheet lying on my foot was intolerable. I tossed and turned all night. My foot swelled up and got red hot. It looked cherry to the touch.
What was the diagnosis experience like?
When I went to work in the morning, I called one of our podiatrists. I said, "I did something to my foot and I have no idea what it is." After I described my symptoms, the doctor asked me if I'd ever heard of gout. I told him my younger brother has it and my father had it when he was alive. The doctor said he thought I had it too; I saw him later that day and he confirmed the diagnosis.
What was your initial and then longer-term reaction to the diagnosis?
At first, I was kind of depressed because it's a chronic condition. It's with you all the time. Alcohol, red meat, beer, and crabs can trigger a gout attack. I love all those things. Since my father died of heart disease when he was 45, I was already on long-term, low-dose aspirin therapy, but I had to stop that because aspirin can trigger gout attacks.
How do you manage gout?
That first attack was so bad I had to have a cortisone shot so that I could walk. I felt like Jeff Goldblum in "The Fly," dragging my worthless appendage behind me. To clear up the symptoms, I take anti-inflammatory drugs.
Once the excess uric acid is out of your system and you're gout-free, you can go on a maintenance drug (allopurinol) to purge your body of uric acid. I haven't gotten to the point where I'm comfortable taking a drug for the rest of my life, so I try to manage it with dietary changes.
Did you have to make any lifestyle or dietary changes in response to gout?
I knew the gout wasn't going to go away and I would have to adopt lifestyle changes. So, it just became a matter of trying to do things to fend off having it recur. I try to stay away from alcohol, red meat, and seafood, but get tired of eating chicken every day. I haven't had another full-scale gout attack. I do have days when I'm feeling "gouty," and I know my body is ripe for it to develop. Sometimes it's really simple. If I eat a fast-food burger, I'll start feeling sore all over.
Did you seek any type of emotional support?
Gout is like the Rodney Dangerfield of diseases, it gets no respect. But once somebody gets gout, they are more than happy to talk to you about it. Four guys from our finance department came to talk to me before I was officially diagnosed. They all have gout and keep little stashes of home remedies that work for them, herbs and dried fruits, in their offices. There's this underground gout group out there that has helped me.
Does gout have any impact on your family?
My wife has been pretty supportive in terms of being aware of things that will trigger an attack. Sometimes it affects the activities I'm interested in doing. When you're feeling gouty, you do not feel like getting out and walking.
What advice would you give to anyone living with gout?
I offer a lot of sympathy. It helps to commiserate with others who have it and get tips from them. Try to find out which foods are your poisons and stay away from them, which is easier said than done.
I think more people should feel free to talk about it, because with social acceptance comes raised awareness. And that helps drive better maintenance and control.


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From Child Actor To Artist: Radcliffe Reflects On Post-Potter Life
This is FRESH AIR. I'm Terry Gross. My guest, Daniel Radcliffe, grew up onscreen during the course of his eight Harry Potter films. Many child stars find themselves washed up by the time they reach adulthood, but Radcliffe's career is going strong, and he's taken on roles you may not have predicted for the boy wizard.
He starred in a London and Broadway production of "Equus," in which he appeared nude; he sang and danced in the leading role of a Broadway revival of the musical "How to Succeed in Business Without Really Trying"; he co-stars with Jon Hamm in a new series produced for British TV that's just premiered here on the Ovation Network called "A Young Doctor's Notebook," with Hamm has a morphine-addicted doctor and Radcliffe as his younger self.
And in the new movie "Kill Your Darlings," Radcliffe stars as poet Allen Ginsberg, who became an important figure in beat culture, the '60s counterculture and gay culture. "Kill Your Darlings" is set in 1944, when Ginsberg was a freshman at Columbia University. The movie is based on the story of his friendship with Jack Kerouac and Lucian Carr, a fellow Columbia student who was a literary provocateur, advocating for breaking with the literature of the past and starting a new movement he called the new vision.
At the center of the film is Carr's murder of an older man who was obsessed with him. Carr pled guilty to manslaughter. Here's a scene in which Daniel Radcliffe, as Allen Ginsberg, reads an early poem to Kerouac and Carr. They're in a rowboat they've stolen on the Hudson River.
DANIEL RADCLIFFE: (as Allen Ginsberg) Be careful, you are not in Wonderland. I've heard the strange madness long growing in your soul. But you are fortunate in your ignorance, in your isolation. You who have suffered find where love hides, give, share, lose, lest we die unbloomed.
GROSS: Daniel Radcliffe, welcome to FRESH AIR. It's a pleasure to have you on the show.
RADCLIFFE: Thank you very much. Thank you for having me.
GROSS: So let's start with you got cast in the part of Allen Ginsberg in "Kill Your Darlings." What made the director think of you?
RADCLIFFE: From what he's told me, he saw something in Allen's situation in life, which was that of a - of somebody trying to figure out who they are creatively, and he saw I think a parallel of that in my life as somebody who had, you know, come out of one thing, obviously parts of which I'm very known for, and...
GROSS: Really?
RADCLIFFE: And trying to establish - yeah - and these small indie films I did, and, you know, and trying to establish myself outside of that. And I think he saw some parallels in just the - also I think, you know, John and I are aware that most people in any kind of creative industry generally, I think, have an operating system that runs between the extremes of, you know, of self-doubt and - or of anxiety and ambition.
And that's definitely something that Allen has, and I think that's something that I probably have in common with him.
GROSS: When I heard that you were cast to play Ginsberg, part of me was thinking, well, Ginsberg looks so Jewish, and certain, like, Hebraic intonations was such a part of his style of reading and sometimes his style of writing, like Kaddish. And I was thinking I don't know, Daniel Radcliffe, he doesn't - does he look Jewish? I don't know.
And then I'm like reading your biography and, like, your mother's Jewish.
RADCLIFFE: Yeah.
GROSS: Not that you need to be Jewish to take the part. I'm just telling you what I was, you know, appropriately or inappropriately thinking.
RADCLIFFE: You know what, it's funny because I think - because John, you know, there is some weird thing, like when - I just played an Irish character in "The Cripple Of Inishmaan" over the summer, and the director of that show, Michael Grandage, was saying to everyone, you know, Dan's Irish and all this. And then the director of this movie, John, is saying to everyone, you know, Dan is Jewish, he is...
RADCLIFFE: So like both my - so I don't know if like that's a role or something, but, I mean, I'm very proud of my Irish and Jewish roots, but I wouldn't - you know, I certainly wouldn't say that my Judaism had in any way - had been a part of my life in nearly the same way it was Allen's.
But yeah, it's interesting that people, like, feel the need to, I don't know, sell me as, like, he is Jewish, he can play a Jew. Like it's OK, you guys. You don't need to worry. Like he has this - like the entire Jewish community is just going to freak out if a non-Jewish person plays a Jew.
GROSS: Well no, but really, you should say what the wizards were saying when you took the role of Harry Potter.
GROSS: It's like, well, he's not really a wizard. You cannot give him the role.
GROSS: You OK?
RADCLIFFE: Yes, sorry, I should really have used that cough button that's lit up in front of me.
GROSS: All right, too late now.
RADCLIFFE: It is. Sorry about that. I don't - yeah.
GROSS: So Ginsberg was also gay, which you're not, but you've given a lot of money to gay rights groups. And I've read that you've said that that's because you grew up with so many gay men that - and when you were exposed to homophobia for the first time, like you were shocked because it was so not part of the world that you were in, which I imagine was like the acting world.
RADCLIFFE: Yeah, I mean exactly. My mom was a costume director, and my dad was a literary agent. So - and they had both been actors when they were younger. So I grew up knowing loads of gay men, and it was just not - you know, it's not even something you question. You just go, like, you know, you don't think about it. And, yeah, somebody was asking me about this earlier, just saying, like, why is it that you give so much attention to, you know, the Trevor Projects and things involved in that cause.
GROSS: It's an anti-gay bullying project, yeah.
RADCLIFFE: Yes, sorry, thank you. And I really - it actually started from, like, an interview I was doing when I was 17, or 17, 18, in London, and I was being interviewed by Attitude, which is a gay magazine in England, in the U.K. And they were telling me lots about lots of gay rights issues that had come up recently in the U.K., and then they were asking me about stuff.
And as I started talking, I became aware of how passionate I was getting and how - and I suddenly was like I've never really spoken this strongly on any, like, political issue before. Like I've never - I don't mean to sound like a horrible person, but I've never had the same, you know, zeal for the environment that I know a lot of people do.
Like - not that I don't care, but it's, like, it's just that you, you know, you find what you're passionate about. And with this thing, I suddenly started talking about it, and I think it is a consequence of the fact that when I went to school and suddenly was seeing people be homophobic, and even though I was, you know, nine or 10, and there was, you know, nobody in my class - well, certainly nobody in my class had come out at that point, you know. And - but it was just, like, homophobic words and slang being thrown around as insults.
GROSS: So you were exposed to, like, homophobia and homophobic slurs when you were in school. When were you in school? Because I know there was a period when you were doing Harry Potter films when you were basically being tutored outside of school so you could make the movies.
RADCLIFFE: No absolutely. I mean, I was - I pretty much left full-time formal education when I was 11. So that was when I was taken out of the school system. But, you know, gay homophobic slang is being thrown around in playgrounds a lot younger than that. Like it's the reality.
GROSS: Did you go back to school afterwards?
RADCLIFFE: I would go back for - I think the longest stretch I went back for was a term and a half when I was about 14. So sorry, a semester and a half. And then I - other than that I would just really go back for exams. And it wasn't something I looked forward to. I was, you know, so - I was so happy on-set, and I loved it there. I really didn't - yeah, I didn't love going back to school.
And also even my education on-set, like, I was not very academic as a child when I was at school. I was really - not bottom of the class but not far off it, either, and found concentrating very hard and all that stuff that you always hear. And, you know, being tutored one-to-one on-set was just fantastic. And also, you know, I'm a very hyperactive person, so if you tell me to sit still and shut up and learn and just take in information, it's not going to happen.
You know, I'm - you know, I need to kind of - I take things in better when I'm allowed to respond and talk and engage and, you know, move around a bit.
GROSS: So I want to ask you a question that you've probably been asked a lot. You've probably been asked everything a lot, but...
GROSS: So, you know, in the new movie, "Kill Your Darlings," you're playing Allen Ginsberg when he's 17. And he's just kind of exploring his own sexuality. And did people ever resist you being sexualized at all, straight or gay, onscreen because they first knew you when you were 11 in the first Harry Potter film, and they couldn't really maybe accept you growing up?
RADCLIFFE: Maybe, but I think I just - I shocked them out of that with "Equus." I mean, like...
GROSS: Right because you were nude onstage in that.
RADCLIFFE: Yeah, "Equus" was - and, you know, and it's a highly - it's a very complicated, sexual character, Alan in "Equus." He's somebody who has a - at some point he's a seriously disturbed kid who has got his religion and sexuality mixed up with the idea of worshipping horses. Like he's - you know, so if anybody had any kind of, you know, qualms about seeing me in a slightly challenging or older or sexualized role, I mean, yeah, they probably didn't come an see it, is the truth.
RADCLIFFE: But that's, you know, that's fine. It's - I'm sure there are some people that just go, oh, no, that's weird, I've looked at him since he was 11. But, you know, there are also some who don't, I'm happy about, because like I am a man now. So it doesn't seem to be - it certainly hasn't been an issue in terms of casting or in terms of any of the scenes I've been doing in the last year, and hopefully it's - hopefully, it won't be a problem for people going forward because I don't want to be creeping people out all the time.
GROSS: My guest is Daniel Radcliffe, who starred in all the Harry Potter movies and now stars as Allen Ginsberg in the new film "Kill Your Darlings." More after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Daniel Radcliffe, and he's starring in the new movie "Kill Your Darlings," and he plays the role of Allen Ginsberg.
Now at the same time you have this new movie, you also have a new TV series. Well, it's already run in England, but it's new to the United States.
RADCLIFFE: Yes.
GROSS: And the TV series is called "A Young Doctor's Notebook," and it's inspired by a collection of autobiographical stories written by the Russian writer Mikhail Bulgakov, who was sent to the countryside to be a doctor when he was very young, around 1917. And I think because of war injuries he actually became a morphine addict but gave up the morphine pretty quickly.
But in the TV series, it's set in 1934, and Jon Hamm plays a doctor who is looking back on an early period of his life, around 1917, when he's sent to the countryside to be a doctor, before he became an addict. And so Jon Hamm plays the older character, and when he's looking back on his younger life, that's you. You're the younger version of that character.
RADCLIFFE: It is, yes, very flatteringly - it's very flattering to me that I might one day turn into Jon Hamm.
GROSS: Are you going to wait patiently for that to happen?
RADCLIFFE: I am waiting patiently. Yes, I absolutely...
GROSS: So what did you do to capture each other? Because he, I'm sure, wanted to look and sound a little bit more like you, and you wanted to look and sound a little bit more like him and meet somewheres in the middle.
RADCLIFFE: Absolutely. I mean, that's what we went for, really, and those things vocally - I mean, Jon, you know, Jon had worked on his accent anyway and had a very good English accent, but he did get me to record the entire script of the first series for him and just - all his lines so he could listen to me say - 'cause there are just odd words that don't come up in American very often, so you would want to hear an English person say them, just as there are words I have to ask people in American.
But yeah, I mean, and then we worked on things like little visual, sort of ticks. And, you know, there's a thing both - we worked out when we were - when the doctor's nervous or, you know, under stress he just has this little twitch where he'll kind of just, like, rub his earlobe slightly, just like play with a little bit.
So there's things like that that can act as quite good visual cues, and then there's a bunch of stuff that you can do, you know, visually not really so much in the performance but in the way you film it. So we - you know, the first cut of the series from the older doctor to the younger doctor is a match cut where basically he's lighting a cigarette, and on the third strike of the lighter it goes from 1934 to 1917.
But then there is stuff that we did during the show with, you know, hair and makeup just to, you know, give us a similar look. And it's weird because although, you know, when you think about both of us, we don't look similar. With, you know, a bit of clever lighting and a bit of hair and makeup, you can accentuate the right parts of the face that we do sort of have in common.
GROSS: So let me play a contrast, a little bit of Jon Hamm and a little bit of you from that new TV series.
JON HAMM: (as Older Doctor) I know it's unbearable to watch a patient walk out that door knowing he's going to die a slow, agonizing death, but you get used to it.
RADCLIFFE: (as Younger Doctor) How can you say that?
HAMM: (as Older Doctor) True, he's one of hundreds, and that's just syphilis.
RADCLIFFE: (as Younger Doctor) That's terrible. It's an epidemic.
HAMM: (as Older Doctor) I know, but what can you do?
RADCLIFFE: (as Younger Doctor) I'll open a ward. I'll write a compelling letter to the (unintelligible) asking for more staff. I have to fight this.
HAMM: (as Older Doctor) And save the world one peasant at a time?
RADCLIFFE: (as Younger Doctor) Yes.
HAMM: (As Older Doctor) I like your optimism. It's adorable.
RADCLIFFE: (as Younger Doctor) I'm a doctor. It is my duty to help these people.
HAMM: (as Older Doctor) I believe duty calls.
GROSS: So that's Jon Hamm and my guest Daniel Radcliffe from the new Ovation TV series "A Young Doctor's Notebook." So did you go back and read the Bulgakov stories that the series is based on?
RADCLIFFE: I did. I'm actually a massive fan of Bulgakov, and I have been for - since I was about 18 because I read "The Master and Margarita" when I was about that age, and - which is his sort of most famous novel and is a much - I mean, it's a much madder novel than "A Country Doctor's Notebook." It's really, it's magical realism, and it's the devil and Jesus and Pontius Pilate and all kinds is going on. But it's brilliant fun.
But yes, I did indeed read the originals of these stories and loved them, and I had read them before they ever said they were going to make a TV show out of it. So when they - when the idea came to me, I was - kind of couldn't believe it. I was just kind of saying are you joking? They're really making a series of that book that I love. You know, it was - I was just - I was just incredibly excited.
And when Jon Hamm and Alex Hardcastle, the director of the first series, came 'round to talk about it, I, you know, practically bit their hand off as soon as soon as they got through the door just to do the part. Or I just - I think they thought they were going to have to really convince me, and I was already sold.
GROSS: So moving along with your career, I want to play a song from "How to Succeed." You were the star of the show a couple of years ago when it was revived on Broadway, a terrific Frank Loesser show, Frank Loesser who's most famous for "Guys and Dolls." And the funny thing is, you know, we were talking about you and Jon Hamm.
Robert Morse, who plays Burt Cooper, one of the ad agency founders in "Mad Men," originated the part that you play in "How to Succeed." So...
RADCLIFFE: He did, and he came to see it, as well, and it was a complete delight.
GROSS: So is it a coincidence that you're connected to, you know, both Don Draper and Burt Cooper?
RADCLIFFE: I don't know, but I feel like I have an in at that company.
RADCLIFFE: I'm - I mean, it is a total coincidence. But he was amazing when he came to the show because he just still has an incredible amount of energy, and just - I mean, I don't know, he must be in - around his 80s now, I'm sure.
GROSS: Oh, he's got to be at least that, I'd think.
RADCLIFFE: Yeah, and he just - but he loved it, had a great time at the show and could not have been - because it's always intimidating when you know you have the guy who originated the role coming to see it that night, and he couldn't have been warmer in his response to it, which was really, really lovely. And he has as much hair on his head now as anyone I've ever met in my life.
Like I really - like we were just - whenever he came in, we were, like, that's amazing.
GROSS: So I had no idea that you sang, so I very much have enjoyed the cast recording. I missed you on Broadway, unfortunately, but I have enjoyed the cast recording. So let me play a track, and this is actually the title song. The premise is that you're a young man, and you want to rise in the ranks of the corporation in which you've just been hired.
And to help you, you have a self-help book, which is called "How to Succeed in Business Without Really Trying." And this is the track that is related to the book. So here's my guest Daniel Radcliffe in the revival of "How to Succeed in Business Without Really Trying."
RADCLIFFE: (as J. Pierrepont Finch) (Singing) How to apply for a job, how to advance from the mailroom, how to sit down at a desk, how to dictate memorandums, how to develop executive style, how to commute in a three-button suit with that weary executive smile.
(as J. Pierrepont Finch) This book is all that I need, how to, how to succeed...
GROSS: That was Daniel Radcliffe in the cast recording of the revival of "How to Succeed." So did you have to learn how to sing to do this, or did you already know how to sing? Had you been in musicals before?
RADCLIFFE: I'd never been in musicals before. I'd always wanted to be because I did - I grew up, you know, both - as I said, both my parents having been actors. There was a lot of show tunes on in the car all of the time. So I grew up with that. I honestly didn't think it would be something for a lot longer in my career, but then when the opportunity came up to do it, I just thought, well, you know, why not. You don't - you know, it seemed like such a mad challenge to take on.
The singing was something I had more confidence in because I've always loved singing, and I've always sort of done it around the house. But I definitely - and actually when I did "Equus," the first scene of "Equus," my character comes on, and he's, as I've mentioned earlier, a disturbed young man, and he only sings advertising jingles, is the only thing he'll do.
And he sings the Milky Bar Kid is what he sings a lot in the first scene, and I, the first time I did "Equus," was constantly screwing up the tune of the Milky Bar Kid. So they sent me to a singing teacher just so I could learn the tune. And then I really got on with my singing teacher, his name is Mark Malen(ph), and he's wonderful, and I've been going to him ever since.
And then I - the thing I had to do for "How to Succeed," which I've never done before, was learn to dance. And J. Pierrepont Finch, the director, sort of connected me with a guy called Spencer Solomon in England who had danced for Rob and worked with Rob many times. And so I took dance classes for just over a year, sort of every, you know, a lot of hours every week. And it was really, really hard work but some of the most rewarding, as well.
GROSS: Daniel Radcliffe will be back in the second half of the show. He stars as Allen Ginsberg" in the new film "Kill Your Darlings," I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross back with Daniel Radcliffe. He starred in eight Harry Potter films, and is now carving out an interesting adult career in film, TV and theater. He stars with John Hamm in the British TV series "A Young Doctor's Notebook," which premiered in the U.S. last week on the Ovation Network. And in the new film "Kill Your Darlings," he stars as the 17-year-old Allen Ginsberg.
Here's Radcliffe in a scene from the 2001 film "Harry Potter and the Sorcerer's Stone," the first film in the series. Potter has been living in the non-magical world and doesn't yet know he's a wizard. On his 11th birthday, he's paid a visit by a giant from the Hogwarts School of Witchcraft and Wizardry. The giant is played by Robbie Coltrane.
RADCLIFFE: (as Harry Potter) Excuse me. Who are you?
ROBBIE COLTRANE: (as Hagrid) Rubeus Hagrid, Keeper of Keys and Grounds at Hogwarts. Of course, you know all about Hogwarts.
RADCLIFFE: (as Harry Potter) Sorry, no.
COLTRANE: (as Hagrid) No? Blimey Harry, didn't you ever wonder where your mum and dad learned it all?
RADCLIFFE: (as Harry Potter) Learned what?
COLTRANE: (as Hagrid) You're a wizard, Harry.
RADCLIFFE: (as Harry Potter) I'm a what?
COLTRANE: (as Hagrid) A wizard. And a thumpin' good one I'd wager - once you've trained up a bit.
RADCLIFFE: (as Harry Potter) No, you've made a mistake. I mean, I can't be a wizard. I mean I'm just Harry. Just Harry.
GROSS: So your mother is a casting director. When you first started working in movies, and particularly in the Harry Potter films, did your mother have a hand in that? Was she trying to...
RADCLIFFE: No, not at all.
GROSS: ...like persuade or...
RADCLIFFE: No. Not in the slightest.
GROSS: ...persuade you into or out of doing acting?
RADCLIFFE: Yeah. She was trying to persuade me out of it, I think. She - both my mom and my dad had not had great experiences as actors. And when I was initially asked to audition for Harry, they both said no. And I didn't have any knowledge of this at this point, obviously they kept me out of it, rightly so. But they said no because at that time the deal was that we'd have to sign on for seven films and that they'd all be made in America, and they just said no that would be too big a shift to his life, that's not going to happen. And so three months later when the deal had changed and then it was the fact, you know, that we were only having to sign on for two and they would both be filmed in the U.K., and I think coupled with the fact that I was really like not having a great time at school, I think she just thought - well, they thought OK, well, you know, maybe this is, well, you should let him audition and then everything sort of went from there.
GROSS: When you first got cast in "David Copperfield" for the BBC before Harry Potter, was your mother helpful in giving you an audition - since she is a casting director?
RADCLIFFE: No, my agent got me the audition. He was with the woman who was a friend of my mom and dad's. She was, oh, she is my agent now and, you know, so when I was having this crappy time at school, she just said to my mom, well, why don't you let him audition for "David Copperfield" because that's like an experience that none of the other kids in the class will have had, and so he'll at least have an experience that is all his own and his unique, and makes him feel, you know, makes him feel all right about himself. You know, I had never done a school play - or I had been in the background of one school play but I never said a line in a school play and so I don't think anybody expected me to get it up and then they, and then I did.
GROSS: That's actually hysterical, because this person intended it as a self-esteem building exercise. But really, I think like auditioning kind of kills actor's self-esteem because you get rejected 99 percent of the time.
RADCLIFFE: Yeah. No. I definitely got lucky on that one. But I also think there was nothing at stake for me. Like I didn't care whether or not I got that first audition. Like it was just something nice to do. It was something different. Now I was going to be able to go back to school and say to all the kids hey, guess what I did today. I didn't think I'd get it, but there was nothing riding on it for me because there was no pressure. Like my parents didn't care whether I got it or not, so...
GROSS: Had you read Harry Potter books before auditioning for the part?
RADCLIFFE: I had read the first two, but that was it. I wasn't nearly the sort of fanatic that a lot of other people who were auditioning were, and which is why I think there were quite a few people that were pissed off when I got the part. And I said in my first press conference 'cause I was 10 or 11 or whatever, and I was just like oh, you know, I don't, I've only read the first two and, you know, and of course, there was some, you know, person writing in the newspaper the other day going, how dare they not pick a true fan for the thing? And you just go, oh Jesus.
GROSS: So you'd never studied acting but you got this incredible on set education. Did each of the actors and the directors kind of share with you the type of training that they got? Were you exposed to everybody's training?
RADCLIFFE: Not really. No. I mean there's, you don't have time like on a film set to, like, train a kid up at the same time as doing your own job. You know, there's no, so really, it's just about it was I think so it was on us to watch and learn. Alan Rickman is not suddenly going to, you know, take timeout of his day to talk to you about something, you know, when you've got a shot to get, or whatever. I mean Alan has actually incidentally, been an incredibly supportive person in my life and has come to see me in every theater endeavor I've done and, you know, has been amazing. Actually, he's since Potter has taught me huge amounts. But it's not always, you know, you're on a film set, everyone's there to do a job, so it's not always, you know, the first thing on everyone's mind would be to like oh, let's, you know, give these kids a theatrical education while we're here.
But I definitely think that, you know, you learn a lot just by watching those guys and by taking it in. And you learn, the most important thing I really think I learned during Potter from a lot of those actors was just how to be on set, and who I admired for how they handled themselves on set. Because there are some people that handle themselves so brilliantly that they make everybody's day better by the way they conduct themselves. Like Imelda Staunton is one of them, who plays Dolores Umbridge in the fifth film. You know, and Gary Oldman, David Thewlis - they're all guys that, you know, in the way they can lift a set because of what they bring to it. And I think watching that really made an impression at a young age and gave you a sense of the responsibility you have if you're a lead actor on a film. Because I don't think a lot of actors take that responsibility very seriously.
I think that - 'cause as a lead actor on a film, you have an opportunity to dramatically affect the course of the day. Because if you come on set with a terrible attitude then everyone else immediately sees that, and then if you don't want to be there, why should they want to be there? And, you know, I think if you walk on with a good attitude, enthusiastic and happy to be doing what you're doing then, you know, hopefully that creates, that helps engender a better atmosphere. And I don't think everyone on, I don't think all actors realize the power they have in that.
GROSS: So you were a child actor with a lot of young fans - and older fans as well. But, you know, I think particularly like film fans in general but I think, you know, children who were fans in particular, have trouble differentiating between the actor and the character. So...
RADCLIFFE: Yeah, younger fans. Absolutely.
GROSS: ...when you were young and in the early Harry Potter films, and a lot of your child fans were confusing you with the character, was that confusing for you since you were young yourself and so new to all of this? Like, you just stepped into stardom at such a young age.
RADCLIFFE: I think I just found it funny. I mean I didn't ever really get like panicked or confused by it. I think I just always found it kind of funny that I would provoke reactions from people, you know, whatever those reactions were. I think I just always found it kind of slightly amusing and unexpected. And yeah, it definitely didn't throw me too much as a kid. I think also when you start very young, you've more of a chance to like adapt. I always think it's much harder if you, if I'd got famous like in my late teens or early 20s to then have to deal with all that is I think a lot harder than if you kind of just grow up with it and you sort of adapt to it a lot better as you, if you grew up with it.
GROSS: What was the hardest part for you of proving that you could be things other than Harry Potter as an actor?
RADCLIFFE: You know, ultimately, the person that I'm proving that to most is myself. And ultimately, the stuff that is hardest about that is just moments of self-doubt and moments of worry. And, but you can't, you know, you can't let that worry or that self-doubt really take any kind of hold. I mean there's no point. I think there was a moment shortly after Potter where I did feel like, you know, what if I never go on to anything, you know, how would I feel? But you consider that question and then consider the answer and then use that as fuel to motivate yourself to not let it happen.
GROSS: Do you ever ask yourself, do I still really want this, do I still really want to act?
RADCLIFFE: Yeah.
GROSS: Because - yeah, and I'm asking that because like you just grew in it. And a lot of people like fantasize about what it's going to be and they work so hard to get it. And they search for themselves and then they find themselves in their career. But like, you had it all along.
RADCLIFFE: Yeah. But that doesn't necessarily mean any of it was easy. Right.
GROSS: Right. Yeah.
RADCLIFFE: You know, it's not - just because like I think there does seem to be this idea that like if you work on a big franchise that's an easy version of acting...
RADCLIFFE: ...which like it isn't - like it's a different thing and it's a very different style, but it presents as its own very specific set of challenges. You know, there's...
GROSS: And I didn't mean that the acting was easy.
RADCLIFFE: No, no, no.
GROSS: I just meant that like...
RADCLIFFE: No. Not at all. Not at all. It's an easier run into it.
GROSS: ...once you were in you were in. You didn't have to like break in when you were 22 after college or something, you know.
RADCLIFFE: No. Of course. But I think also the, like I just, yeah. Honestly, the answer is no. There is never a moment's doubt in my mind that this is what I want to do. If I, you know, die on a film set when I'm 80 I'll be happy with that. I, I was, you know, in school when I was young and I hated it. And, you know, the British school system - as I said, if you're not good at certain things basically makes you feel very, very mediocre and very average. And to suddenly be taken out of that and put into a world where A) I felt like I belonged, and B) like my insane energy levels that I had, particularly when I was a kid were not just - but they were actually viewed as useful and people enjoyed that about me or rather than people just trying to tamp it down constantly because it was irritating or, you know, too loud for a classroom. It gave me a purpose and sense of belonging and confidence that I doubt I ever would've had, had I not gotten into it when I did. And so I, you know, I want to do it for the rest of my life.
GROSS: Celebrity can be very damaging. And that might be more true in America than in England, but there are so many people who become famous and then have problems. Or if they become famous when they're young and they don't stay famous there's, I think there's a lot of like resentments that can build up. And so did your parents do anything to protect you from the possibility of all that? Because you're one of the child actors who like not only made it out alive, but you've made it out e showing your, you know, the range that you're capable of and you keep doing more and more interesting things. So like to what do you attribute your ability to survive the problems of child stardom that so many actors who were child stars fall prey to?
RADCLIFFE: Ultimately, a lot of it comes down to my parents. My parents are great people and they've always looked after me. And I don't have it, like I'm not somebody who has a load of people around him all the time purely there to tell him, to make him feel better. You know, that's not really me. All the people that I'm surrounded by are very honest with me and upfront with me about things and that's how I like it. And also, the work has always remained the focus for me. The work has always been the thing I found the most fun of. You know, I love being on a film set. And, you know, I certainly, you know, maybe there are some people out there that love premiere parties, I'm not one of them. That is not my idea of fun. But my idea of fun is being on a film set for 12 hours a day. And I think as long as that remains the focus, then generally it can go well.
I mean the thing is there's - it is, you know, there are so many of a very high-profile cases of people who started young and then screwed up. But the truth is that the reason there aren't any high-profile cases of people who were young and then didn't screw up is because people forget that they were ever young and people sort of just, they just bleed into their adult careers seamlessly and then everyone sort of forgets. You know, I mean know what he thinks of Joseph Gordon Levitt as a child actor who survived. But like he is. He was on a huge show when he was a young kid. You know, Jodie Foster, Elijah Woods, Christian Bale all started very, very young. And, you know, particularly Jodie Foster is somebody who has handled both her professional and personal life with more grace than almost anybody. I'm hoping that I can join the ranks of the latter rather than the former.
GROSS: Well, Daniel Radcliffe, I wish we could talk more. You have a very busy schedule. Thank you for spending some of your time with us. I really appreciate it. It's been a pleasure.
RADCLIFFE: Thank you again. Thank you for having me on, please.
GROSS: Daniel Radcliffe stars as Allen Ginsberg in the new film "Kill Your Darlings."
Coming up, Ben Franklin was a founding father. His sister, Jane, spent her life caring for her 12 children, cooking and scrubbing. Maureen Corrigan reviews Jill LePore's new biography of Jane Franklin after a break.
This is FRESH AIR.
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NEW Sky Blue WIZZARD STORM made in USA HO Slot Car Replacent Snap Fit Hard Body
Wizzard #WS30--SB
Sky Blue Hardbody HO Body
from Mid America Raceway
In stock and ready to ship
why wait weeks for others to ship?
We only list what we have in stock and ship within 48 hours of payment
Save money on your orders with a combined shipping discount!
We are more than happy to combine shipping on multiple purchases to save you money on shipping.
We do require that all items must be paid for via a single payment.
The best way to do this is to click the commit to buy button, and then rather than go to paypal to send payment just continue shopping.
You must use the "request total" button when you are finished with your purchases, and then we will send you a combined invoice.
If you have any problems please contact us at
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Fernco - 1051-8-10RC - Coupling 8''Ac/Di-10''Ci/Pl Rc
Price: $163.37
Questions about Fernco - 1051-8-10RC
The plumbing professionals at Neenan Company Showroom are available to assist you with your selection of Fernco products.
Locations for Zip Code: 20146 [change]
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Liberty, MO, 64068
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|Open today until 2:00 PM CST
Fernco - 1051-8-10RC
|Online Product ID:
|6.51 lbs.
1051-8-10RC - Fernco
Neenan Company Showroom is proud to present this decorative plumbing part, by Fernco. The 1051-8-10RC is made from premium materials, this Plumbing Part offers great function and value for your home. This fixture is part of Fernco's decorative Collection, so make sure to check out other styles of fixtures to accessorize your room.
The Fernco Joint Sealer Company was formally established in 1964 by an individual contractor looking for a time saving and reliable solution to his pipe connection needs. Mr. Zopfi developed a pre-formed tar donut for use on his own jobs in the Detroit area during the late 1940's. Word spread of his invention as other contractors wanted to take advantage of this labor saving product and purchased them directly from Mr. Zopfi, who set up a small shop in a garage behind his plumbing business. Since the beginning, Fernco has continued to grow into more markets and has continued to develop innovative, reliable and easy-to-use products. Fernco expanded into Canada and then to the Western USA with a location in Reno, Nevada. In August, 2002, Fernco, Inc. acquired Flex-Seal Couplings LTD, the leading manufacturer of flexible couplings in the European market. Flex-Seal manufactures and distributes couplings in the United Kingdom and Europe. The Flex-Seal acquisition positions Fernco, Inc. as the number one manufacturer and distributor of flexible couplings in the world. All of this growth isn't to make Fernco the biggest company, but the best company. With resources from around the world, Fernco is able to tap into many innovative minds to create the best products to meet the needs of the individual in the field, trying to get the job done, and done with confidence. From a company that started with one individual, it all comes down to our focus on the individual customer and providing them with a product they can trust. Our Commitment to You We at Fernco, Inc. are committed to giving you the highest level of quality, Fernco quality, at the most competitive prices. Fernco's goals are to maintain standards of excellence in quality and service, while continuing to be the most innovative company in the industry.
Fernco Warranty


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Examples of Quality - Video
Video of the process of creation of oil painting reproduction in our studio.We are academy educated European painters and we create our paintings only with museum quality.
Mater Dolorosa, undated Oil Painting Reproduction Location: Louvre Museum Paris France
Dieric Bouts (c.1415-1475)
Original Size: 38.6 x 29.7 cm
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Oil Painting ReproductionSKU: BED-16937
Painting Size: $768.00
Entirely Hand-Painted
Painted by Academy Graduated European Artists
Only Museum-Quality
+ 4cm (1.6") Borders for Stretching
Creation time: 5-6 weeks
Painted by Academy Graduated European Artists
Only Museum-Quality
+ 4cm (1.6") Borders for Stretching
Creation time: 5-6 weeks
Ships Free!
If you want a size which is different from the one being offered, please contact us.
Over 20 Years Experience
Only Museum Quality
Medium:This painting reproduction will be completely painted by hand with artist grade oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.
The Time it Takes to be Created:To paint your Dieric Bouts Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 5-6 weeks to make the painting.
Should a change of deadlines become necessary, or should your order arrive at a time when we are overloaded with work, then we will notify you by e-mail concerning how much time we would need to complete your painting reproduction.
Shipping:We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. Mater Dolorosa by Dieric Bouts the Elder is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
You can check the price for shipping of the order on the shopping cart screen.
The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.
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Title: Mater Dolorosa
Artist: Dieric Bouts
Original Size: 36.8 x 28 cm
Location: National Gallery London United Kingdom
Original Size: 36.8 x 28 cm
Location: National Gallery London United Kingdom
Mater Dolorosa
Oil Painting
Canvas Print


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Product information below.Sales unit = 144 sets.If you only require a small quantity of this item or cannot meet our minimum order value please use TreuTrim.com HERE.
Our 9mm sew-on, secure hook & bar fastener is supplied in units of 144 sets(288 components) It is normally available in Nickel(silver) or Black(Gun metal).
To order this item simply select the quantity required in the field above then click "ADD TO BASKET". Bulk order discount, if applicable, will be deducted automatically.
Model: HookandBarset9mm
9mm Sew-on very secure Hook & bar fastener. Nickel(slver) or Black. Sold in packs of 144 sets. Please see above for bulk order discount options
Top-up charge
Our trading hours are: Monday to Thursday 08:30 to 17:30 and Friday 8:30 to 15:30 UK time (email support only from 17:00 to 17:30). We have no facilities at any of our warehouses or offices for callers, trade counter sales or unarranged collections. A guide on current delivery times can be seen HERE. The minimum order value that we can process is currently just GBP£25.00 net goods value(exclusive of carriage and VAT(if applicable)). We are trade wholesale suppliers, NOT retailers. All goods on our sites are supplied in bulk, trade quantities and are not normally packed or presented for retail sale. We dispatch globally from multiple locations so your order could arrive in multiple cartons/packs at different times. Information and/or specifications are provided on this site is/are given in good faith and for guidance only. Purchasers are requested to determine all specifications themselves prior to purchase or use.We do not sell via "others", portals or sites such as amazon, ebay, facebook or similar( There is no "middleman" taking a "cut" which has to be built into your prices). Anyone imitating or purporting to represent themselves as us on those portals are not authorised to do so and should be considered as criminals.Test/performance certificates are the responsibility of the purchaser who should independently determine that the product is suitable for the application. Goods and services are supplied solely under our terms and conditions of sale which can be seen on our websites and via the links provided in our emails. Legal stuff eCommerce Software for the UK's premium trade wholesaler, the SupplyDivision group. Site hosted in the UK. J & J Sissons t/a UK Sewing Services SupplyDivision Ltd is registered in Wales (UK) Co No: 04713458l ©1998- 2020 SupplyDivision, all rights recerved.
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Salinas Workers Compensation Law Firm
Our Salinas Workers compensation attorneys at Cramer & Martinez, LLP are committed to helping injured workers obtaining Workers compensation benefits and assisting them through every step of the application process. While our main goal is that your claim will be successful, we can also represent you in the appeals and hearing process, with the goal that you will receive the proper compensation and benefits you deserve.
Obtaining Workers Compensation Benefits
The first step you should do after an accident, injury or work-related illness is notify an employer immediately. You should be given or mailed a claim form to begin the Workers compensation process. After turning in the claim form, it will be forwarded to your insurance company. You should receive a letter with 14 days from the insurance company giving you the status of your claim form. Your claim will be accepted or denied. You may need to submit an independent medical examination. Always notify your Salinas Workers compensation law firm with all steps associated with your claim.
The main compensation is medical treatment and wage replacement benefits.
Workers compensation benefits entitle you to have your medical treatment paid for by your employer. Most cases you can choose your doctor, in some cases your employer may select a doctor. If you are unsatisfied with the doctor, your Salinas Workers compensation law firm can help you get the treatment you deserve.
You are entitled to two-thirds of your wages for up to two years while recovering from a temporary disability. If you are unable to return to work, you may have the right to receive permanent disability benefits.
You can also receive between $4,000 to $10,000 in supplemental vouchers to help you obtain proper job training for another position. The amount for vouchers depends upon your disability rating.
You can also be eligible for expenses such as medication, rehabilitation, and mileage. In the event a worker has died from a work-related illness or injury, the family members may be entitled to death benefits.
Experienced Legal Representation
The Salinas Workers compensation attorneys at Cramer & Martinez, LLP know your benefits are too important to risk losing, and we are with you through each step of the Workers compensation process. Contact us through our web page or by phone at (408) 848-1113 for a consultation today.


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at SANCTUM SOHO HOTEL
at SANCTUM SOHO HOTEL
Our Work
EASI has developed a two tied program to provide holistic support the young people need, to develop into leaders. Our sustainable model is also committed to tackling the negative attitudes and cultural norms which hold girls back from fulfilling their potential.
All participants join the five year program through referrals, active recruitment and after school clubs. In this weekly group sessions they take part in a professionally designed curriculum which includes; Interactive Coding Instruction using Raspberry Pi, projects in their local schools and communities (Entrepreneurship); and Football using Tackle Africa's Manual. Participants have the opportunity to earn required school supplies through community service, academic improvement and healthy lifestyles. Their learning is complimented by Independent portfolio management and Mentoring.
The program incorporates;
At the end of the first year, participants are invited to apply to the second level of the program. Those accepted will transition into a more intensive personal development curriculum. Others are signposted to several organisations for placements to gain work experience. EASI will continue working with all participants on the program to encourage peer to peer mentoring, community coaches and Entrepreneurship.
Challenges to Overcome
Unemployment Young people especially girls in Cameroon suffer from high rates of unemployment.
Teenage Pregnancy Thousands of girls suffer sexual exploitation and abuse every year.
High School Dropout Completion of secondary school remains a challege for many girls, especially those from poor homes living in rural Wum.
Early Marriage and Poverty Due to poverty, lack of Education and Cultural norms child marriage remains commonplace.
EASI is working for a world where these young people can overcome these obstacles. Instructors and Mentors focus on improving; skills and knowledge, social inclusion, active citizenship and mental and economic independence, provide information, advice and guidance to aid information and thinking processes that give them more choices about how to behave in their families. The project will run for five years. It provides the opportunity for over 100 participants and over 400 indirect beneficiaries.
It will contribute towards the development of Education, Social and Civic Engagement, personal development as well as Economic Development in Wum, Menchum Division Cameroon.


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Share a Gardening Event
Do you have a gardening event coming up that you would like to list on
the Gardening Event Calendar? Registered members of WalterReeves.com may
submit event information to our website free of charge.
Simply log-in, click the button below, and fill out the submission form. Be sure to include a link to the web page that contains all of the event details (not just a link to your home page.)
Events listed here are also eligible to be included in my emailed garden newsletter. Your event should appear on this site within a day or two of submission.
GARDENING EVENTS FOR April 2021


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This very clever Gail Klevan piece is not only a beautiful choker but the off square block pendant can be removed and worn as a brooch. Personally made and signed by Gail Klevan, Gail has even put a small, secret, orange and pink pendant behind the larger one so that you have an alternative pendant if you are wearing the larger pendant as a brooch. The large acrylic pendant features unusual flower designs and comes in a beautiful colour palette that mixes orange, blue and deep pink tones. The pendant design sits at the base of a necklace made with curved silver toned tube shaped designs, which are linked with ball shaped beading. The necklace measures approximately 40cm from end to end and fastens with a lobster catch. The pendant design measures 5cm by 4.5cm and the metal tubes in Gail Klevan chokers are gold or white bronze plated over copper. A stunning Gail Klevan piece to treasure...
Gail Klevan grew up and trained in Manchester and then took her MA at The Royal College of Art in London. Gail specialises in hand painted acrylic, which refracts dense colour with metallic undertones across smooth and sculpted surfaces. These interact with the organic curvature and geometry of the highly polished optical-quality acrylic shapes creating shimmering, ever changing iridescence. Though bold, Gail's work is designed to adorn and flatter the wearer and be suitable for all occasions.
|Express48 £3.95
|Express24 £7.50
|International Delivery £20.00
1. United Kingdom orders
We currently use Parcelforce to deliver our United Kingdom items. When you buy from us online or over the telephone, all items ordered before 3pm on a working day will normally be collected by Parcelforce from us on the same working day. Items ordered during the weekend will be collected the following Monday, with the exception of Bank Holidays.
If you provide us with your email address or mobile telephone number, Parcelforce will contact you by one of these methods to give you information about your delivery and redelivery options.
We offer a choice of the following two Parcelforce delivery options:
a) Express48
b) Express24
2. International orders
3. If your item is late
In the unlikely event that your item has not arrived in time, please contact us as soon as possible. We will then track your order so that we can identify its delivery stage and advise you on the appropriate next step.
4. Delivery exceptions
We reserve the right not to post items where we believe the address or method of payment is not secure or where there is a high risk of damage or copyright infringement. If this affects an order you place, we will contact you as soon as possible.
5. Special requirements
If you have any special requirements regarding your order and its postage, please let us know at the time you place your order. We are happy to try and meet these requirements.
We very much hope you like your purchases but if you would like to return them, please find below your cancellation rights and our returns procedure.
Order cancellation
In line with the Consumer Contracts Regulations [Information, Cancellation and Additional Payments] Regulations 2013, you have the right to cancel your order and sales contract with us within 14 calendar days, which starts from the day after you have received your items. Your right to a refund for your purchases will expire after these 14 calendar days.
If you would like to cancel your order, please contact us by email on firstname.lastname@example.com or by telephone on 01423 565002. Alternatively, request a cancellation by replying to the order email you were sent when you placed your order with us.
Once we receive your request for cancellation we will give you a Returns Authorisation Number (RA number), which you will need to complete your cancellation and returns form. Your cancellation form will be sent with your order. Please complete and detach the relevant section on this form and return it with your purchase(s).
We kindly ask that your return your items to us as soon as possible and, in accordance with the current Consumer Contracts Regulations, no later than 14 days from the date on which you cancelled your order.
Effects of cancellation
If you cancel your sales contract with us, we will refund all costs received from us, including the cost of delivery. You will bear the direct costs of posting the goods back to us. If you return only part of your order then we will refund proportional postage costs.
All returns will be quality checked. We may make a deduction from your reimbursement for loss in value of any goods supplied if the loss is a result of unnecessary handling, wear or damage by you. You will also lose your right to cancel if you unseal goods that are not suitable for returns owing to health protection or hygiene reasons. Heads up, we can't accept returns on earrings (for hygiene reasons), sorry!
Refunds will be issued within 14 days of receiving the goods and we will send you an email to confirm that the refund has taken place. We will make the refund using the same means of payment as you used for the initial transaction unless you have expressly agreed otherwise.
If you would like to exchange your items, we will refund or charge for any difference between the price of the goods purchased.
In the unlikely event that you feel that the item you have received is faulty, please send the item back to us using the returns procedure below. If we agree the item is faulty, we will provide you with a refund or exchange and a refund for all postage costs.
Returns procedure
1. Cancel your order with us by email on firstname.lastname@example.com or by phone on 01432 565002 within 14 days of receiving the goods.
2. Complete your section of the returns and cancellation form and include your Returns Authorisation Number (RA number), which we will have given you at the time of cancellation.
3. Detach the returns and cancellation form and post it back to us with your purchases (s) within 14 days of making your cancellation.


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Strike a Chord
|Tuning Your Instrument
When your piano is out of tune you call in the piano tuner. Likewise with your violin, cello, or bass fiddle. If you want to do more than just sing in the shower, you start taking singing lessons to learn how to sing on key.
The metaphor "beautiful instrument" can be also be interpreted from the perspective of music. Just as playing the piano, the cello, or the saxophone can create wonderful tones, harmonies, and melodies, the workings of the human body may also create beautiful music.
The movements of the planets, stars, and constellations have been termed the "music of the spheres". Patterns of motion of the celestial bodies are precise, regular, and harmonious. These reliable patterns allow sailors to navigate safely and confidently on the open ocean, and allow farmers to determine their planting seasons with high levels of accuracy.
The human body, as awe-inspiring and as beautiful as the Eagle Nebula, the Andromeda Galaxy, or the rings of Saturn, possesses internal mechanisms as precise and complex as those astronomers are able to observe in the deepest regions of space. The music the body creates is similarly as beautiful.
In music, a major chord is a simultaneous combination of three notes - the root, a major third, and a perfect fifth. If you want to play a C major chord you strike (or hold) a C, an E, and a G. If you're playing an F major chord, you play an F, an A, and a C. In a sense, this system describes a musical code. Your body has many such codes.
The genetic code is one example. Every protein in your body is composed of a precise sequence of amino acids. Substitute glycine for valine or glutamine for serine and you've got a completely different protein. Precision in manufacture means your body works the way it is supposed to work, with no errors or failures.
Proteins such as hemoglobin or insulin are built exactly the same way every time. This level of 100% accuracy is made possible by the genetic code. Each amino acid that makes up hemoglobin or insulin has its own corresponding genetic sequence which is composed of three pieces of information - just like a major chord. 1
We can say that wellness is a state of physiologic harmony. 2,3 We become unwell when we're "out of tune". At such a time our internal chords aren't being played properly - "notes" aren't being put together properly or are being played out of sequence.
Chiropractic care can help restore musical balance.
By making sure the spine is in alignment, chiropractic care helps restore precision and harmony to all the functions of the body. Proteins are built properly, enzymes function at the right time and in the right proportion, biochemical reactions take place efficiently, and health and wellness is the result.
1Martinez-Mekler G, et al: Universality of rank-ordering distributions in the arts and sciences. Public Library of Science (PLOS) Mar 19, 2009 (http://www.plosone.org/article/info:doi%2F10.1371%2Fjournal.pone.0004791)
2Heber D: An integrative view of obesity. Am J Clin Nutr Nov 18, 2009 (abstract online - http://www.ajcn.org/cgi/content/abstract/ajcn.2009.28473Bv1)
3Endler PC, et al: Sense of coherence and physical health. A "Copenhagen interpretation" of Antonovsky's SOC concept. Sci World J 20(8):451-453, 2008


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The search found 133 results in 0.013 seconds.
Children of undocumented Mexican immigrants have a significantly higher risk of behavior problems than their co-ethnic counterparts with documented or naturalized citizen mothers, according to a new study.
The difficulties come in two forms: sadness or social withdrawal — what the authors refer to as internalizing behavior problems — and issues such as aggressiveness towards others — which the authors call externalizing behavior problems.
A new study reveals that while homicide victimization rates declined for whites, blacks, and Hispanics in the United States from 1990-2010, the drop was much more precipitous for the two minority groups.
Skin color is a significant factor in the probability of employment for male immigrants to the United States, according to a new study by two University of Kansas (KU) researchers.
A new study of young people finds that, with one exception, whites are more optimistic — sometimes drastically so — than their minority peers about their likelihood of living to 35.
We elaborate a cultural framing theory of legal cynicism—previously used to account for neighborhood variation in Chicago homicides—to explain Arab Sunni victimization and insurgent attacks during the U.S. post-invasion occupation of Iraq. Legal cynicism theory has an unrecognized power to explain collective and interpersonal violence in international as well as U.S. settings. We expand on how "double and linked" roles of state and non-state actors can be used to analyze violence against Arab Sunni civilians.
Racial attachments are understood to be socially constructed and endogenous to gender, socioeconomic, and religious identities. Yet we know surprisingly little about the effect of such identities on the particular racial labels that individuals self-select. In this article, I investigate how social identities shape the racial labels chosen by biracial individuals in the United States, a rapidly growing population who have multiple labeling options.
Lawyers keep the gates of public justice institutions, particularly through their roles in formal procedures like hearings and trials. Yet, it is not clear what lawyers do in such quintessentially legal settings: conclusions from past research are bedeviled by a lack of clear theory and inconsistencies in research design. Conceptualizing litigation work in terms of professional expertise, I conduct a theoretically grounded synthesis of the findings of extant studies of lawyers' impact on civil case outcomes.
Although several studies have examined the association between religious involvement and physical functioning, there is no consistent empirical evidence concerning the true nature of the association. The Hispanic population is also surprisingly understudied in previous work. In this article, we employ seven waves of data from the Hispanic Established Populations for the Epidemiologic Study of the Elderly to examine the association between religious attendance and performance-based mobility trajectories among older Mexican Americans.
A large literature has documented that Hispanic immigrants have a health advantage over their U.S.-born counterparts upon arrival in the United States. Few studies, however, have disentangled the effects of immigrants' arrival cohort from their tenure of U.S. residence, an omission that could produce imprecise estimates of the degree of health decline experienced by Hispanic immigrants as their U.S. tenure increases.
Despite growing acceptance of a "new fatherhood" urging fathers to be engaged in family life, men's relative contributions to housework and child care have remained largely stagnant over the past twenty years. Using data from in-depth interviews, we describe how identity processes may contribute to this persistent inequality in parenting. We propose that the specificity of men's identity standards for the father role is related to role-relevant behavior, and that the vague expectations many associate with "new fatherhood" both contribute to and result from men's underinvolvement.