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All About Kirk: Space Opera as Fan Service
There's a quick, but relatively lingering shot of outer space in the first few minutes of J.J. Abrams Star Trek that illustrates why his "revamp" of Gene Rodenberry's essential science fiction franchise works so well. In it, several seemingly microscopic ships are fleeing from a monolithic Romulan mining ship in front of an enormous sun. It comes hot on the heels of a glitzy, fatal encounter which establishes the ostentatious mood that elevates the origins of James T. Kirk to the heights of grand space opera. The awe that this image inspires succinctly relates how Abrams' film achieves its goal of restoring the enormity of the universe these characters inhabit.
Star Trek II: The Wrath of Khan (1982) and, to a lesser extent, Star Trek: Generations (1994) and Star Trek: First Contact (1996) arguably achieve the same mix of personal pathos and unrepentant spectacle that Abrams does, but none of them work on the same scale. Abrams uses the film's myriad gorgeous shots of space just as his screenwriters and frequent collaborators, Robert Orci and Alex Kurtzman, use broad brushstrokes to paint a picture of young Kirk (Chris Pine) as a fated hero. This is after all a universe that fans and non-fans are to some extent already acquainted with, making it only—pardon the cheesy in-joke—logical to revive interest in the stagnant series by reminding us that Kirk, and hence the show, was always bigger than life.
This undoubtedly has a lot to do with the fact that Abrams' financial empire affords him the opportunity to boldly use funds that no previous producer could secure before, but it's not something that Abrams consistently flaunts. During most of the film's spectacular scenes of violence, Abrams employs a gimmicky yet effective shaky cam technique that Ronald Moore's excellent Battlestar Galactica revamp helped to make a genre staple. We can't always see what's going on, but we do get the impression of frantic action and immediacy. This is fitting because fighting in Roddenberry's series was always meant to have a dirty taint to it. Through displays of grandstanding violence, as in classic episodes like "Balance of Terror" or "Arena," we melodramatically learn to disavow bloodshed, or at least we do until the next fight.
Kirk is frequently at the center of these scenes of violence, though Orci and Kurtzman wisely have him extend the didactic olive branch typical of Rodenberry's series as an empty but necessary gesture (somehow, showing mercy at the end of this story just seems wrong). Though Star Trek's about the first adventure of the Enterprise crew as we know it, Abrams' story is realistically all about Kirk. He was always the head of a team, but he also effectively speaks for them, learning their lessons through the periodic reform of his usual swagger. Even Spock (Zachary Quinto), who enjoys a sizable subplot, learns that he has to give up the limelight and become Kirk's moral compass. He may get the girl in the end, but Kirk gets his captain's chair.
Therein lies the real raison d'etre of Abrams' thankfully over-the-top Trek. Peppered with an overwhelming abundance of fan service-friendly quotes and references to the original series, the film is a much-needed, self-congratulatory celebration of Kirk and co.—the supporting cast is all-around terrific—and of their importance. Over-the-top actions speak for themselves and a new mythology is established through a mashup of the characters' convoluted history, here boiled down to token gestures like Spock using the mind-meld and the Vulcan nerve pinch. For a franchise that has fallen so far away from its original glory, puffing its origins up to gargantuan size is exactly what the show needs right now to get back into the good graces of both fans and curious newcomers. For once, bigger is better. And, in this case, oddly more personal.
Simon Abrams writes about comics, books and movies for the Comics Journal, the L Magazine, the New York Press and Slant Magazine. Since last year, he's been obsessively keeping a film journal where he writes down something about every film he's seen.
Review: Nightmare Cinema Offers a Mishmash of Horror Mischief
The anthology justifies Mick Garris's passion for horror, though he ironically proves to be one of his project's liabilities.2.5
As he proved with the anthology shows Masters of Horror and Fear Itself, Mick Garris has no problem recruiting once-great filmmakers and getting them to enthusiastically recycle horror cinema's most obvious tropes. With only a few exceptions, such as episodes directed by Takashi Miike and Dario Argento, both of these productions often suggest the horror equivalent of an aging rock band at a stadium, playing music that's leeched of its former danger. With Nightmare Cinema, Garris semi-successfully brings this act to the increasingly figurative big screen, assembling directors Joe Dante, David Slade, Alejandro Brugués, Ryûhei Kitamura, and himself for more genre mischief.
Nightmare Cinema is generally of a higher caliber than Masters of Horror, and particularly of Fear Itself. The film starts almost in medias res, with Brugués's "The Thing in the Woods" approximating the third act of a slasher movie. It's a relief to skip the expositional throat clearing that usually gluts the opening of such a narrative, and Brugués stages the stalk-and-slash set pieces with style, energy, and a flair for macabre humor. There's also a twist that leads to a wonderfully irrational image. The murderer who stalks the requisitely attractive young people, called The Welder for his choice of mask and killing instruments, is revealed to be a sort of hero, having discovered that alien spiders are nesting in the skulls of his friends.
Dante's "Mirari," written by Richard Christian Matheson, is even more deranged. Anna (Zarah Mahler) is about to marry a handsome man (Mark Grossman) who manipulates her into undergoing plastic surgery so that she may live up to the ideal set by his mother. The joke, a good one that recalls a famous episode of The Twilight Zone, is that Anna is already quite beautiful, though tormented by a scar running down her face. The plastic surgeon is Mirari (Richard Chamberlain), who turns out to be the orchestrator of a surreal asylum of horrors. Chamberlain is pitched perfectly over the top, lampooning his own past as a pretty boy, and Dante's direction is loose and spry—authentically channeling the spirit of his best work.
Nightmare Cinema hits a significant speed bump with Kitamura's "Mashit," a tedious and nonsensical gothic in which a demon terrorizes a Catholic church, but rebounds beautifully with Slade's nightmarish "This Way to Egress," in which Elizabeth Reaser plays Helen, a woman who's either losing her mind or slipping into another realm of reality. Slade has directed some of the most formally accomplished hours of recent television, particularly Hannibal, and he brings to Nightmare Cinema a similarly sophisticated palette. "This Way to Egress" is filmed in stark black and white, and the clinic treating Helen suddenly becomes a setting of apparent mass murder, with blood-splattered walls that come to resemble a series of abstract paintings. Meanwhile, the people in the clinic become deformed monsters, talking in gurgles and plunging unseen masses out of sinks. (Giving Nightmare Cinema's best performance, Reaser ties all of this inspired insanity together with an emotional vibrancy.)
Garris directs "The Projectionist," Nightmare Cinema's framing episode, in which a theater portends doom for the film's various characters while Mickey Rourke saunters around, lending the production his usual found-object weirdness. Garris also concludes the anthology with "Dead," a grab bag of clichés in which a young piano student (Faly Rakotohavana) grapples with a near-death experience in a hospital while evading pursuit by a psychopath (Orson Chaplin). Characteristically, Garris over-telegraphs the scares with cheesy music and evinces no sense of specificity or reality even for a story that's set on such a heightened plane. (One may wonder how a boy recovering from a gunshot wound to the chest can defend himself against a much larger madman.) "Dead" also bears an unfortunate structural resemblance to the vastly superior "This Way to Egress," which is also a surreal journey of a character within an institution. There are notable, surprising highpoints in Nightmare Cinema that justify Garris's passion for horror, though he ironically proves to be one of his project's liabilities.
Cast: Mickey Rourke, Richard Chamberlain, Adam Godley, Orson Chaplin, Elizabeth Reaser, Maurice Benard, Kevin Fonteyne, Belinda Balaski, Lucas Barker, Reid Cox, Ezra Buzzington, Pablo Guisa Koestinger, Dan Martin, Zarah Mahler, Lexy Panterra, Faly Rakotohavana, Patrick Wilson, Sarah Elizabeth Withers Director: Mick Garris, Alejandro Brugués, Joe Dante, Ryûhei Kitamura, David Slade Screenwriter: Sandra Becerril, Alejandro Brugués, Lawrence C. Connolly, Mick Garris, Richard Christian Matheson, David Slade Distributor: Good Dead Entertainment Running Time: 119 min Rating: R Year: 2018
Review: Toni Morrison: The Pieces I Am Is an Engaging Tribute to a Legend
In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.3
Timothy Greenfield-Sanders's Toni Morrison: The Pieces I Am is rather literal-minded, opening as it does with an overhead shot of hands re-assembling black-and-white photographs of Toni Morrison that have been snipped into pieces. The documentary continues in a similar vein, reconstructing Morrison's life and work out of interviews, news clippings, and archival images that, like the reassembled photographs, comprise a structured and fairly straightforward whole. The meticulously organized film alternates between narrating Morrison's background and her writing career, jumping between her family history and her life and legacy to compile a nonlinear but coherent portrait of the author.
The Morrison work that emblematizes the film's approach, then, isn't so much one of her acclaimed novels, but The Black Book, a 1974 anthology Morrison edited in her role as a senior editor at Random House. As described by Morrison and other interviewees in the documentary, the book collects written and graphic work from the history of black life in America, seeking to fill in the gaps in the master narrative of American history. The purpose of The Black Book was to capture the good and the bad of the amorphous assemblage often referred to as "the" black experience, and similarly, The Pieces I Am aims to craft a portrait of the most significant black author of the last half-century without reducing her to "the" black author, the sole voice for African-Americans in an overwhelmingly white canon.
As such, Greenfield-Sanders and his interviewer, Sandra Guzman, call upon a range of significant black writers and intellectuals—Oprah Winfrey, poet Sonia Sanchez, and activist and author Angela Davis, among many others—to discuss Morrison's career and its significance in the context of black America. Even before she achieved fame as a novelist, Morrison was a crucial part of post-civil rights black literature as an editor at Random House, where she published Davis's widely read autobiography and Muhammad Ali's The Greatest: My Own Story. When they began appearing in the early 1970s, Morrison's novels articulated aspects of black life that had long been suppressed, ignored, or softened to tailor to white audiences, forcing into the view of the official culture a distinctly black, female voice.
Interviews with the writer herself, now a lively 88 years old, make up the better portion of this filmic collage. As Morrison emphasizes, one aim of her novels has been to escape the white gaze, which Greenfield-Sanders's documentary succinctly defines as cultural presumption that white approval is needed to sanction black cultural production. Novels like The Bluest Eye and Beloved humanize black people without relying on white characters to validate their personhood. They also cover a wide range of black life, spanning various historical periods and taking the perspective of both men and women, children and adults.
The film roots Morrison's ability to imagine and inhabit such an expanse of feelings and experiences not only in her sharp mind and democratic sensibility, but also in the way her life story itself is woven from the contradictory strands of 20th-century black life: from the Jim Crow South to an integrated town in the industrial North, from a historically black university to the overwhelmingly white and male environs of Random House. Aesthetically, The Pieces I Am tends to be a bit flavorless—there's no shortage of photographs presented via the "Ken Burns" tracking effect, and the interviews are conducted against monochromatic backdrops that sometimes make them resemble high school photos—but in verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
Distributor: Magnolia Pictures Running Time: 119 min Rating: PG-13 Year: 2019
Review: A Bigger Splash Finds Intimacy in the Space Between Life and Art
Jack Hazan's portrait of David Hockney stands between documentary and fictional film, reality and fantasy.3
Jack Hazan's A Bigger Splash stands between documentary and fictional film, reality and fantasy. Following influential pop artist David Hockney in a particularly uncreative period in the early 1970s as his relationship with muse Peter Schlesinger deteriorates, the film is ostensibly a portrait of the artist as an uninspired man. But Hazan dispenses with many of the familiar conventions of documentary filmmaking that would become de rigueur in years to come. Instead of having, say, talking heads discuss his subject's life and art, Hazan presents Hockney and the people in the artist's orbit as essentially living in one of his paintings.
A Bigger Splash, whose title is borrowed from one Hockney's seminal pieces, offers up a captivating pseudo-drama of alienated people living flashy lifestyles and who have much difficulty communicating with each other. And in its fixations, the film feels like an extension of Hockney's sexually frank art, which has consistently depicted gay life and helped to normalize gay relationships in the 1960s. Indeed, as Hazan's observational camera is drawn to the coterie of gay men who flit about Hockney's world—one notably protracted sequence captures two men stripping naked and intensely making out—it's easy to see why the film is now recognized as an important flashpoint in the history of LGBT cinema.
Even though he appears by turns vapid and seemingly indifferent to the feelings of those around him, Hockney unmistakably displays an acute understanding of human behavior. Hazan begins A Bigger Splash with a flash-forward of Hockney describing the subtextual richness of a male friend's actions, with the artist practically becoming giddy over incorporating what he's observed into one of his paintings. Hazan subsequently includes extended scenes of Hockney at work, eagerly attempting to capture a sense of people's inner feelings through an acute depiction of their body language and facial expressions. At its simplest, then, the documentary is a celebration of how Hockney turns life into art.
Notably, Hockney is seen in the film working on Portrait of an Artist (Pool with Two Figures), incorporating into his now-iconic painting the pensive visage of a friend. It's here that the film homes in on Hockney's uncanny ability to transform a seemingly innocuous moment into a profound expression of desire. And throughout these and other mostly dialogue-free sequences, it's as if Hazan is trying to put us in Hockney's shoes, forcing us to pay as close attention as possible to the details of so many lavish parties and mundane excursions to art galleries and imagine just what might end up in one of the artist's masterworks.
Toward the end of A Bigger Splash, surreal dream scenes sandwiched between shots of a sleeping Hockney and staged like one of his pool paintings show the accumulation of people and details the artist witnessed and absorbed throughout the film. An expression of the totality of Hockney's dedication to drawing inspiration from the world around him, these passages also evince Hazan's refusal to be bound to documentary convention. In these moments, it's as if the filmmaker is trying to tell us that no talking head can make us understand Hockney's genius the way living and dreaming like him can.
Director: Jack Hazan Screenwriter: Jack Hazan, David Mingay Distributor: Metrograph Pictures Running Time: 105 min Rating: NR Year: 1973
Review: The Quiet One Conspicuously Doesn't Say Enough About Bill Wyman
In the end, the film feels like a sketch that's been offered in place of a portrait.2.5
Detailing the life of Rolling Stones bassist Bill Wyman, writer-director Oliver Murray's documentary The Quiet One offers an appealing stream of photographs and footage, quite a bit of which are culled from the musician's own formidable archives. Particularly notable are beautiful black-and-white photos that gradually dramatize the Rolling Stones's ascension from a shaggy blues band to an iconic rock n' roll act, as well as haunting home footage of Wyman's father, William Perks, sitting on his lawn with his dog.
Born William Perks Jr. in Lewisham, South London, Wyman was distant with his father, and the aforementioned footage of the elder Perks distills years of alienation and miscommunication into a few singular images. The Quiet One includes other such resonant emotional information, and interviews with various collaborators offer telling encapsulations on the cultural effect of the Rolling Stones. One person, for instance, remarks that the Beatles made it in America, while America truly made the Rolling Stones, allowing them to connect with the land that nourished their treasured R&B heroes, such as Chuck Berry and Bo Diddley.
Throughout, The Quiet One's stream of information flows too smoothly, often allowing factoids to drift by unexamined, denying the narrative a dramatic center. Most curiously, Murray imparts virtually no impressions as to what it was like for Wyman to collaborate with the other Stones. For one, the band's decision to stop touring for seven years in the 1980s is summed up with a few words to the effect of "Mick and Keith got into an argument."
Elsewhere, the fascinating story behind the creation of 1972's Exile on Main Street is reduced to a few seconds of footage—though Murray does include, in an inspired touch, a handful of detailed pictures of the band sweating their asses off in the basement of Keith Richards's French home, where much of the album was recorded. Generally, Wyman's personal life is given even shorter shrift: The beginning, middle, and end of his first two marriages each comprise a few moments of screen time, with elusive remarks that demand elaboration, such as the implication that Wyman's first wife was unfit to raise their son.
The present-day Wyman is a poignant, commandingly humble presence—he contrasts starkly against the enormous presences, and egos, of Mick Jagger and Richards—yet he's kept largely off screen until the film's third and strongest act. At this point, the slideshow slickness of The Quiet One gives way to a bracing study of faces, especially when Wyman begins to cry when recollecting that Ray Charles once invited him to play on an album. Wyman declined, saying that he wasn't "good enough," and this willingness to so directly face this insecurity is brave. At this juncture, The Quiet One comes to vibrant life, however briefly.
Perhaps the most egregious of The Quiet One's missed opportunities is the way that Murray takes much of Wyman's memorabilia for granted, incorporating it into the film as aural-visual flutter. Early images, of Wyman in his artistic man-cave, recall Errol Morris's more personal and eccentric The B-Side: Elsa Dorfman's Portrait Photography, which offered a prolonged and rapturous survey of an artist in her environment. Morris captured an artist's interaction with her materials as a source of inspiration, while Murray reduces Wyman's cultivation to fodder for pillow shots. In the end, the film feels like a sketch that's been offered in place of a portrait.
Director: Oliver Murray Screenwriter: Oliver Murray Distributor: Sundance Selects Running Time: 98 min Rating: NR Year: 2019
Review: Wild Rose Both Honors and Upends the Beats of the Star-Is-Born Story
Tom Harper's film empathetically probes the growing pains of self-improvement.3
At the start of director Tom Harper's Wild Rose, Rose-Lynn (Jessie Buckley) puts on her white leather fringe jacket and matching cowboy boots before strutting out of the Glasgow prison where she's just finished serving a one-year stint on a drug-related charge. The 23-year-old hits the ground running upon her release, immediately resuming the pursuit of her lifelong dream of crossing the Atlantic to become a country singer in Nashville. In no small part due to Buckley's dynamic voice and emotionally charged performance, it's obvious that Rose-Lynn has all the charisma, spunk, and talent it takes to become a star. Pity, then, that the young woman's pursuit of fame is always at risk of being stymied by her impulsiveness. As her mother, Marion (Julie Walters), is quick to remind her, she also has two young children for whom, whether she likes it or not, she's still responsible.
As soon as Rose-Lynn starts invigorating local crowds with her performances, Wild Rose seems ripe for setting her on a predictable trajectory toward fame. Instead, the film turns its focus to the tensions that arise from Rose-Lynn's attempts to balance the hefty demands of the two seemingly incompatible worlds of a professional singer and a single mother—not to mention the incongruousness of being a country musician in Glasgow. In the end, Wild Rose is less concerned with whether or not Rose-Lynn will "make it" than it is with discreetly observing how this gifted spitfire tackles the moral and emotional challenges she faces.
As Rose-Lynn fights to gain traction in her career, Wild Rose empathetically probes the growing pains of self-improvement. In a scene where Rose-Lynn, who's supposedly just re-established her commitment to being a present mother, pawns her kids off on various friends and family over the course of a week so she can practice for an important gig, one is given a sense not just of the children's anger and disappointment, but of the emotional toll that Rose-Lynn's virtual double life is taking on her. In portraying such conundrums, the filmmakers resist the temptation to moralize or presuppose that she must choose between music and her kids and, instead, merely examine the harsh realities that come from her desiring both.
Wild Rose moves beyond the struggles of Rose-Lynn's daily grind with an array of captivating musical numbers that illustrate her incredible stage presence and joy she experiences whenever she's performing. After she takes up a job as a housekeeper for an upper-middle class family to help pay the bills, a cleverly shot sequence captures the all-consuming nature of her love for singing. Thinking she's alone in the house, Rose-Lynn begins to sing along to the music wafting through her headphones, and while she carelessly vacuums, the camera pans around the room in a simple but expressive shot that reveals various musicians from an imaginary backing band tucked away in the background, playing alongside her.
Ironically, it's through this performance, rather than any that she gives in clubs around town, that Rose-Lynn finds a true believer in her talent, in the form of her kind-hearted boss, Susannah (Sophie Okonedo). In an all-too-tidy bit of wish fulfillment, Susannah almost immediately becomes Rose-Lynn's benefactor, going out of her way to jump start the musician's career and provide the unqualified support and encouragement she craves from her mother. But this dash of sunshine isn't quite the panacea it first appears to be, and similar to Rose-Lynn's relationship with Marion, this newfound friendship eventually develops into something more conflicted and complicated than its simplistic origin initially might suggest.
The same could be said of much of Wild Rose, which takes on certain clichés of the traditional star-is-born story but often uses them to upend audience expectations. The skeleton of Nicole Taylor's screenplay may be quite familiar, but the additional elements of single motherhood, class disparity, and geographical dislocation (Rose-Lynn firmly believes she was meant to be born in America) lend the proceedings a certain unpredictability that's very much in tune with the gutsy woman at the film's center. As its title suggests, Harper's film has a bit of outlaw in its blood, and it allows Rose-Lynn's myriad imperfections to shine just as brightly as her talent. And that certainly makes her a more textured, authentic character, defined not by a clear-cut transformative arc but her constant state of flux.
Cast: Jessie Buckley, Julie Walters, Sophie Okenodo, Maureen Carr, James Harkness, Adam Mitchell, Daisy Littlefield, Jamie Sives, Craig Parkinson, Bob Harris, Doreen McGillivray Director: Tom Harper Screenwriter: Nicole Taylor Distributor: Neon Running Time: 101 min Rating: R Year: 2019
Review: Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
The true shock of Rolling Thunder Revue is in how good, how alive, Dylan is on stage.3
Early in Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, Bob Dylan reflects on the rotating tour he embarked on in 1975 with Joan Baez, Ramblin' Jack Elliott, Ronnie Hawkins, Allen Ginsberg, and other legends. The tour was ostensibly intended to commemorate the bicentennial of the United States, but one may assume after watching this quasi-documentary that it was really about recharging Dylan's creative battery a few years after his tour with the Band, which Scorsese filmed for 1978's The Last Waltz. When asked about the tour here, Dylan looks away from the camera, uttering the cryptic pseudo-profundities that have been his brand for decades, his voice as mythically raspy as ever. Then, breaking character, he says the tour meant nothing and that he barely remembers it. Dylan insists that the Rolling Thunder Revue was so long ago that it was before he was born.
Anyone familiar with Dylan will recognize that last sentiment as only partially figurative, as this is an artist who has been born again many times, who arguably initiated the now routine ritual of superstar reinvention. The ultimate concept of "Bob Dylan," after all, is that there's no ultimate concept, as he has morphed, throughout his career, from folk icon to electric rocker to social justice crusader to burn-out to settled elder statesmen. Nevertheless, Dylan's violation here of the reverential tone that's expected of this sort of autumnal documentary comes as something of a gleeful shock to the system, while affirming the legend's propensity for self-conscious pranks. And this moment lingers over Rolling Thunder Revue, which is informed with a low-thrumming snideness that's uncharacteristic of Scorsese's work.
The film appears to be split between awe and contempt. The former perspective innately belongs to Scorsese, our poet laureate of cinematic rock n' roll, who's rendered the rockers of his generation with the same conflicted adulation that he's extended to gangsters. Meanwhile, the latter attitude belongs to Dylan, who seems ready to admit that the countercultural revolution didn't amount to much beyond various statements of aesthetic. This war of temperaments yields a fascinating mixed bag. Much of Rolling Thunder Revue is composed of footage shot at the tour by cinematographers David Myers, Howard Alk, Paul Goldsmith, and Michael Levine, who have a collective eye that's uncannily in sync with Scorsese's own feverishly expressionistic sensibility. Watching this film, it's easy to forget that Scorsese wasn't involved in the production of this footage, as he was with other concert films.
The footage of the Rolling Thunder Revue has a wandering, druggy intensity, with explosively lurid colors and smoky jam sessions that are occasionally punctuated with a sharp close-up that allows an icon to reveal an unexpected element of their persona. Initially, we see Dylan, Ginsberg, and Baez hanging out in clubs, seemingly patching the Rolling Thunder idea together in between beer and joints and poetry. In a hypnotic image, Dylan and Patti Smith, framed through bars that suggest a prison, discuss the mythology of Superman, with Smith suggesting that the character could crush coal into a diamond. The two artists are clearly playing the role of flake pop-cultural shamans, but they're also revealing the obsession with power and influence that drives performers of all kinds, including flower-child liberals.
Contextualized by Scorsese as a kind of narrator and presiding god, Ginsberg speaks near the end of the documentary of the fragments we've just seen and which we should assemble to make sense of them—a process that mirrors Dylan's obsession with reinvention and ownership of his audience's perception of him. Ginsberg's preoccupation with fragments is reflected in his style of prose, with the beat style of reading poems in a way that emphasizes the isolation of each word, and Rolling Thunder Revue is assembled in such a way as to underscore the similarity between Ginsberg's style and that of Dylan, Baez, and the other musicians.
These artists are all occupied with totems, with iconography that suggests found art, which they assemble into new arts. When Dylan describes the gorgeous and intimidating violinist Scarlett Rivera, who played with him on this tour and is prominently featured on his brilliant 1976 album Desire, he speaks of the objects he remembers her having, such as trunks and swords. (She's billed in the film's credits as the Queen of Swords.) Of course, Dylan is obsessed with bric-a-brac, painting himself in white makeup and wearing a kind of outlaw wardrobe, which is playfully linked here to both kabuki and the band KISS.
Even the title of the tour suggests a kind of multi-purposed phrasing as found art. Operation Rolling Thunder, we're reminded, is the code name for Richard Nixon's bombing campaign in North Vietnam, though it's also the name of a Native American chief whom Dylan honors while on the tour. This duality is almost too neat, reflecting America's genocidal tendencies as well as its appropriation of its native cultures. But one is intentionally inclined, by Dylan as well as by Scorsese, to wonder: So what? Aren't these musicians just more earnest and self-righteous kinds of appropriators? After all, they live in their own world, going from one cavernous town hall to the next, enjoying drugs, sex and adulation, while America is consumed with Nixon's resignation and the end of the war in Vietnam.
Scorsese culls various images together to offer a startlingly intense vision of America as place that, to paraphrase Dylan, essentially believes in nothing, following one demoralizing crisis after another. Rolling Thunder Revue gradually collapses, mutating from a freeform document of the concert into a series of essays and anecdotes, such as on the origin of Dylan's Rubin Carter tribute "Hurricane." The film attains a shaggy shapelessness that suggests the haze of travel, as Dylan and his cohorts push on, delving deeper into their micro worlds.
The true shock of Rolling Thunder Revue, however, is in how good, how alive, Dylan is on stage. All of the make-up and masks he wears—other allusions to reinvention, to the essential, simultaneously nourishing and damaging textures of pop culture—seem to liberate him. On this tour, Dylan performs quite a bit of material from Desire, and his singing is clear and urgent and stunningly divorced of his ironic parlor games; he's connecting with these songs, using the revue concept to channel his canniest and most sincere instincts as an actor and storyteller. And Scorsese frequently contrasts this full-throttle Dylan with the aloof sex symbol who lingers at backstage parties—a pose that's startled by Joni Mitchell and Baez, two of the rare people who appear to be capable of humbling the maestro.
There's enough poetry here, in the music and in the artists' descriptions of one another, to fill 10 movies. (Dylan on Ronnie Hawkins: "He looked like a shitkicker, but he spoke with the wisdom of a sage.") So it's a shame that the film gets bogged down in fictional gimmickry. There's a tone-deaf cameo by Sharon Stone, who pretends to be a young Rolling Thunder groupie, and by Michael Murphy, who reprises his politician role from Robert Altman's Tanner series, which is perhaps intended to complement another Altman cross-pollination: the presence of Ronee Blakely, who sang back-up on this tour and appeared in Nashville. Worst of all, Martin von Haselberg appears as the filmmaker who supposedly shot the footage we're seeing, pointlessly obscuring the efforts of real people with a Euro-snob stereotype.
These sorts of satirical interludes are probably meant to further embody Dylan's own discomfort with the import associated with his legacy (an import he never fails to profit from), and further muddy the film's already ambiguous and diaphanous grasp of "reality." But these themes have already been wrestled by Scorsese and the original cinematographers onto the screen. Dylan's pranks can be tedious, as his astonishing Rolling Thunder performances require no window dressing. On stage, Dylan accesses the brutal, beautiful heart of America.
Director: Martin Scorsese Distributor: Netflix Running Time: 142 min Rating: TV-MA Year: 2019
Review: Tim Story's Shaft Reboot Is a Weirdly Regressive Family Affair
Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.1
Director Tim Story's Shaft certainly makes no effort to disguise its ignorance and prejudice, as it's chockablock with racist stereotypes, sexist pseudo-wisdom, and tone-deaf jokes picking on gay and trans people. The screenplay by Kenya Barris and Alex Barnow even features a plot that bizarrely and nonsensically treats legitimate concerns about the F.B.I.'s Islamophobic practices as some ginned-up media sideshow. Where both Gordon Parks's gritty 1971 original and John Singleton's slick 2000 sequel injected a measure of social conscience into their respective tales of swaggering black men dishing out vigilante justice, this film is nothing more than a tired buddy-cop comedy in blaxploitation drag.
Samuel L. Jackson revives his role as the tough-talking ex-cop John Shaft from Singleton's film, only now he's teamed up with his estranged son, JJ (Jessie T. Usher), an M.I.T.-trained cybersecurity analyst for the F.B.I. who, after not having seen his father in nearly 25 years, suddenly reaches out to him for help in investigating the mysterious death of a childhood best friend, Karim (Avan Jogia). The two eventually join forces with JJ's great uncle, the O.G. John Shaft Sr. (Richard Roundtree), completing a multi-generational family reunion.
Shaft likes guns and confrontation, while JJ prefers spycams and hacking, but despite their differences in approach, they work together effortlessly in torturing Mexican drug lords, prying into the nefarious dealings of a Muslim organization, and engaging in some indifferently directed shootouts that are scored to waka-chicka funk music in a desperate attempt to lend the film's textureless visuals a semblance of '70s-ish stylistic vision. As for the jokes about the lothario Shaft and his nebbish offspring, they practically write themselves. Shaft thinks JJ's Gap-slacks-and-coconut-water lifestyle means he's gay, and so he interrogates his son about his love for the ladies, while JJ is offended by his dad's regressive views, such as "Women want a man to be a man." But as every joke is targeted at JJ's awkwardness and effeminacy, the film simply gives license to Shaft's anachronistic foibles.
The film is strangely committed to proving Shaft right about everything. His use of violence and intimidation to get what he wants always works, as does his advice on women no matter how piggish it may be. Shaft avoids ever having to answer for the fact that he abandoned JJ as a baby, and, in a ridiculous narrative sleight of hand, the film even tries to absolve Jackson's rogue-ish P.I. of any parental guilt by suggesting the man was always deeply motivated by the urge to protect his son. How? Because he sent condoms and porno mags to JJ on his birthdays.
Unsurprisingly, JJ eventually adopts the trappings of his forebears, walking around with a newfound swagger in in his family's trademark turtleneck-and-leather-trench-coat combo. Story seems to think this transformation into a Shaft represents the ultimate in retro cool, but ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.
Cast: Samuel L. Jackson, Jessie Usher, Richard Roundtree, Alexandra Shipp, Regina Hall, Avan Jogia, Method Man, Matt Lauria, Robbie Jones, Lauren Vélez Director: Tim Story Screenwriter: Kenya Barris, Alex Barnow Distributor: Warner Bros. Running Time: 111 min Rating: R Year: 2019
All 21 Pixar Movies, Ranked from Worst to Best
Upon the release of Pixar's Toy Story 4, we're counting down the animation studio's 21 films, from worst to best.
Among the familiar elements on display throughout Josh Cooley's Toy Story 4 is the abandoned and resentful toy as a villain who holds the heroes hostage, which easily invites comparison to Lee Unkrich's brilliant Toy Story 3. It's a comparison that doesn't favor the new film, which isn't as impactful in terms of story or image. Cooley's direction is fluid, seamlessly interweaving the fun escapades and the earnest emotions, but it lacks the visual power of the prior film. There's no equivalent to the moment in Toy Story 3 when, headed into a blazing incinerator, Woody and his friends silently grasp hands, taking comfort in one another as they face their ends head-on. On the occasion of the film's release, join us in revisiting the Pixar canon, ranked from worst to best. Pat Brown
21. Cars 2 (2011)
The effect of the Toy Story films is practically primal. They appeal to anyone who's ever cared about a toy—one they outgrew, gave away, or painfully left behind somewhere. These films, with scant manipulation and much visual and comic invention, thrive on giving toys a conscience and imagining what adventures they have when we turn our backs to them. Conversely, the effect of Cars and its infinitely worse sequel, toons about dudes-as-cars not quite coping with their enormous egos and their contentious bromances, is entirely craven in the way it humorlessly, unimaginatively, and uncritically enshrines the sort of capitalist-driven desires Pixar's youngest target audience is unable to relate to. Unless, that is, they had a douchebag older brother in the family who spent most of his childhood speaking in funny accents and hoarding his piggy-bank money to buy his first hot rod. Ed Gonzalez
20. Cars (2006)
Maybe it's my general aversion to Nascar, or anything chiefly targeted at below-the-line states. Maybe it's that Larry the Cable Guy's Mater is the Jar Jar Binks of animated film. Or maybe it's just that a routinely plotted movie about talking cars is miles beneath Pixar's proven level of ingenuity, not to mention artistry (okay, we'll give those handsome heartland vistas a pass). Whatever the coffin nail, Cars, if not its utterly needless sequel, is thus far the tepid, petroleum-burning nadir of the Pixar brand, the first of the studio's films to feel like it's not just catering, but kowtowing, to a specific demographic. Having undeservedly spawned more merchandising than a movie that's literally about toys, Cars's cold commercialism can still be felt today, with a just-launched theme park at Disneyland. And while CG people are hardly needed to give a Pixar film humanity, it's perhaps telling that this, one of the animation house's few fully anthropomorphic efforts, is also its least humane. R. Kurt Osenlund
19. The Good Dinosaur (2015)
The Good Dinosaur has poignant moments, particularly when a human boy teaches Arlo, the titular protagonist, how to swim in a river, and there are funny allusions to how pitiless animals in the wild can be. But the film abounds in routine, featherweight episodes that allow the hero to predictably prove his salt to his family, resembling a cross between City Slickers and Finding Nemo. There's barely a villain, little ambiguity, and essentially no stakes. There isn't much of a hero either. Arlo is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency. The Good Dinosaur is the sort of bland holiday time-killer that exhausted parents might describe as "cute" as a way of evading their indifference to it. Children might not settle for it either, and one shouldn't encourage them to. Chuck Bowen
18. Monsters University (2013)
It's perfectly fair to walk into Monsters University with a wince, wondering what Toy Story 3 hath wrought, and lamenting the fact that even Pixar has fallen into Hollywood's post-recession safe zone of sequel mania and brand identification. What's ostensibly worse, Monsters University jumps on the prequel, origin-story bandwagon, suggesting our sacred CGI dream machine has even been touched by—gulp—the superhero phenomenon. But, while admittedly low on the Pixar totem pole, Monsters University proves a vibrant and compassionate precursor to Monsters, Inc., the kid-friendly film that, to boot, helped to quell bedroom fears. Tracing Mike and Sulley's paths from ill-matched peers to super scarers, MU boasts Pixar's trademark attention to detail (right down to abstract modern sculptures on the quad), and it manages to bring freshness to the underdog tale, which is next to impossible these days. Osenlund
17. Cars 3 (2017)
Cars 3 is content to explore the end of Lightning McQueen's (Owen Wilson) career with a series of pre-packaged sports-film clichés—an old dog trying to learn new tricks, struggling with a sport that seems to have passed him by, and facing, for the first time in his career, a sense of vulnerability. The template turns out to be a natural fit for the Cars universe, organically integrating racing into the fabric of the film and rendering it with a visceral sense of speed, excitement, and struggle. Cruz Ramirez (Cristela Alonzo) is a welcome addition, a plucky foil to McQueen who's also a three-dimensional presence in her own right, much more richly developed than one-joke characters like Mater (Larry the Cable Guy) and Luigi (Tony Shalhoub). Cruz's presence also allows the filmmakers to bring some social conscience to this sometimes backward-looking franchise, exploring the discouraging pressures placed on young female athletes while also nodding toward the historical exclusion of women and racial minorities from racing. Watson
Review: Toy Story 4, Though Moving, Sees a Series Resting on Its Plastic Laurels
The film seamlessly interweaves fun escapades and earnest emotions, but it lacks the visual power of its predecessor.3
It's probably uncontroversial to claim that Toy Story's Woody (Tom Hanks), a flawed leader whose genuine concern for his compatriots intermingles with a narcissistic streak that can get him and his fellow toys into trouble, is one of the great characters in the history of cinema. That this animate, outdated cowboy toy continues to feel just as compelling and just as layered and relatable four entries into this series is a major achievement, and speaks not only to the dedication of his creators, but also to the strength of his original conceptualization. While other Pixar sequels have run their concepts and characters into the ground, or cheapened them for laughs, the Toy Story sequels have remained true to Woody, even deepening his character by finding new existential crises to throw him into.
Toy Story 4, though, finds the series suffering from brand fatigue. While prior entries put new spins on the fear of obsolescence that drove Woody in the original Toy Story, this film is a compendium of elements from its predecessors. We've already witnessed Woody desperately try to regain the love of a child, intentionally become a "lost toy" in order to chase down a missing friend, escape from monstrous (but probably just misunderstood) toys, and face the temptation of a new life outside of a child's toy box. That all of these moments recur in Toy Story 4 is one reason the film doesn't quite pack the emotional weight of its precursors.
Gifted to a new, preschool-age child, Bonnie, at the end of the last film, Woody opens Toy Story 4 having fallen from his treasured position as the favorite toy. Your typical preschool girl, after all, has little interest in a cowboy toy from "the late '50s, I think," as Woody recounts his own vague origins. Wistful for his days with Andy, his previous owner, Woody tries to insert himself into Bonnie's (now voiced by Madeleine McGraw) life by sneaking into her backpack on the first day of kindergarten. And it's there that he witnesses her crafting her new beloved toy: a spork with googly eyes and pipe-cleaner arms she calls Forky (Tony Hale).
Forky is a terrible toy insofar as he has no desire to be a toy at all; a very funny recurring gag early in Josh Cooley's film sees the toy repeatedly trying to throw himself in the trash, where he feels that he belongs. Woody gloms onto Forky, partially out of genuine concern for his and Bonnie's well-being, and partially as a way of maintaining a connection to the little girl. And when Forky goes missing during a family vacation, Woody ventures out on his own to retrieve the haphazardly assembled toy and return him to the family RV.
Forky is as familiar as the other toys that populate the Toy Story universe: Many children have made small avatars of themselves out of popsicle sticks and plastic bits and invested far too much emotion in it. As a character, Forky doesn't hold much all that much water, his development from trash to toy more a gimmick than a fully textured character arc. Wisely, though, Toy Story 4 damsels Forky, so to speak, as Woody must engineer a way to rescue him from the clutches of a malicious talking baby doll named Gaby (Christina Hendricks).
Gaby and her army of unsettling, limp-limbed ventriloquist dummies rule over an antique shop that Woody and Forky pass through on their way back to the RV park. A lonely toy discarded decades earlier because of a defective voicebox, Gaby kidnaps Forky to extort from Woody a part of his drawstring-powered sound mechanism. To break into the cabinet where Gaby is holding the sentient spork, Woody must assemble a team of allies that includes Bo Peep (Annie Potts), whom he finds living on her own in the RV park as a lost toy, and Buzz Lightyear (Tim Allen). Woody and Bo Peep rekindle their (G-rated) feelings for each other as they recruit the daredevil action figure Duke Caboom (Keanu Reeves) and the plush carnival-prize dolls Bunny and Ducky (Keegan-Michael Key and Jordan Peele) to help retrieve Forky.
Among the familiar elements here is the abandoned and resentful toy as a villain who holds the heroes hostage, which easily invites comparison to Lee Unkrich's brilliant Toy Story 3. It's a comparison that doesn't favor the new film, which isn't as impactful in terms of story or image. Cooley's direction is fluid, seamlessly interweaving the fun escapades and the earnest emotions, but it lacks the visual power of the prior film. There's no equivalent to the moment in Toy Story 3 when, headed into a blazing incinerator, Woody and his friends silently grasp hands, taking comfort in one another as they face their ends head-on.
So, as well-told and emotionally effective as Toy Story 4 is, it's difficult not to believe the third film would have functioned better as a send-off to these beloved characters. In fact, Toy Story 3 might as well have been a send-off for everybody but Woody, as the new and potentially final entry relegates the traditional supporting cast of the Toy Story films—Rex (Wallace Shawn), Hamm (John Ratzenberger), Jesse (Joan Cusack), Slinky Dog (Blake Clark)—to the background. Even Buzz is reduced to dopey comic relief, pressing the buttons on his chest to activate the pre-recorded messages he now misunderstands as his "inner voice." Toy Story 4 is very much a Woody story. His gradual acceptance of his new position in life and his reconnection with Bo Peep are moving, and it's still remarkable how much Pixar can make us identify with a toy. But for the first time, a Toy Story film feels a bit like it's resting on its plastic laurels.
Cast: Tom Hanks, Tim Allen, Tony Hale, Christina Hendricks, Jordan Peele, Keegan-Michael Key, Annie Potts, Keanu Reeves, Jay Hernandez, Wallace Shawn, Joan Cusack, Don Rickles, Jeff Garlin, Laurie Metcalf, John Ratzenberger Director: Josh Cooley Screenwriter: Andrew Stanton, Stephany Folsom Distributor: Walt Disney Studios Motion Pictures Running Time: 100 min Rating: G Year: 2019
Review: Men in Black International Struggles to Find Intelligent Life
The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.1.5
Marvel has had such success staging comic-action team-ups in a variegated and totally incoherent alien world that now would seem to be an ideal time to resurrect the Men in Black series. F. Gary Gray's Men in Black International even reunites two of the stars of Taika Waititi's funny and colorful Thor Ragnarok. In that film, Chris Hemsworth and Tessa Thompson trade barbs and butt heads as, respectively, the daftly optimistic Thor and the despondent alcoholic Valkyrie, a combative relationship that seems ideally suited for Men in Black's brand of buddy-cop action comedy. Trade Thor's hammer for one of the Men in Black organization's memory-erasing neuralyzers and the film would almost write itself.
Men in Black International, though, fails to recapture the spark of either Hemsworth and Thompson's witty dynamic in Thor Ragnarok or of the Men in Black series's original pairing of Will Smith and Tommy Lee Jones. Thompson plays Agent M, a rookie at the MiB who stumbles into an intergalactic political conspiracy when she imposes herself on Agent H's (Hemsworth) mission to safeguard an extraterrestrial prince named Vungus. Agent H is on a self-destructive hedonistic streak after a traumatic battle in which he and the head of the MiB London branch, High T (Liam Neeson), defeated an extraterrestrial scourge "with nothing but their wits and their Series-7 De-atomizers." Due to his ostentatiously casual treatment of the mission, Agent H fails to recognize an impending threat, and Vungus ends up dead. In his last moments, the hoodie-clad, lizard-like alien prince hands Agent M a magical whatsit for safekeeping, a mysterious crystalline object that nefarious alien forces are out to procure.
So, as usual for the Men in Black series, the plot hinges on an arcane object of power that motivates the main characters' journey into hidden pockets of the world where every weirdo is an alien and every bodega or bazaar is a façade for a storehouse of hyper-advanced technology. Behind the wall of a Marrakesh pawnshop, Agents H and M discover a colony of pint-sized alien workers and adopt one of them (Kumail Nanjiani) as their de facto third partner in their attempt to keep the whatsit—which turns out to expand into a gun powered by a miniaturized sun—from falling into the wrong hands. Dubbed "Pawny" by Agent M, the tiny alien travels in the breast pocket of her suit and pops out regularly to make quips that are mostly tepid.
Also after the whatsit-cum-MacGuffin is a pair of malicious alien twins (Larry and Laurent Bourgeois) who occasionally become smoke monsters and melt people as they chase Agents H and M and Pawny across the globe. From London to Marrakesh, from the Sahara to Naples, and from there to Paris, the trio's quest earns the "international" in the film's title, but as the film jumps from one CG-infused setting to another, a personal journey for its principal characters never quite emerges. Sure, Agent M is driven and brilliant, and Agent H is indolent and reckless, but these opposing qualities never lead to the conflict that might invest us in the development of the characters' relationship, romantic or otherwise. From the beginning, the pair are generally fine with one another, the individualist veteran Agent H breaking down and letting the overeager rookie join him after about four seconds of cajoling.
From there, there's not much for the two to resolve, as the dynamic between the characters is woefully anodyne. Agent M is initially drawn to Agent H in part because he possesses Hemsworth's good looks, but Men in Black International never commits to a flirtatious tone, and never figures out how to apply a buddy-cop schema designed for a homosocial universe to this cross-gender pairing. The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.
The film's pacing also plays a part in diminishing one's investment in the principal characters. In its first act, the film feels appropriately zippy, but soon thereafter it becomes a rushed mess, hardly stopping to let the viewer or its characters breathe. On the rare occasion when Men in Black International slows down long enough to get some repartee between its characters rolling, the scenes feel oddly truncated. At one point, the film smash-cuts to Agents H and M stranded in the Sahara Desert with a broken hover bike, with the two bickering over…something. It's just one of several scenes, including and especially the film's absurdly rushed climax, that are inadequately set up, leaving one with the impression that there are missing pieces. But perhaps that's fitting, as watching this film is a bit like being neuralyzed.
Cast: Chris Hemsworth, Tessa Thompson, Emma Thompson, Liam Neeson, Rebecca Ferguson, Kumail Nanjiani, Rafe Spall, Laurent Bourgeois, Larry Bourgeois, Kayvan Novak Director: F. Gary Gray Screenwriter: Matt Holloway, Art Marcum Distributor: Columbia Pictures Running Time: 114 min Rating: PG-13 Year: 2019
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E3 2019: The Best and Worst Surprises
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Stanczyk has been looking at house numbers like he is a postal worker delivering mail. These numbers have led my rather numerate mind to a new musing …
I have noticed that the Catholic Church (let me be precise/narrow, but perhaps it has wider usage) in the Russian-Poland areas, during the years 1797-1825 recorded house numbers (aka Numerus Domus -or- Domu iego pod numerem) in their records. So I am trying to tease some further knowledge from my data by analyzing these house numbers, but I have questions that need research. So here is my laundry list of questions that I will investigate and perhaps by crowd-sourcing / internet collaborating I hope that I can also receive some answers via comments or emails.
Research Questions
- Was the column labeled 'Numerus Domus' in the Latin Box format of church records required by the Codex Napoleon?
- When did house numbers get assigned?
- How were numbers assigned? Did they number starting from the church (I have had that said to me.)? Did they give the lowest numbers to the "most important" members of the parish? Were houses assigned numbers in the order they were built without regard to their sequential location to another house or did they start at 1 and proceed down the street numbering each house, such that consecutive house numbers are next door neighbors?
- Were house numbers unique to a single village or to the parish they all belonged?
- Why did they stop collecting house numbers in the church records?
- Did house numbers get renumbered (if so then when)? I am thinking like, in Detroit around 1920 when many/most homes were renumbered.
- If the houses were not renumbered, then is it possible to visit the same house (assuming it still stands) and know it was that house where so-and-so lived?
Folklore About Houses or their Doors
There was a tradition in Southern Poland whereby at Christmas time, the people would inscribe the lintel above the door, with the names or initials of the three wise men from the Bible:
Gaspar(Kasper), Melchior, and Balthazar (were the wise men's names by tradition — their names do not appear in the Bible).
Does anyone know this Christmas tradition or why Poles did such a thing ?
Does anyone know any other door or address traditions from Poland ?
— Stanczyk

subset: commoncrawl


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Cloud application data specialist Cloudant this week makes note of its new membership of the Open Geospatial Consortium, an international group focused on the development of geospatial interoperability standards. The firm says that it aims to integrate geospatial standards into the Cloudant NoSQL DataBase-as-a-Service (DBaaS) so that web, mobile, and proprietary app developers can introduce new geospatial features and analytics into their applications.
NOTE: OGC standards are classified as built to "empower developers" to make complex spatial information and services accessible to (and useful in) all kinds of applications.
"Cloudant's membership in the OGC reflects the importance of geospatial information to application developers," said Raj Singh, director of interoperability programs for the OGC. "We share Cloudant's vision of integrating geospatial technology and dynamic database queries and look forward to its contributions, both in our consortium and to the open-source community at large."
Cloudant says it is building a high-availability geospatial platform based on its existing core technology, which supports distributed indices and multi-node queries.
"With the explosive rise in sensor data, machine-to-machine communications, and mobile computing, geospatial data processing is extremely important to our customers," said Alan Hoffman, Cloudant cofounder and chief product officer. "We're excited to be working with the OGC to further enhance Cloudant's geospatial capabilities and to ensure future compatibility with developing geo standards. From the very beginning, we designed the Cloudant database service to be highly distributed and location-aware, and our participation in the OGC advances that strategy."


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Latitude: 57.596 / 57°35'45"N
Longitude: -2.1975 / 2°11'50"W
OS Eastings: 388296
OS Northings: 856236
OS Grid: NJ882562
Mapcode National: GBR N8XN.5ZH
Mapcode Global: WH9NK.6BVP
Open Location Code: 9C9VHRW3+92
Geographic coordinates are the approximate centre of the area covered by AB43 6NS, and are not necessarily those of any specific postal address within it.
AB43 6NS is a primarily residential and agricultural postcode in New Pitsligo, Aberdeenshire. It was first introduced in June 1996.
The most common council tax bands are A and B.
Commercial rateable values range from £0 to £3,600 with an average of £900. The most common recorded business types are Premises and Church. Farms and agricultural buildings do not pay business rates and are not included in these figures.
AB43 6NS has a Healthy Living Index of 8/10 (High).
AB43 6NS has a Neighbourhood Retail Diversity Index of 0/10 (Nonexistent), and an Area Retail Diversity Index of 1/10 (Very low).
AB43 6NS is approximately 133m (436ft) above sea level.
See all council tax bands in AB43 6NS
See all rateable values in AB43 6NS
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Residents of AB43 6NS are represented at different levels of local, regional and national government by elected representatives. Where known, these are shown here.
This data is updated approximately monthly, and may not necessarily take account of the results of any elections held recently.
Unitary Authority
Aberdeenshire Council
Central Buchan
Marion Buchan (Conservative)
Jim Ingram (SNP)
Anne Simpson (Liberal Democrat)
Norman Smith (Independent)
Scottish Parliament
North East Scotland
Regional MSPs
Bill Bowman (Conservative)
Peter Chapman (Conservative)
Liam Kerr (Conservative)
Lewis Macdonald (Labour)
Jenny Marra (Labour)
Tom Mason (Conservative)
Mike Rumbles (Liberal Democrat)
Scottish Parliament constituency
Aberdeenshire East
Gillian Martin (SNP)
United Kingdom Parliament
Banff and Buchan
David Duguid (Conservative)
European Parliament
European Region
David Coburn (The Brexit Party)
Ian Hudghton (SNP)
David Martin (Labour)
Baroness Nosheena Mobarik (Conservative)
Alyn Smith (SNP)
Ofcom publishes annual statistics for Broadband availability. This is the most recent data for AB43 6NS.
Broadband statistics for commercial properties are less reliable than for domestic properties, as businesses are more likely to have other forms of Internet access that are not classified as 'Broadband'.
The most recent Ofsted rankings for schools near AB43 6NS.
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Swarovski's crystal pearls have a leaded crystal core which makes them heavier than synthetic glass pearls, and very similar in weight, or the same as a natural pearl. Swarovski's Crystal Pearls feel good to the touch and as a piece of jewelry, offer that sensual experience valued by pearl enthusiasts.
Swarovski's pearl coating is very similar to a natural pearl's lustre and they are consistently colored from pearl to pearl. they are highly resistant to perspiration, perfumes, UV rays, scratches, and washing. In addition, they warm to the skin as natural pearls do.
If you want the best, use the best: Swarovski Pearls!


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About the Ada Lois Sipuel (Fisher) Case:
Housed in the Oklahoma State Archives, this digital collection features 251 imaged documents from the Oklahoma State Supreme Court, Civil Case No. 32756 regarding the first African-American woman admitted to the University of Oklahoma law school in 1948. The collection includes defendant and plaintiff briefs as well as a trial transcript from the district court, all available through Oklahoma Crossroads.
Her Story: Ada Lois Sipuel (Fisher):
A leading activist, lawyer, administrator, and educator Ada Lois Sipuel came of age during Oklahoma's Jim Crow era. She challenged the legal fiction of "separate but equal", opening higher education to African-American students in the state and laying the foundation for the Brown v. Board of Education landmark decision by the United States Supreme Court. Born on February 8, 1924, and raised in Chickasha, Oklahoma, Sipuel was the daughter of a minister and a homemaker. Her parents provided the family with financial security and a strong belief in racial equality. Following her brother's rejection of NAACP leaders suggestion to serve as plaintiff to challenge the segregationist admissions policy of the state's exclusively white law school at the University of Oklahoma, in the fall of 1945, her family volunteered Sipuel, a top student at Langston University. On January 14, 1946, the University of Oklahoma Law School rejected Sipuel's application for admission. Sipuel's attorneys, led by Thurgood Marshall and Oklahoman Amos T. Hall, filed a lawsuit alleging that the failure of the state to provide a comparable law school for African American students required that Sipuel be admitted to the university. Losing in state courts, Marshall argued Sipuel v. Board of Regents of the University of Oklahoma before the United States Supreme Court. There, Marshall argued that the state law school must open its doors to Sipuel, because it offered no comparable facility and that the entire doctrine of "separate but equal" should be abandoned. On January 12, 1948, the Supreme Court ruled that Sipuel was entitled to a legal education provided by the state and that Oklahoma must provide instruction for blacks equal to that of whites. In order to comply, Oklahoma officials stonewalled efforts to admit Sipuel to the University of Oklahoma by quickly constructing a makeshift black law school in the state capital building, Langston University School of Law. Further litigation was necessary to prove that this law school was inferior to the University of Oklahoma law school. Before a lawsuit challenging the new school was resolved, the law school ran out 1
of funds and this facility closed in 1949. The president of the University of Oklahoma law school admitted Sipuel who enrolled on June 18, 1949, becoming the first African American woman to attend an all white law school in the South. New challenges awaited Sipuel inside the classroom, including sitting in a segregated seat marked "colored" that was roped off from the rest of the class. She also had to eat in a separate chained-off guarded area of the law school cafeteria. Her lawsuit and tuition were supported by hundreds of small donations, and she believed she owed it to those donors to succeed. With the support of classmates, professors, and family, she graduated in 1951 with a law degree from the University of Oklahoma. After passing the bar, Sipuel practiced law until 1956, when she left legal practice to work as the public relations director for Langston University. She became a full time faculty member in 1959, eventually becoming head of the school's social science department. She returned to the University of Oklahoma, where she earned a master's degree in the late 1960s, and in 1991 she received an honorary doctorate from the law school. In 1992, Sipuel's life came "full circle" when she was appointed by Governor David Walters as a member of the Board of Regents of the University of Oklahoma. Sipuel passed away on October 18, 1995, one of the most outstanding black women to have affected the course of American history.
Bibliography: Fisher, Ada Lois Sipuel, and Danney Goble, ed. A Matter of Black and White: The Autobiography of Ada Lois Sipuel Fisher. University of Oklahoma Press, 1996. Hine, Darlene Clark, ed. Black Women in America An Historical Encyclopedia Volumes 1 and 2. New York: Carlson Publishing Inc., 1993. The Oklahoman 2006 September 17.
Links for Ada Lois Sipuel (Fisher):
Further information about Ada Lois Sipuel (Fisher) and her struggle for Civil Rights can be obtained from: University of Oklahoma Libraries: Western History Collection Oklahoma Historical Society Women's Legal History Biography Project
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Multicomponent Polymer Systems: Phase Behavior, Dynamics and Applications: November 29 - December 3, 2004, Boston, Massachusetts, USA.
Materials Research Society, 2004 - Materials - 173 pages
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Rich Dynamics in Diblock Copolymers
On the Origin of Color Degradation in Polyfluorenes Block Copolymer
Influence of the Particle Morphology on the MicroAnd Macromechanics
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2005 Materials Research amorphous annealing behavior block copolymers chain Chem cluster co-continuous component composite electrodes conductivity counterion crystalline decrease dynamic mechanical analysis dynamics E-MA-GMA effect emission endothermic epoxide ESC resistance experimental extruded fiber length fibrous clay filler films flexural modulus fluid glass transition glass transition temperature HDPE immiscible increases initiator interactions interfacial ionomer irradiated layer liquid crystal Macromolecules Materials Research Society matrix measurements mechanical properties melt melt-blended composite membranes mixture molecular weight monomers morphology Nafion nanocomposites nanoparticles nanorods NTDA-ODADS/ODA observed obtained P(VDF-TrFE parameters particles PCLD peak performance PFOS phase separation Phys platelet PMDA PMMA polarization polydisperse polyimide polyimide copolymers polymer blends polymerization polystyrene pore PS/PP Raman ratio relaxation room temperature samples SAXS shown in Figure shows simulation solution processed solvent spectra spheres strain structure sulfonate surface SWNT TBA+ thermal TMA+ volume fraction X-ray


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Alfred Carroll 1
Alfred talks about going to war with his brother and his experiences in Hawaii and Saipan.
Alfred Carroll 2
Alfred describes what he witnessed in Saipan and Iwo Jima.
Alfred Carroll 3
Alfred describes himself at 16 years old and recals his first encounter with combat at Saipan.
Alfred Carroll 4
Alfred talks about maintaining relationships with the men he served with at Iwo Jima.
Allie Butler 1
Allie recalls hearing FDR announce the bombing of Pearl Harbor on the radio.
Allie Butler 2
Allie describes her summer job typing up secret war documents in Washington, D.C.
Allie Butler 3
Allie remembers joining her husband on assignment and teaching airplane mechanics.
Allie Butler 4
Allie discusses secrecy, sightseeing, and writing letters to her husband.
Allie Butler 5
Allie talks about seeing news reels at the theater, rations, and the nation's sense of urgency.
Allie Butler 6
Allie remembers when her husband came home from the war and reflects on lessons learned.
Ambrose Underwood 1
Ambrose describes how he got involved with the 82nd Airborne Division as a paratrooper.
Ambrose Underwood 2
Ambrose describes combat in Normandy and the occupation of Berlin.
Ambrose Underwood 3
Ambrose continues discussing his experience during the invasion of Normandy.
Ambrose Underwood 4
Ambrose describes how he dealt with witnessing the war's casualties.
Ambrose Underwood 5
Ambrose discusses how he was treated before and after serving in the war.
Ambrose Underwood 6
Ambrose recounts his long trip home from overseas.
Ben Williams 1
Ben describes being drafted, trained, and traveling to Europe by ship.
Ben Williams 2
Ben remembers digging fox holes and working as a radio operator during the Battle of the Bulge.
Ben Williams 3
Ben describes his combat experiences in Germany and dealing with casualties.
Ben Williams 4
Ben recalls close encounters, injuries, and traveling to the Rhine River in Germany.
Ben Williams 5
Ben continues talking about his experience in Germany with an artillery battalion.
Ben Williams 6
Ben remembers visiting a Russian POW camp and going to college in England.
Ben Williams 7
Ben describes a memorable trip to Paris and returning home on the Victory ship.
Ben Williams 8
Ben talks about life after the war and reflects on lessons learned from the experience.
Bill Varnedoe 1
Bill Varnedoe discusses the firepower of a B-17 and flight strategy in maximizing that firepower.
Bill Varnedoe 2
Describing the statistics of living through WWII.
Bob Walker
Bob describes joining the Air Force and flying practice missions in Europe.
Bob Walker 10
Bob describes life after the war.
Bob Walker 2
Bob remembers flying missions over Germany and during the Battle of the Bulge in Belgium.
Bob Walker 3
Bob describes the dangers of being a pilot, recalling a time when he landed in a captured field.
Bob Walker 4
Bob talks about being taught how to escape if captured in Germany.
Bob Walker 5
Bob describes his plane "Alabama Bag" and dressing up his five-man tent in Germany.
Bob Walker 6
Bob remembers a nice nurse at his camp and continues talking about flying in the Air Force.
Bob Walker 7
Bob talks about different fighter planes used during the war and the stressful job of a pilot.
Bob Walker 8
Bob expresses his opinion of the German soldiers and describes vacation time he spent in Cannes.
Bob Walker 9
Bob talks about dealing with the enemy, a mission to bomb a town of gestapo commanders, and coming home from the war.
Clayton McKay 1
Clayton talks about his early years in the Navy and Pearl Harbor.
Clayton McKay 2
Clayton further discusses the attacks on Pearl Harbor.
Clayton McKay 3
Clayton discusses his 2nd combat experience.
Clayton McKay 4
Clayton recalls the images that stuck with him.
Clayton McKay 5
Clayton recalls the use of ammunition.
Clayton McKay 6
Clayton recalls the use of ammunition.
Clayton McKay 7
Clayton recalls a different sort of battle.
Clayton McKay 8
Clayton finishes his experiences.
Douglas Garner 1
Doug explains why he enlisted.
Douglas Garner 2
Doug discusses his experience in becoming a pilot.
Douglas Garner 3
Doug talks about meeting his flight crew.
Douglas Garner 4
Doug talks about the differences in the B-17 and B-24 bombers.
Douglas Garner 5
Doug talks about the things that help us during a crisis.
Douglas Garner 6
Doug recalls the death of a member of his crew.
Douglas Garner 7
Doug talks about meeting his daughter during his time of service.
Douglas Garner 8
Doug talks about how much he changed because of his war experiences.
Douglas Garner 9
Douglas describes the way that the Depression molded his generation.
Edward Hodge 1
Edward discusses his life before being drafted, and beginning his basic training.
Edward Hodge 2
Edward describes his father figure.
Edward Hodge 3
Edward talks about being in the last mounted cavalry to go into battle.
Edward Hodge 4
Edward continues to describe his experiences in battle.
Edward Hodge 5
Edward talks about the rescue of American prisoners.
Edward Hodge 6
Edward recalls his last time on patrol.
Elbert Jemison 1
Elbert talks about being called into duty.
Elbert Jemison 2
Elbert talks about his preparedness for war.
Elbert Jemison 3
Elbert talks about the Battle of the Bulge.
Elbert Jemison 4
Elbert discusses the treatment of prisoners of war.
Elbert Jemison 5
Elbert recalls some sad memories.
Elbert Jemison 6
Elbert talks about being an aid to a general.
Elbert Jemison 7
Elbert recalls the things that generals' aids were required to know.
Elbert Jemison 7
Elbert discusses his desire to remain affiliated with the military.
Elbert Jemison 8
Elbert talks about golf and gives his final thoughts on the war.
Eugene McMeans 1
Gene talks about how he began his military service.
Eugene McMeans 10
Gene recalls some other stories from his war experiences.
Eugene McMeans 11
Gene recalls some other stories from his war experiences.
Eugene McMeans 2
Eugene recalls the function of his ship in the Pacific.
Eugene McMeans 3
Gene talks about getting in trouble.
Eugene McMeans 4
Eugene tells how he ended up back in the Pacific.
Eugene McMeans 5
Gene talks about meeting up with his brother.
Eugene McMeans 6
Gene recalls sharing war experiences with his family.
Eugene McMeans 7
Gene describes everyone's involvement with the war.
Eugene McMeans 8
Gene talks about the generation that he really considers to be the greatest.
Eugene McMeans 9
Gene talks about his love for the water.
Fitzhugh Burtram 1
Fitzhugh recalls the way in which he entered the war.
Fitzhugh Burtram 3
Fitzhugh talks about seeing kamikaze flights.
Fitzhugh Burtram 4
Fitzhugh recalls the most terrible typhoon he ever saw.
Fitzhugh Burtram 5
Fitzhugh remembers how lucky his crew was.
Fitzhugh Burtram 6
Fitzhugh discusses the differences in WWII and the wars that have followed it.
Fitzhugh Burtram 7
Fitzhugh recalls the destruction wrought by the atom bomb.
Fred Hyatt 1
Fred talks about the beginnings of his military service.
Fred Hyatt 2
Fred recalls his "Baptism of Fire."
Fred Hyatt 3
Fred talks about being taken prisoner by German soldiers.
Fred Hyatt 4
Fred confesses to stealing food from a comrade.
Fred Hyatt 5
Fred talks about returning to the place that he was liberated from.
Fred Hyatt 6
Fred talks about dealing with his wartime memories.
Fred Hyatt 7
Fred talks about the sound of combat.
Fred Hyatt 8
Fred discusses the ever-present sense of duty.
Gabriel Chiri 1
Gabe discusses the way in which he entered the war.
Gabriel Chiri 2
Gabe talks about the ups and downs of being a soldier.
Gabriel Chiri 3
Gabe talks about providing for the prisoners of the concentration camp.
Gabriel Chiri 4
Gabe discusses his fellow veterans.
Gabriel Chiri 5
Gabe talks about his job as a soldier.
Gabriel Chiri 6
Gabe talks about how he copes with the things he has seen.
Gabriel Chiri 7
Gabe recalls the shock of the discovery of a concentration camp.
Gabriel Chiri 8
Gabe talks about dealing with the things he had seen.
Gabriel Chiri 9
Gabe talks about the thing he most vividly remembers about the war.
George Mills 1
George introduces himself and describes the way he entered the war.
George Mills 2
George recalls the way in which he was taken prisoner by the Germans.
George Mills 3
George talks about his experiences in battle.
George Mills 4
George talks about the difficulties of the Battle of the Bulge.
George Mills 5
George talks about becoming accustomed to war.
George Mills 6
George recalls thinking he wouldn't make it back home.
George Mills 7
George talks about keeping in touch with the men he fought alongside with.
George Mills 8
George talks about meeting other former soldiers in the years after the war.
George Mills 9
George talks about what he learned from his war experienced.
Gordon Cottrell 1
Gordon talks about how he entered the war.
Gordon Cottrell 10
Gordon talks about sending a letter home to his mother.
Gordon Cottrell 11
Gordon recalls his experiences as the war came to a close.
Gordon Cottrell 2
Gordon Cottrell 3
Gordon continues to describe his experiences in battle.
Gordon Cottrell 4
Gordon talks about being forced to retreat.
Gordon Cottrell 5
Gordon reflects on the ability the American military to translate Japanese codes.
Gordon Cottrell 6
Gordon talks about casualties.
Gordon Cottrell 7
Gordon talks about the images of war that stick with him, and the ways in which movies portray it.
Gordon Cottrell 8
Gordon talks about America's situation in Iraq.
Gordon Cottrell 9
Gordon continues to describe things he vividly remembers.
Harold McMurran 1
Harold talks about being drafted into the Army.
Harold McMurran 10
Harold talks about the amount of time he spent overseas.
Harold McMurran 11
Harold talks about the ways in which the war affected him.
Harold McMurran 12
Harold talks about carrying a diary in his boot.
Harold McMurran 13
Harold remembers the health concerns he had during the war.
Harold McMurran 14
Harold describes his attitude towards more recent wars in American history.
Harold McMurran 2
Harold remembers not knowing if he would end up in the Atlantic or Pacific.
Harold McMurran 3
Harold talks about his repair duties.
Harold McMurran 4
Harold describes his landing on Utah Beach.
Harold McMurran 5
Harold talks about using the 'clicker' to communicate.
Harold McMurran 6
Harold remembers the threat that Nazi sympathizers posed.
Harold McMurran 8
Harold talks about getting credit for the Battle of Bulge.
Harold McMurran 9
Harold discusses his souvenir.
Harry Ford 1
Harry talks about his role as a Command Pilot in the war.
Harry Ford 2
Harry talks about being recalled to service after WWII.
Harry Ford 3
Harry talks about other wars and his time working in the Pentagon.
Harry Ford 4
Harry talks about his life before his military service.
Harry Ford 5
Harry recalls his training in Tuskegee.
Harry Ford 6
Harry remembers the prejudice he faced in the Pentagon.
Harry Ford 7
Harry explains why he thinks one has to go to war.
Harry Ford 8
Harry talks about his sense of pride while he was not facing prejudice overseas.
Henry Arnold 1
Henry describes the way he entered the war.
Henry Arnold 10
Henry talks about doing what was needed.
Henry Arnold 11
Henry talks about the reasons he thinks America had to go to war.
Henry Arnold 2
Henry talks about the duties of a small guy in a bomber plane.
Henry Arnold 3
Henry remembers his anxiety prior to flying in a B-17.
Henry Arnold 4
Henry talks about the measures his plane had to take to reach its target
Henry Arnold 5
Henry talks about being in enemy territory.
Henry Arnold 6
Henry describes the equipment used by his flight crew.
Henry Arnold 7
Henry talks about his crew members.
Henry Arnold 8
Henry explains the name of his plane.
Henry Arnold 9
Henry tells about his extra mission.
Horace Lee
Horace talks about his enlisting into the military.
Horace Lee 10
Horace continues to describe the total impact of the atomic bomb.
Horace Lee 2
Horace talks about the way he believes the atomic bomb saved lives.
Horace Lee 3
Horace remembers the celebration after Japan's surrender.
Horace Lee 4
Horace talks about his life before the war.
Horace Lee 5
Horace talks about the heat in the Pacific, and the condition of American P.O.W.'s.
Horace Lee 6
Horace talks about losing the fear of death.
Horace Lee 7
Horace talks about Japan during WWII.
Horace Lee 8
Horace describes the way WWII made him a better person.
Horace Lee 9
Horace talks about the aftermath of the atomic bomb.
James Beckham
James talks about the reason he enlisted.
James Beckham 2
James recalls his wanting to join the Air Corp.
James Beckham 3
James talks about going overseas.
James Beckham 4
James describes some of his missions.
James Beckham 5
James continues to describe his missions.
James Beckham 6
James talks about the stingy bomb-release mechanism in his bomber.
James Beckham 7
James talks about consecutive days of missions.
James Beckham 8
James talks about D-Day, coming home, and seeing the Statue of Liberty.
James Beckham 9
James talks about how the war affected him.
James Hill
James talks about enlisting into the Navy.
James Hill 10
James talks about the Navy's superstition.
James Hill 11
James talks about what had to be done to a crashed plane.
James Hill 2
James talks about training in jujitsu.
James Hill 3
James recalls being discharged.
James Hill 4
James remembers being unsure of his brother's survival.
James Hill 5
James remembers wanting to get the war over with.
James Hill 6
James talks about the Japanese emperor.
James Hill 7
James remembers how he tried not to think too far ahead.
James Hill 8
James remembers a Mussolini look-a-like.
James Hill 9
James talks about receiving high school credit.
James Weston 1
James talks about being drafted into the 79th Infantry.
James Weston 10
James talks about getting home in time for Christmas.
James Weston 11
James tells why he thought America had to go to war.
James Weston 2
James talks about walking in the infantry.
James Weston 3
James describes being wounded in battle.
James Weston 4
James discusses the way he felt about the Germans.
James Weston 5
James details the amount of P.O.W.'s taken by his division.
James Weston 6
James talks about close encounters with bullets.
James Weston 7
James remembers the amount of time he spent overseas.
James Weston 8
James talks about a foxhole.
James Weston 9
James recalls some strong wind.
Janice Britain 1
Janice talks about going into the army.
Janice Britain 2
Janice describes her role as a psychiatric nurse.
Janice Britain 3
Janice talks about Tokyo.
Janice Britain 4
Janice describes how she never lost a patient.
Janice Britain 5
Janice describes the way men had a hard time accepting women as soldiers.
Janice Britain 6
Janice remembers how dirty dishes almost eliminated coffee nights.
Janice Britain 7
Janice details the end of her military service and beyond.
Jesse Clem Burtram 1
Jesse talks about joining the Navy.
Jesse Clem Burtram 2
Jesse describes his travels.
Jesse Clem Burtram 3
Jesse recalls kamikaze attacks in Okinawa.
Jesse Clem Burtram 4
Jesse remembers how he didn't think about the consequences of the war.
Jesse Clem Burtram 5
Jesse talks about the things that might have gotten a soldier home earlier.
Jesse Clem Burtram 6
Jesse talks about his life after the war.
Jim Kirby 1
Jim talks about fear and combat.
Jim Kirby 2
Jim remembers soldiers who became alcoholic because of the war.
Jim Kirby 3
Jim talks about writing letters to his wife.
Jim Kirby 4
Jim explains why he thinks the atomic bomb actually saved lives.
Jim Williams 1
Jim talks about being the navigator on a B-17 bomber.
Jim Williams 2
Jim recalls receiving help from locals while trying to get to Spain.
Jim Williams 3
Jim remembers where he was on D-day.
Jim Williams 4
Jim talks about being treated like family by locals.
John Butler 1
John talks about enlisting into the Air Force.
John Butler 2
John describes his job as a flight mechanic.
John Butler 3
John describes the B-24 bomber.
John Butler 4
John talks about flying missions with a movie star, James Stewart.
John Butler 5
John explains why he turned down the purple heart.
Joseph Sacco 1
Joe Sacco discusses his trek through the war and his lack of fear. He also discusses Patton and landing on Normandy on D-Day plus 6.
Joseph Sacco 2
Joe talks about being drafted into the army.
Joseph Sacco 3
Joe talks about his experience in the Battle of the Bulge and his loss of friends. He then gives a first hand account of Dachau as one of the camps liberators.
Joseph Sacco 4
Joe talks about misunderstanding the reason for war until he fought in it.
Joseph Sacco 5
He continues his discussion of Dachau and then talks about the hunger they confronted throughout Europe.
Joseph Sacco 6
He talks about where he was when he found out the war was over. He then discuses coming back home.
Joseph Sacco 7
Joseph talks about his son's book.
Malcolm Marsh 1
Malclom Marsh describes an encounter with a German tank.
Malcolm Marsh 2
Malcolm Marsh tells of coming upon a group of German soldiers, and an inexperienced Lieutenant's orders.
Terrell Nelson 1
Terrell Nelson describes his train ride across France on a 40&8 boxcar in cramped and smoky conditions.
Terrell Nelson 2
Terrell Nelson tells about inadvertently walking through a minefield.
Terrell Nelson 3
Terrell Nelson tells a rather harrowing story about accidentally stumbling upon a German unit. A brief but fierce battle ensues, during which Nelson's fellow platoon runner is hit by shrapnel from a mortar shell. Nelson is charged with rescuing him, and comes under more mortar fire.
WWII: Alabama Remembers Trailer
Trailer for WWII: Alabama Remembers


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Our new selection of braided fabric flex features high quality cotton & rayon materials. Available in a large range of colours, they are perfect to use in combination with our designer lamp shades and vintage LED Filament lamps.
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Summary: From the deepest bowel's of P.G.'s mind comes a set a humor and parody fics that are so disturbing, so outrageous, so out-of-character, so cliche, and so very downright dirty that you might just find them amusing! Warning: DO NOT TAKE THESE SERIOUSLY!!!
Categories: Movie-verse
Characters: Aragorn, Balrog, Elladan, Elrohir, Elrond, Erestor, Figwit, Gimli, Glorfindel, Haldir, Legolas, Lindir, Orcs/Uruk-Hai, Orophin, Rúmil
Genres: Humor, Parody
Warnings: AU (alternate universe), Kink, MPREG (male pregnancy), Slash (same sex pairing), Torture, Violence
Challenges: None
Open: Closed
Series - R
Other Results: 1 Challenges