text:
"I bring you a warning. Every one of you listening to my voice. Tell the world… Tell this to everybody wherever they are. Watch the Skies! Everywhere. Keep looking. Keep watching the skies!–
Ned 'Scotty' Scott — The Thing From Another World (1951)
It's that time of year once again when Movies Silently, Silver Screenings & One Upon a Screen host a momentous event…. The Classic Movie History Project Blogathon 2016 which will begin August 5th -10th, 2016.
Science fiction is a genre of speculative fiction dealing with imaginative concepts such as futuristic science and technology, space travel, time travel, faster than light travel, parallel universes and extraterrestrial life. Science fiction often explores the potential consequences of scientific and other innovations, and has been called a "literature of ideas. –Wikipedia definition of Science Fiction
This event always promises to be an epic endeavor as there are so many interesting themes and subjects to cover. I am excited to be participating once again with these fabulous hosts who make it possible for all of us to contribute to a wealth of classic film history goodies to devour. Now listen folks, don't get frightened off! You cast of exciting unknown readers… This has become a real project for me, a work in progress that will unfold over the next several weeks. For the purpose of The Classic Movie History Project Blogathon 2016, I offer an overview that will be a lead in for the entire decade of 1950s science fiction cinema conquering it year by year in separate articles. As I started delving into this project, it began to grow larger and larger as if Jack Arnold and Bert I. Gordon themselves compelled me to GO BIG!
In order to review an entire genre of such an influential decade and do the treatment it so rightly deserves, I realized that I needed to spread it out as a series. Re-visiting these beloved movies that inspired my childhood with wonder and sometimes tapped into my own authentic fears, I fell in love all over again. And though I tend to gravitate towards the classical Gothic horrors that are steeped in mythology, the supernatural and the uncanny, I can't help but feel my mind expanding by the iconic themes that emerged from 1950s science fiction! So I'll be publishing each year as individual posts or chapters from 1952 on… over the next several weeks or so instead of all at once. Talking about all the films I mentioned here and so many more films & things to come!
It's a collection–a decade of the sci-fi genre, sub-genres and it's hybrids– some eternally satisfying because of their remarkable ability to continuously shine a light on fascinating & mesmerizing fantasy stories. Well-written and adapted as visual narratives and surreal stories by beloved visionaries who set out to reach inward and outward through all of us dreamers and thinkers.
There are also those lovable Sci-fi films that are charming and wonderfully kitsch. And some… are just downright so, so, soooo awful their… awesome!
That's what makes so many of these diverging films cut through the cross-sections to become cinematic jewels & memorable cult favorites!
There are many films that I'll cover more in-depth, some are the more highly polished masterpieces that have lingered for decades with us as adult children who grew up watching them on a rainy afternoon on televisions with knobs that only had 9 channels, and if you were lucky you didn't snap the knob off every 6 months! Growing up in New York I had Chiller Theater, on local channel 11 or Creature Features on Channel 5, and Fright Night on Channel 9. That's how I fell in love, and got my fill of the treasures of films & television anthology series that were lurking out there destined to leave long-lasting impressions on so many of us!
Chiller Theater
Fright Night WOR
Or back in the day, you went to the Drive-In theater to explore in the back seat of your pop's Chevy Impala double feature, and it was an invigorating and entertaining experience and you didn't even have to get out of your pajamas.
You could spend all day in a musty theater festooned with captivating promotional lobby cards and colorful posters. Too bad, I wasn't of the age to witness William Castle's ballyhoo he strategically placed at certain theaters for that interactive live experience, EMERGO, PERCEPTO! You could take in a bunch of the latest scary films, sometimes double & triple features while sitting on sticky red velvet seats that smelled like hot buttered popcorn and week old spilled Pepsi. A box of Milk Duds in hand and the faint whiff of air conditioner freon at your back. You'd enter the movie theater in the bright light of a sunny Saturday afternoon only to exit into the dark of night, tired and filled with wonder, awe, and okay maybe looking over your shoulder a few times. Some films were big-budget productions, that contained serious acting by studio contract players, terrific writing that blended deep thoughts and simple escapism pulled from some of the best science fiction, fantasy & horror literature, and adapted screenplays, scares, and witty dialogue and cinematography that still captivates us to this day.
Well… sure some were B movies that have now sustained that Cult film charm and cheesiness, and some… are just downright pitiful, laughable guilty pleasures… and a bunch even came with really neat 3D glasses!
Attack of the Crab Monsters (1957).
Paul Birch is the alien vampire Paul Johnson in Roger Corman's Not of This Earth 1957.
The Brain from Planet Arous 1957* Attack of the Crab Monsters 1957* The Killer Shrews 1959* The Giant Claw 1957 *Beast From Haunted Cave 1959 *The Monster from Piedras Blancas 1959 *Invasion of the Saucer Men 1957 *The Monster that Challenged the World 1957 *Not of this Earth 1957* The She-Creature 1956* The Man Who Turned to Stone 1958* Invisible Invaders 1959* Attack of the 50 Foot Woman 1958* The Hideous Sun Demon (1959) * Monster on the Campus 1958* The Unknown Terror 1957* Creature with The Atom Brain 1955 * The Unearthly 1955 * From Hell it Came 1957.
It's also important to mention some of the ubiquitous actors who graced both the great & guilty pleasure flicks, you'll be seeing a lot of in the following chapters like John Carradine * Ed Nelson *Allison Hayes *Paul Birch *John Agar *Hugh Marlowe*Peter Graves *Richard Denning *Richard Carlson *Faith Domergue *Mara Corday *Les Tremayne *Marie Windsor *Morris Ankrum * Arthur Franz *Kenneth Tobey* John Hoyt * Whit Bissell and of course Beverly (kicks-ass!) Garland!
One thing is for certain, each film is relevant and all have a place in the 50s decade of Sci-fi / Horror & Fantasy!
So come back and read a little at a time and get some thrills even while you're sitting under the hair dryer… Do people still do that today? I need to get out more…
This 1955 hair dryer is just begging to be a space-age helmet!
It all started with Georges Méliès 1903 fantasy A Trip to the Moon
Le Voyage Dans La Lune 1902 – Georges Méliès.
As early as 1920 there was the German expressionist film dealing with the arrival of a menacing alien visitor from the planet Algol giving actor Emil Jannings a machine that awards him unlimited powers. ALGOL aka POWER 1920 directed by Hans Werckmeister —
"That which you believe becomes your world."
–Richard Matheson from 'What Dreams May Come'
Science Fiction emerged out of the "Age of Reason" literature and reflected a merging of myth and historical fact. Stories filled with an imagination that had no boundaries. While Science Fiction is a literary movement that can be a separate study all its own, storytellers who grasped the concepts of science fiction who questioned the endless possibilities, and the far-reaching machinations of brilliant minds, this project is focused on the history of 1950s science fiction cinematic and all it reveals. Science Fiction cinema flirted blatantly with ideas and images of a world that reached beyond the known and contemplated aloud, fantastic stories as early as the silent era. Consider Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde, re-envisioned time and time again.
John Barrymore lifts the dark conflicting tale of the inward monsters off the pages of Stevenson's book. Barrymore so fluently moved through the silent stage, revealing that we all just might be harboring in our subconscious hidden dark and primal desires. Unleashed by a concoction, a seduction of science creates a fiend! Dr. Jekyll & Mr. Hyde (1920)
The odd yet visually stunning Russian spectacle Aelita Queen of Mars (1924) aka Revolt of the Robots.e
There were a few early visions of fantasy, magic & Science Fiction films from all around the world- At 3:25 aka The Crazy Ray (1924) Directed by Rene Clair-a scientist invents a ray that makes people fall asleep where they stand! In the German film Master of the World (1934) (Der Herr der Welt) where a German scientist wants to create an army of Robots to do the dangerous work of laborers so when he is told it's too risky he goes mad and it's too late the machine has a mind of its own. It features really cool electronic chambers and more!
And Transatlantic Tunnel (1935) Scientists construct a tunnel under the ocean stars Richard Dix, Leslie Banks, and C. Aubrey Smith.
Metropolis 1927 the dystopian masterpiece by director Fritz Lang was the beginning of the fascination with exploring the fantastic and our unbounded imaginations on film, it's remarkable set design, imagery, and narrative sparked the Science Fiction genre in a big way— spanning a decade upon decade, in particular, revived in the 1950s!
The first influential science fiction film by Fritz Lang created a dystopian society in Metropolis in 1927. Its influence has maintained its powerful thrust for decades. An inspiration for Ridley Scott's neo-noir sci-fi masterpiece Blade Runner (1982)
"Man is the unnatural animal, the rebel child of nature, and more and more does he turn himself against the harsh and fitful hand that reared him"-H.G.Wells
Charles Laughton is superb as H.G. Wells' Dr. Moreau a sociopathic sadist/scientist with a god complex whose profane experiments on animals and humans tortures them in the 'house of pain' trying to create a hybrid race he can hold sway over on his private island hell! Science has never been more evil! Island of Lost Souls (1932)
Then there was the 1936 adaptation of H.G. Wells' Things To Come (1936) directed by William Cameron Menzies and starring Raymond Massey as Oswald Cabal, Ralph Richardson as The Boss, Margaretta Scott as Roxanna/Rowena and Cedric Hardwicke as Theotocopulos.
"What is this progress? Progress is not living. It should only be the preparation for living."
Flash Gordon and similar serials provided superheroes for generations of young people in the 30s & 40s, planting the seeds for the future that would give us the Star Wars legacy.
Audiences between the World Wars preferred horrors of a Gothic nature– James Whale's Frankenstein 1931 & Bride of Frankenstein 1935, as they helped exercise demons conjured up from the 19th & early 20th centuries.
The electrical secrets of heaven, the lighting, the elaborate sets designed by genius Kenneth Strickfaden with his lights throbbing gizmos flashing and zapping, the creepy atmosphere of murky tones. The consummate Universal monster movie with iconic scenes introducing a new face, Boris Karloff who would become the great father of terror stories …
What's on that slab? "It's Alive, It's Alive!…" those monumental words that remain ingrained in our consciousness. Colin Clive becomes hysterical as he has creates life from death, but that life would become a whole new ethical, moral, and imposing dilemma for Dr.Frankenstein. A horror film with strong science fiction/fantasy tropes. And the laboratory as gorgeous set pieces would become a staple of the science fiction realm.
The 1950s Science Fiction genre took root with its profound contribution to our collective consciousness AS a genre its vision & breadth possessed quintessential & ever-lasting sociological and psychological metaphors, iconic tropes, and striking imagery.
The splitting of the atom, ushering in the atomic age, and the collective anxiety most definitely was the catalyst for many of the movie fantasy stories known as the 1950s Sci-Fi film.
"But no matter what else it might be, what makes a science fiction film science fiction is the fact that it is, in some sense, about science—and not only science but futuristic science. By that I mean that science fiction movies deal with scientific possibilities and technologies that do not exist yet but that might exist someday. Science fiction is the realm of the not-yet." — "Cult Science Fiction Films" by Welch Everman
Ridley Scott – (Alien 1979, Blade Runner 1982) "When you come to the second World War You've got a very specific enemy. You know what that enemy is, It's there for all the wrong reasons and it should be prevented…. Then you got the next phase which is The Cold War again which is to do with paranoia . But I think real, it's real. Movies started to dip into that."
"The Splitting of the atom…. forces that can only be explained to us by these guys in white coats… All of a sudden the guys in white coats became these simultaneously kind of rock stars and the most evil thing you could imagine."
In a scene from The Atomic City 1952– The mother's child sitting at the kitchen table with his breakfast "If I grow up do you know what I'm gonna do?" The mother turns to him, leaving her scrambled eggs on the stove, and corrects him nervously, "It's when you grow up, not if…"
The Atomic City 1952 trailer
Duck & Cover 1951 classic propaganda film
From the short instructional film Duck and Cover "But no matter where they go or what they do they always try to remember what to do if the atom bomb explodes right then!" (the kids suddenly fall into the brick wall. The narrator says ) It's a bomb DUCK & COVER!
James Cameron – "All of our fate as human beings, our destiny seems bound up in our technology and our technology is frightening. It's Terrifying!"
Steven Spielberg- "So there was a great deal of anxiety in the air. It was not just fear of being beaten up by the local bully. But the fear was being NUKED!… But we almost pushed a button on each other during The Cuban Missile Crisis…… I was absolutely prepared for Armageddon and these movies from the 1950s and early 60s played on those fears. And these movies were all metaphors for those fears. "
George Lucas- "I would say that there was a certain amount of anxiety about that I mean I grew up right in the very heat of that. DUCK & COVER drills all the time… We were always hearing about the fall out shelter. About the end of the world, issues that were always going on about how many bombs were being built. The Cold War was always in the media."
From The Twilight Zone "The Shelter" season 3 episode 3
1950s Sci-Fi films represented a conservatism or 'reactionary wing' that seems consumed by a motive to emphasize the values of 1950s America post-WWII, in the midst of a McCarthy era witch hunt that prevailed fueling our fears that seeped into many of the Sci-Fi narratives on screen and in literature. Reflecting the growing internal struggles within American society and the developing mistrust about Soviet aggression and anyone and anything perceived as subversive.
"Are you now or have you ever been a member of the Communist party?"
Some films that reflected the paranoia of the period were well regaled by a Hollywood studio system that was itself at the center of the controversial House Un-American Activities Committee (HUAC) targeting screenwriters and actors as 'communist sympathizers' and no one could be trusted. -Just like Invaders from Mars 1953, Invasion of the Body Snatchers 1956, X the Unknown 1956, The Incredible Shrinking Man 1957, and I Married a Monster From Outer Space 1958.
In 1947, in Roswell New Mexico the military reported that they have a UFO in their possession. The phenomena of sightings of UFOs would continue throughout the 1950s, though agencies were fully prepared to explain away the reports. Yet the public had a hunger for and fascination with the possibility of extra-terrestrials.
As Phil Hardy's insightful take on the genre, all this manifested in a way that the Science Fiction films of the 1950s 'supplanted horror as the genre that dealt with fear and paranoia." The films expressed a very realistic look at science within the atomic age, and shed the shadows and expressionism of the earlier Gothic horrors and while not all scientific fact, tried to embrace a world of possibility.
The Flying Saucer 1950 begins the momentum for the decade of Science Fiction cinema's love affair with unidentified objects and begins to round the edges of space crafts from other worlds that aren't our American sharp and phallus-shaped rockets!
DESTINATION MOON 1950 was featured in COLOR BY TECHNICOLOR. Being hailed the 2001, Space Odyssey of its time, it attempts to portray a realistic trip to the moon. Phil Hardy calls Destination Moon 1950 'a sober celebration of man's imminent conquest of space that dominated the decade.'
Destination Moon did attempt to accurately portray a trip to the moon given the technology and knowledge that was stuck in 1950.
Then we shot past the moon in the cinema and went straight to the red planet with Flight to Mars 1951!
Themes and metaphors that emerged from anxiety about the atom bomb, radiation fallout, the advent of modernity, the space race and the wanderlust to conquer outer space, interplanetary warfare, military vs. science hubris, science meddling with nature, fear of science and technology, invasion anxiety, continued fear of otherness, deviant (in terms of counter-culture not exclusively moral judgment) subversion and xenophobic nightmares.
Sometimes we were even married to a monster from outer space and didn't even notice much of a difference except for the lack of small talk! Here's Tom Tryon and Gloria Talbott in I Married a Monster from Outer Space 1958.
Director Howard Hawk and screenplay by Charles Lederer, created a striking science fiction masterpiece of film noir ambiance with its chilling back lit set pieces- The Thing From Another World 1951, adapted from John W. Campbell's story 'Who Goes There?', other films that followed the path of paranoia — Invaders from Mars 1953, War of the Worlds 1953, It Came from Outer Space 1953, It Conquered the World 1956 & Invasion of the body snatchers 1956.
There were also science fiction films that rang the warning bell about cosmic calamity and catastrophic world coming to an end, annihilation fantasies like When Worlds Collide 1951.
War of the Worlds 1953 and When Worlds Collide 1951 had as Phil Hardy states, 'religious dimensions' that accused us of bringing about catastrophic punishment because of our misdeeds and transgressions.
H.G. Well's view of Martian invaders created for the public consciousness the idea of destructive beings from another world. It was a great reflexive move for those science fiction films to portray aliens that were sympathetic, yet non-humanoid in appearance. Most Sci-Fi films show aliens as menacing, not only destructive but dangerous because they also wanted to keep us as captives, zap our resources and colonize our planet, sometimes even take our women, oh god no unhand Faith Domergue you pants-wearing Mutant!
"Is that a fireball or something?"
Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wise's The Day the Earth Stood Still 1951 which has remained one of the best regarded science fiction films of all time. This is one of the rare occasions when the alien Klaatu played beautifully like an intricate clock by the chiseled face, tranquil speaking Michael Rennie is benevolent, bringing with him a sincere and dire warning about earth people's course and the future of their citizenship if they don't relent about the proliferation of atomic weapons. There were several well-intended alien visitors who were met with hostilities as with, Klaatu (Michael Rennie ) in Day the Earth Stood Still 1951, and The Man From Planet X 1951.
Many films, even the low-budget excursions dealt with our primal fears of alienation, estrangement & loss of identity i.e.,(communism at its core, the ramifications of otherness) nothing hits home more than Invaders from Mars 1953, and the quintessential loss of self and individualism in Don Siegels' Invasion of the Body Snatchers!
"They would change into people who hate you!"
Steven Spielberg talks about the impact of Invaders from Mars 1953, "It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you!"
I can attest to the persuasion these films could have over the burgeoning imagination of a child, especially one like me who felt very much like an outsider as a kid. One night, as sure as my name is MonsterGirl, I went home, looked at my parents, decided they had been switched by aliens, and ran out of the house, walking around the block for at least an hour before I convinced myself that I was being ridiculous. Or was I? These themes did have a not-so-subtle impact on a young impressionable mind who could easily question the world around them. Who could you trust? Would believe you me anyway?
There is the outsider narrative, diminishing human forms as in Bert I. Gordon's Attack of the Puppet People 1958 where obsessed and lonely puppet maker John Hoyt loses his marbles. Although mad-bad science has shrunk down people before the 1950s in The Devil Doll 1936 and in the hands of crazed Albert Dekker in Dr. Cyclops 1940.
There is the quintessential existential crisis, the beautifully thought-provoking film by director Jack Arnold starring the eternally transcending man Grant Williams in, The Incredible Shrinking Man 1957.
And of course, there is the matter of GIGANTISM!
Giant insects, sea creatures, and people who ran around half-crazed and scantily dressed were a by-product of the atomic age!
George Lucas —"Out of that fear came I think a lot of the monsters which you mess around with stuff and you're gonna unleash this unknown monster!… it's making tangible the unknown… A lot of that has to do with the mystery of this silent death that comes along with it that nobody knows exactly what it is or where it came from or can't see it, can't touch it. Well, let's make it easier to deal with by making it a giant monster."
Some films show the ascension from violence & hyper-masculinity, Women as professionals & bold heroines who didn't shrink as hysterical victims. Female-dominated civilizations (Cat- Women of the Moon 1953, Queen of Outer Space 1958, Missile to the Moon 1958, Fire Maidens from Outer Space 1956, that threatened to maniacally seduce & subsume male voyagers, dressed by 5th Avenue are outré chic. Wanton warriors & nubile space maidens who often never saw the male species before or wanted to destroy them altogether!
A tagline reads "SEE-Astounding she-beasts of Venus!"
In Queen of Outer Space 1958, the masked disfigured Queen Yilana (Zsa Zsa Gabor) imprisons the men who crash land on her planet, intending to annihilate the earth with her beta disintegrator, though her beautiful subjects revolt in the name of love.
Mark Hamill –"We sometimes imagined other planets as paradises…. with girls!!! they looked more like Hollywood starlets than space aliens, anyway, they were eager to please. They danced their music their leotards were so Moderne! like Greenwich Village in outer space." referring to Cat-Women of the Moon 1953.
"May we serve you, earth men?"
"You're the first man I've ever seen!" Carol Brewster as Alpha is mesmerized.
"Step on it, and don't spare the atoms!" from Abbott & Costello Go to Mars (1953).
"Their dance, their music, their leotards were so Moderne!"
There's nothing worse than a space Queen–The Lido (K.T. Stevens ) and one of her maidens in distress…
Mark Hamill narrates the wonderful documentary written and directed by Richard Schickel Watch the Skies! Sci-Fi, the 1950s and Us presented by Turner Classic Movies also remind us that "50s science fiction may have shot at the stars but the dialogue often remained earth bound tied up with the battle of the sexes." Many prevailing sub-texts were also love stories, and soap operas involving relationships between men and women. They would create love stories in space!
Project Moonbase 1953 Donna Martell as Colonel Briteis (bright eyes?).
Rocketship X-M (1950) starring Lloyd Bridges and Ossa Massen.
Cameron Mitchell plays Steve Abbott in Flight to Mars 1953, who tells Marguerite Chapman as Alita a fellow scientist/astronaut, "I think you're a prize package and very feminine."
There is always time for romance in outer space!
There were menaces from without, menaces from within. The ordinary world transformed into the monstrous. There were warnings from benevolent aliens and aggressive attacks by aliens who wanted to colonize our planet.
Sometimes the warnings or threats came from disembodied heads and brains, like Donovan's Brain 1953, Fiend Without a Face 1958, and The Brain from Planet Arous 1957.
Indie filmmakers introduce teenagers as both heroes & monsters. Many films were horror/sci-fi hybridizations. And by the end of the decade, we have left a legacy of impressive productions that remain timeless masterpieces, the cult grade- B Sci-Fi picture with their indelible charm and kitsch emblems, and the true stinkers that are so bad there too good not to appreciate. Sublime, thrilling, provocative & yes campy!
There were collections of stylized works by Jack Arnold, Bert I. Gordon, Edward L. Cahn, and one indie auteur who showed us how to make a memorable movie on a shoestring budget and also launched many a career, the inimitable and grand Roger Corman. And of course those guys at American International Pictures (AIP)
Within the 50s decade shedding the Gothic themes of the 30s & 40s, the poetic shadow plays of Val Lewton, and 1950s Sci-Fi films had a pre-occupation with the modern world and mostly all the central menaces were transformed into non-human threats that we not only couldn't empathize with but were revolted against as dangerous, vicious, insidious and potentially nihilistic in vision, they were seen as only a threat to our humanity and ultimately would lead to our destruction.
Within Sci-Fi, there are so many films that are complex hybridizations of horror/science fiction /fantasy and have become too insurmountable to dissect or decipher all the nuances between the various free-floating genres. Writer critic historian Robin Wood in his Hollywood from Vietnam to Reagan.—wagers that "the horror film's radical potential lies in the fact that 'the true subject of the horror genre is the struggle for recognition of all that our civilization represses or oppresses' Jancovich states that the monster "must therefore be seen as a profoundly ambiguous figure which challenges social norms and so reveals society's repressive monstrosity."
This theme is attached to McCarthyism that showed up as coded narratives in the more highly produced Sci-Fi films- "the myth of Communism as total dehumanization—accounts for the prevalence of this kind of monster in that period" -Mark Jancovich -Rational Fears- American Horror in the 1950s.
We can't forget contributions made by the maestros in the visual effects department, direction, art direction, and cinematography from George Pal, William Cameron Menzies, and Ray Harryhausen.
20 Million Miles to Earth (1957) Ray Harryhausen's Ymir from Venus.
It Came from Beneath the Sea (1955) Ray Harryhausen's The Kraken
Cinematographers who brought these visual narratives & landscapes to life- just to name a few!
Clifford Stine (It Came from Outer Space 1953, This Island Earth 1955, Imitation of Life 1959, Spartacus 1960) Sidney Hickox (Them! 1954, The Big Sleep 1946, Dark Passage 1947, White Heat 1949), John F. Seitz (Invaders from Mars 1953, Sullivan's Travel's 1941m Double Indemnity 1944, Sunset Boulevard 1950), Russell Harlan ( The Thing from Another World 1951, Red River 1948, Witness for the Prosecution 1959 To Kill a Mockingbird 1962) George Barnes (War of the Worlds 1953, Rebecca 1940, Spellbound 1945) Leo Tover (The Day the Earth Stood Still 1951, Hold Back the Dawn 1941, The Snake Pit 1948, The Woman on the Beach 1947, The Heiress 1949, Journey to the Center of the Earth 1959) Ellsworth Fredericks (Invasion of the Body Snatchers 1956, Hold Back the Night 1956, The Stripper 1963, Mister Buddwing 1966).
And just as key to the atmosphere and attitude of the films were the musical contributions which defined that certain feel of chills and excitement, screwball antics and off-beat percussion that filled up your head with pulsing visions of laser beams and other-worldly noises that ran up your spine like a finely coiled wire resonating the confluent sounds of the cosmos! Geesh that was a mouthful!
There were composers who masterfully underscored some of the BEST films and even the worst!, Dimitri Tiomkin * Bronislau Kaper * Bernard Herrmann *Hans J. Salter and Henry Mancini to name a few.
Instrumentalist Clara Rockmore mastered the Theremin which had a cosmic, universal vibe that was, well out of this world!
The Theremin is an electronic musical instrument created by Russian inventor, Léon Theremin controlled by the performing thereminist who makes the dulcet eerie tones by manipulating the two metal antennas that respond to the hand movements which influence the oscillations or frequency with one hand and effecting the volume with the other hand.
Popular were the films that dealt with the hubris of science that ultimately manifested monsters. There were even pants monsters, yes! pants monsters…! The burning sun turned him into a hideous fiend, but he still had time to put on those Haggars casual men's trousers!
There was a running sentiment —the notion of us against them, and even at times when not working together to fight a common enemy- you'd see the military vs science… And sometimes, though almost always male hero driven, there emerged some anti-damsels, all-powerful women who broke the cliched mold of the helpless hysterical female and arose as smart, intellectual (a socially constructed gendered male quality), mindful, and fearlessly driven woman with guts and composure even if it was to hold off from laughing at Paul Blaisdell inside that cucumber monster from Venus.
Roger Corman's It Conquered the World (1956) The Venusian Cucumber.
Just look at Julie Adams as Kay Lawrence in Creature from the Black Lagoon 1954, and Joan Weldon as Dr. Patricia Medford in Them! 1954, Beverly Garland as Dr. Andrea Romar in Curucu, Beast of the Amazon 1956 & and her gutsy Clair Anderson in It Conquered the World 1956, Tina Carver as Dr. Terry Mason in From Hell It Came 1957 and Faith Domergue as Dr. Ruth Adams in This Island Earth 1955 & Prof. Lesley Joyce in It Came from Beneath the Sea 1955, and Lola Albright as Cathy Barrett in The Monolith Monsters 1957.
Some sci-fi films were visually surreal landscapes or existential masterpieces such as William Cameron Menzies's Invaders From Mars 1953 or Ib Melchior's The Angry Red Planet 1959 and Jack Arnold's magnificent adaptation of Richard Matheson's The Incredible Shrinking Man 1957.
The Angry Red Planet (1959) The Rat Bat Spider puppet monster!
Grant Williams sails into the radioactive mist in The Incredible Shrinking Man 1957.
Invaders from Mars (1953) Jimmy Hunt awakens to a UFO crashing into the sand dunes.
"To sleep perchance to dream"-Hamlet-William Shakespeare
This dream-scape is a visual masterpiece, with the appearance of the sublimely brilliant Finnish painter Hugo Simberg, ( I happen to get permission from The National Museum of Finland to use Simberg's 'At The Crossroads' as the cover of my album Fools & Orphans) thanks to the art design by visionary William Cameron Menzies!
A scene from Invaders from Mars (1953)
It is absolutely true about one thing— that it's wholly complex to begin dissecting what makes a film solely and definitively Science Fiction and what constitutes it being a hybridization of horror & fantasy. There are way too many that fall right on the gray line that either exists in the middle or transects both themes at once.
Vincent Price can't get that pesky Tingler off his arm in William Castle's terrific horror/sci-fi extravaganza equipped with buzzing chairs-The Tingler (1959).
For example, I am covering William Castle's The Tingler 1959, because, while the central terror surrounds a monstrous 'horror movie themed monster' a creeping fiend that lives inside us all and grips our spines the moment we are in abject fear, it is discovered by scientific and medical research. One could say the film is also a crime drama. There are too many nuances and parameters that intersect. James Whale's adaptation of Mary Shelley's Frankenstein 1931 is called a Monster movie by Universal and by fans of all generations. But it falls into the deep well of hybridization as so much of it focuses on the very philosophical questions around scientific hubris, the creation of human life, and the question of god, ownership of one's identity, and what is monstrous.
"A lot of science fiction films are also horror films in which monsters are spawned by scientific experiments, but not all horror films are science fiction, because science fiction does not deal in the supernatural. Science fiction takes place in the realm of the not-yet; supernatural horror films operate in the realm of the impossible." — "Cult Science Fiction Films" by Welch Everman
The enormous influence that Science Fiction cinema had long-lasting effects on the advent of television. Just look at Rod Serling's Fantasy/Sci-Fi anthology series which aired on CBS from 1959-1964. The show came in at the end of the decade. Stories that were infused with the themes of the 50s and set the tone for future decades to come. The Twilight Zone was groundbreaking and thought-provoking, dealing with issues of war, class, and race, it was a socially conscious program that constantly tried to remind us of our humanity. The decade of 1950s Science Fiction also bled into the mindfulness of my favorite early 60s science fiction anthology series The Outer Limits.
The Zanti Misfits-one of the many fabulous Outer Limits monsters!
—There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, and make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to – The Orwellian Control Voice from The Outer Limits anthology television series aired from 1963-1965.
Mark Jancovich writes "Again and again, the threats which distinguish 1950s horror
do not come from the past or even from the actions of a lone individual , but are associated with the processes of social development and modernization. In this period, it is the process of rationalization which is the threat, and in this way horror texts were at least as concerned with developments within American society as they were with threats from without… Here rationalization is understood as the process through which scientific – technical rationality is applied to the management of social, economic and cultural life…
… this new system of organization was seen by many as inherently totalitarian system which both created conformity and repressed dissent."
Vincent Price fights off zombies from a plague that wiped out most of the human race in Richard Matheson's adapted screenplay from his story I Am Legen- The Last Man on Earth (1964)
The outsider narratives– were illustrated as contrasting and conflicting to accepted norms, we see this with Richard Matheson's writing (I Am Legend which became Vincent Price's agonizing journey as The Last Man on Earth 1964, and later The Omega Man 1971 and Jack Arnold's films involving "the reoccurring preoccupation with alienation, isolation and estrangement" -Jancovich- seen in Creature From the Black Lagoon 1954 and The Incredible Shrinking Man 1957.
Grant Williams's protagonist Scott Carey becomes engulfed in a glittery mist of atomic dust particles in The Incredible Shrinking Man 1957 the film exudes anxiety about his diminishing masculinity by not only losing his literal size and his physical height but he loses his maleness as a husband and as a regular man. This estrangement becomes a journey of his eternal soul and its place in the vast unknown other world.
Grant Williams is feeling 'literally' like such a small man.
There would be films that embrace the dystopia narratives, and curiosity with technical advancements like robots!
Fritz Lang's iconic robot in Metropolis (1927).
Robby the Robot and Walter Pidgeon as Morbius in George Pal's take on William Shakespeare's The Tempest as Forbidden Planet 1956
These Science Fiction/Fantasy films have left a deep and abiding impression on so many of us. Whether you grew up actually seeing them for the very first time, or becoming a new fan who is excited to embrace the heart and soul of a genre that made you think beyond what if? Either way, Science Fiction is an exploration of our imaginations, both glorious and often terrifying but it's a genre that is here to stay, and the 1950s in particular truly rang the alarm bell that is still reverberating today!
Added to the mix in many of these film favorites was the essential mechanism of 'not being believed' added to the fear and paranoia of the moment!
The Face of Paranoia
Invasion Anxiety!
FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer.
I see you with my million eyes!
Hey, big fella got a light!
The theremin 'the dulcet tones' that wavered throughout sci-fi and beyond!
'The modern world.'
It's intermission time! Head out to the snack bar for some 50s refreshments!
Destination Moon
Directed by Irving Pichel and producer George Pal along with a screenplay by Robert Heinlein took a very documentary approach to the narrative and the landscapes. The film stars John Archer as Jim Barnes, Warner Anderson as Dr. Charles Cargraves, with Tom Powers and Dick Wesson. The film was a critical success and revived the Sci-Fi genre.
Destination Moon 1950 was an attempt to show a serious technical side to space travel. based on what science actually knew at the time. Actually it was in response to a spread that ran in Collier's Magazine of series of paintings done by artist Chesley Bonastell of gleaming space craft.
Steven Spielberg had said of the picture, "DESTINATION MOON is a scientific attempt to create suspense based on no bad guys no villains and no aliens.
Similar to almost Apollo 13 (1995) or Marooned 1969)
George Lucas says "At the time it was a very provocative idea because nobody had ever seen anyone go to the moon."
Though it's been called the precursor to 2001 Space Odyssey, Stanley Kubrick never admitted to having seen the movie. Which is highly possible, and given his genius we'll take his word for it.
In the midst of the Cold War, the film reflects America's desire to conquer, and according to the generals in Destination Moon, the moon would be the ideal location for a strategic military base of operations. And thus the race for America to get there first. There's also a conflict seen as there were those who would embrace the new technologies and those who saw the impending modernity as a threat or a 'bad thing'.
Pichel and Pal wanted to situate this film farther away from the fantastical science fiction 'soap opera' serials of the 1930s. Physicists and astronomers were consulted in order to stay true to the realistic view Heinlein, Pichel, and Pal desired as their vision of the future. They also used striking paintings by Chesley Bonestell to imagine the gorgeous lunar landscapes along with designer Ernest Fegte who create the realistic cratered look of the Moon.
The film features the first lunar landing that was envisioned as realistic and not melodramatic or surreal. The crew led by actor John Archer manage to land on the Moon but they run out of fuel, and they seem doomed to be stranded. They lose all the excess weight in order to get the ship space worthy again, but till they are over the weight limit. In a noble act of courage and sacrifice Dick Wesson (Tom Powers) figures that he can remove his cumbersome pressure suit and re-enter the ship a lighter and better man in order to save the rest of the crew…
Dr. Charles Cargraves: You can't buck public opinion; I've tried. Have you seen this?
[Newspaper headline: MASS MEETING PROTESTS RADIOACTIVE ROCKET]
General Thayer: That isn't public opinion – it's a job of propaganda!
Jim Barnes: You're almighty right it is. Manufactured and organized – with money and brains. Somebody's out to get us.
The Flying Saucer
Directed by Mikel Conrad, stars Mikel Conrad as Mike Trent, Pat Garrison as Vee Langley, Hantz von Teuffen as Hans, Lester Sharpeas Col. Marikoff Roy Engel as Dr. Carl Lawton and Denver Pile as Turner! Because we feared the Russians in the early 1950s much of the paranoia around UFO sightings was connected to those pesky Reds! When CIA secret agent Mike Trent tracks a flying saucer to Alaska he finds out that it is a ship built by scientist Dr. Carl Lawton who hopes to sell it to the Americans!
Pat Garrison and Mikel Conrad-50s cool!
Col. Marikoff: Mr. Trent, you're giving us a great deal of trouble. Why didn't you stay in New York with your drunken friends of the night club?
Mike Trent: I sobered up.
Prehistoric Women
Laurette Luez as Tigri.
Prehistoric Women would find a resurgence in the 60s! Here's British actress Martine Beswick in the 1966 movie with the same title!
Directed by Gregg C. Tallas, (Siren of Atlantas 1949) offers an adventure sci-fi fantasy film. Prehistoric Women stars Laurette Luez as Tigri, Allan Nixon as (Mesa of Lost Women 1953, Pickup 1951) Engor, Joan Shawlee as Lotee, Judy Landon as Eras, Mary Lynn as Arva, Jo Carroll Dennison as Nika, Kerry Vaughn as Tulie, Tony Devlin as Rulg, James Summers as Adh, Jeanne Sorel as Tana, and Janet Scott as Wise Old Lady.
As Bill Warren puts it in his wonderful series Keep Watching the Skies published by the awesome McFarland Press-Prehistoric Women "Were this picture not so naive, it would seem more sleazy than it does. It's not good in any way, but has a certain daffy charm because of its unsophisticated unbelievability."
The Commentator: "And Engor called it Firee, which was his word for Fire."
The film is narrated documentary style because the cast are primitives who are Amazonian cave-women and had little to no dialogue, it just adds to the laughable style and god-awful Cinecolor production. I'd like to know how they got a turkey vulture to wear a mask poor thing, the film is so blurring it's hard to tell what the hell is flying up in the prehistoric blue sky… scourge of the skies indeed! Still, prehistoric films, though considered mostly adventure stories seem to be included in books on the Sci-Fi genre. Though it could also easily be branded as a very cheap sexist exploitation romp!
Look it's a flying dragon the scourge of the skies!
Bill Warren cites a review from the Monthly Film Bulletin: "They assert feminine superiority ruthlessly, setting their captives to hard labour, clubbing them intermittently and cutting off their escape… {Engor-} (the intelligent troglodyte who invents fire) uses a flaming torch to destroy a giant winged dragon (a disguised turkey vulture they must have tortured off set by putting fake ears and beak on it) that threatens their encampment {and}the girls are stunned with fear and admiration and surrender unconditionally."
Tigri and her clan hate men but realize that they are sort of needed for some things, so they capture a bunch of fellas and try to force them to become their mates. But when Engor, escapes and discovers fire gets re-captured and not only slays the "flying dragon the scourge of the skies" but uses the fire to fight off the ugly brute who threatens their lives Tigri has a change of heart and all is right with the primitive world again. The women start running around panicked and screaming hysterically and the men are once again in charge… it's ludicrous.
This giant is a real 9-foot giant… named Guadi in the film is Johann Petursson The Viking Giant was the Tallest Man From Iceland and traveled with Ringling Bros. Circus!
The Commentator: "Strangely enough, the swan dive was invented before the swan."
Directed by science fiction story aficionado Kurt Neumann ( Secret of the Blue Room 1933, Half a Sinner 1934, Island of Lost Men 1939, a slew of Johnny Weissmuller Tarzan pictures, She Devil 1957, the outstanding Kronos 1957, and The Fly 1958 ) Rocketship X-M stars Lloyd Bridges as Col. Floyd Graham, Osa Massen as Dr. Lisa Van Horn, John Emory as Dr. Karl Eckstrom, Noah Beery Jr. as Maj. William Corrigan, Hugh O' Brian as Harry Chamberlain, Morris Ankrum as Dr. Ralph Fleming, and Sherry Morland as the Martian girl.
Cinematographer Karl Struss (Sunrise 1927, The Great Dictator, 1940, Limelight 1952, The Fly 1958) and art direction by Theobold Holsopple create at times a sublime and beautifully desolate landscape using matte paintings, and miniatures among the technical effects. For all the scenes on Mars, the film is tinted a pinkish sepia tone (filmed partly in The Mojave desert). Struss lenses a landscape that is eerie and atmospheric.
Rocketship X-M was a B picture designed to beat DESTINATION MOON in the movie theaters, and even with its grim ending, it actually did better at the box office. Director James Cameron called it an 'Anodyne answer to Destination Moon 1950.' It was a cautionary tale about how we will not be able to control this new technology. It's a warning about too much hubris surrounding this powerful technology that sometimes 'precedes a tragic fall'-Mark Hamill.
The crew finds the remnants of a Martian Civilization that was destroyed by its own technology much like the revelation in Ridley Scott's Alien 1979.
The film though with its bleak message is quite a surprisingly interesting science fiction tale about a trip to the moon, by way of Mars that is interesting because of its earnestness and visual style. And to be honest a lot more interesting and its characters more full of life than with its predecessor in 1950 Destination Moon.
German director Neumann came to Hollywood in 1925 and became best known for his work on The Fly. (1958) Rocketship X-M is a sober and beautifully filmed piece of science fiction realism blended with romance and crisis. Like Destination Moon, it features the first manned rocket ship to the Moon that winds up knocked off course and winding up on Mars, stranded on the bleak landscape where the crew led by Dr. Karl Eckstrom stumble upon a dome-shaped structure and an odd metallic mask. They deduce from all the radioactivity that there must have been a superior race of intelligent beings who had once inhabited the planet but fell victim to some kind of atomic catastrophe, leaving only a few mutant savages to forage the bones of the now desolate planet.
These crazy-looking bald Martians sort of remind me of Pluto in The Hills Have Eyes 1977.
The crew is eventually besieged by the remains of that once thriving Martian race, which in a shocking reveal shows Sherry Moreland the Martian girl to have a lifeless stare as she is blind. The Martian troglodyte attackers kill Dr.Eckstrom and Maj. Corrigan, wounding Chamberlain. Col. Floyd Graham and Dr. Lisa Van Horn make it back to the ship but don't have enough fuel to get back home. In a very intense and poignant scene as the two hold each other and embrace their inevitable fate with a transcendent fatalistic sense of hope, much like Grant Williams at the end of The Incredible Shrinking Man, the lovers watch through the view Finder as they plunge toward Earth to their deaths, in a darker film ending– as they crash. Rocketship X-M seems to have brought the warning not to earth in the form of Klaatu the benevolent but has placed us on a hostile planet much like Planet of the Apes that gravely warns us that our future could very well wind up the same way if we pursue atomic weapons.
Lloyd Bridges holds Osa Massen It ends badly for everyone. As they look out the porthole "It's only seconds now, try not to be afraid" She clings to him-Suddenly she is not afraid anymore. She feels like something is lifting them up and holding them right before they crash…
Osa Massen sees her tragic end as a new beginning she sheds her fears and finds a courageous way to embrace their impending death. It's a rather poetic scene when they hold each other and look out at the viewfinder and watch as life rapidly escapes them. It's a very dark ending.
Doomed to crash and burn Floyd and Lisa cannot control the technology. There is a conflict with the machines and mechanisms we build that can either annihilate us or set us free to explore and thrive.
'Their last desperate hope is for transcendence"
ROCKETSHIP X-M — Director John Cameron calls it a 'dualistic dance' with technology -referring to the end being so nihilistic potentially– then the head of the program says they'll start construction tomorrow.
Already on Earth, they are planning another mission called Rocketship X-M2!
PROGRESS MARCHES ON-"No gentlemen the X-M was not a failure tomorrow we start on the construction of the X-M2"
Floyd: I've been wondering, how did a girl like you get mixed up in a thing like this in the first place.
Dr. Lisa Van Horn: I suppose you think that women should only cook and sew and bear children.
Floyd: Isn't that enough?
[Floyd and Lisa comfort Eckstrom, who was mortally wounded by a Martian's axe]
Floyd: Murdering savages!
Dr. Eckstrom: No Floyd. Poor fear-crazed despairing wretches. Pity them. Pity them!
STAY TUNED FOR MORE-coming up! 🚀 The Year is:


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Conference Paper
Accuracy of lesion boundary tracking in navigated breast tumor excision. SPIE Medical Imaging 2016. 9786, 97860Y-1-6. Heffernan2016-manuscript.pdf (303.45 KB)(2016).
Intraoperative user interface for navigated breast tumor surgery. Computer Assisted Radiology and Surgery, 30th International Congress. 11(Suppl. 1), S108-9. Ungi2016c.pdf (137.38 KB)(2016).
Visual feedback mounted on surgical tool: proof of concept. SPIE Medical Imaging 2016. 9786,(2016).
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Navigated breast tumor excision using electromagnetically tracked ultrasound and surgical instruments. IEEE Transactions on Biomedical Engineering. Ungi2015b.pdf (567.29 KB)(2015).


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Donate to Marie Curie Cancer Care
Ralph and Edna were both patients in a mental hospital. One day while they were walking past the hospital swimming pool, Ralph suddenly jumped into the deep end. He sank to the bottom of the pool and stayed there. Edna promptly jumped in to save him. She swam to the bottom and pulled him out.
When the Head Nurse Director became aware of Edna's heroic act she immediately ordered her to be discharged from the hospital, as she now considered her to be mentally stable. When she went to tell Edna the news she said, "Edna, I have good news and bad news.
"The good news is you're being discharged, since you were able to rationally respond to a crisis by jumping in and saving the life of the person you love. I have concluded that your act displays sound mindedness. The bad news is, Ralph hung himself in the bathroom with his bathrobe belt right after you saved him. I am so sorry, but he's dead.'
Edna replied, "He didn't hang himself, I put him there to dry. How soon can I go home?"


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Rs. 2,940.00Leather & Leather Care Guide
Fini is an elegant evening clutch with three folds, neatly secured with a magnetic closure. Crafted from plush silky nappa leather in light grey, this clutch features nickel embellishments.
Features :
Silky Nappa Leather
Twill Fabric Lining
Nickel Hardware
Unstructured, Three-Fold Leather Clutch
Single Compartment
Size (In Cms): 31 (L) X 10 (B) X 17 (H), Approximate Weight: 0.25 kgs.
The colours you see on your screen may vary on the actual product to some extent. This is due to variations in monitor calibrations and technology, and differences in the way the human eye perceives colour.
Rs. 3,390.00
Functionality and design come together beautifully in the Tara clutch, with tassel detail and an intricately woven handle. Crafted in soft nappa leather in spice red, it features light gold...
Rs. 3,390.00
Functionality and design come together beautifully in the Tara clutch, with tassel detail and an intricately woven handle. Crafted in soft nappa leather in black with a metallic finish, it...
Rs. 2,940.00
Fini is an elegant evening clutch with three folds, neatly secured with a magnetic closure. Crafted from plush silky nappa leather in turquoise, this clutch features nickel embellishments. Features : Silky...
Rs. 2,940.00
Fini is an elegant evening clutch with three folds, neatly secured with a magnetic closure. Crafted from plush silky nappa leather in nude, this clutch features light gold embellishments. Features...
Here at töhl, we manufacture and source fine leathers, made more beautiful by age and care.
We ensure that only the highest quality materials find their way into our products. Using a range of specialised treatments and finishes combined with laborious handcraft techniques, we treat our handpicked leathers with artisanal respect, ensuring that all processes meet global standards. Find out more about the leathers we work with:
This is a full grain, aniline leather that retains its natural surface texture. With a plain optic and a soft but supple form, our products made from this leather are durable and comfortable to use.
Characterised by its smooth finish and subtle temper, silky nappa is an extra soft leather. Thin and supple, it has a delicate buttery texture and lends itself well to two tone colour effects. The pearlized versions add a lustre resembling the sheen of mother of pearl.
Leathers that have had their underside buffed to give them a fine, velvety nap are called suede. Lightweight, soft and silky, this leather adds interesting textures and accents to töhl products. Colours are particularly vibrant and bright on these surfaces.
Abrasion resistant and glossy, metallic nappa is a soft leather with a metallic finish achieved by adding a laminate. It is distinctive and modern in its colour effect.
A decorative grain or pattern is applied to the surface of the finished leather to create embossed leathers. Sourced from Europe, these are treated to give them unique visual effects.
This finish is designed to give the leather a classic vintage look, with patterns that have an aged or distressed feel. Incorporating a two tone colour effect with a subtle sheen, our antique distressed leathers have a rich textured optic.
Patent leather is leather with a lacquer finish, giving it a glossy, reflective surface. Its flexibility and shine make it stylish and versatile; particularly sought after for handbags, accessories and shoes for formal occasions. At töhl we source the best quality patent leathers from Italy in mirror smooth colours, as well as embossed versions.
Use a soft, dry cloth to gently wipe your bag clean every other day.
For stubborn marks or dirt, use a damp cloth and a suitable leather cleaner.
Like our skin, leather accessories need to be moisturised occasionally. Use a soft, damp cloth to apply a small amount of leather conditioner or moisturiser to your bag, gently wiping it along the grain to rehydrate the leather.
Leather needs to breathe. When you're not using your töhl product, keep it in its original cloth bag in a well-ventilated room – don't store it inside plastic or other nonporous materials.
Keep your bag stuffed with the butter paper it came with, or bag fillers, to help preserve its shape.
Don't overfill your bag, clutch or wallet. Leather has the ability to stretch and mould to fit, but once it expands, it will never go back to its original shape.
Allow a wet product to dry slowly and naturally in a well-ventilated space. Do not use a hair dryer on your leather product, or place it near a heater to dry it, as this changes the chemical structure of the leather and leaves it stiff and creased.
Keep away from direct sunlight and heat.
If you have any further questions on care for your töhl product, call us on +91-8300112000 or email us at firstname.lastname@example.com, and we'll do our best to help!
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Oil Drilling Rig Runs Aground In Gulf Of Alaska
An oil drilling rig holding more than 150,000 gallons of diesel, lubricating oil, and hydraulic fluid has run aground near Kodiak Island in the Gulf of Alaska, after it was being towed during a storm. The crew was evacuated before the rig was incapacitated.
"The rig ran aground in a storm, with waves up to 35 feet and wind to 70 miles per hour," reports Jeff Brady, on NPR's Newscast. The Shell Oil rig is "about 250 miles south of Anchorage," Jeff says.
Update at 6:13 p.m. ET. No Sign of a Leak.
NPR's Howard Berkes reports that at a news briefing that began at 6 p.m. ET, officials said flyovers by two helicopters spotted no breach in the Kulluk's hull, and no sign of a leak. The rig seemed stable, they said.
Update at 5:53 p.m. ET. Details on the Kulluk.
The Kulluk had finished its part in Shell's oil exploration program and "was en route to winter harbor," Kelly op de Weegh, who handles media relations for Shell Oil, tells our colleague Howard Berkes, who reports on the grounding for today's All Things Considered.
That means there's no crude oil aboard. There is no certainty yet over whether the vessel could still pose a threat to wildlife in the gulf. Aircraft that flew over the craft yesterday reported no sign of a sheen that would betray an oil or fuel leak.
Sill, Lois Epstein, who heads the Wilderness Society's Arctic program, tells Howard, "the reality is that nature always wins in Alaska and this incident clearly demonstrates that."
Update at 11:43 a.m. ET. New data on rig's contents, and the tow.
While early reports put the total amount of combined fluids aboard the rig at around 160,000 gallons, the group overseeing the Kulluk grounding said this morning that the number is 151,000 gallons — 139,000 gallons of ultra low sulfur diesel, along with 12,000 gallons of lubricating oil and hydraulic fluid used in the rig's drilling equipment.
The agency also confirms that while the rig broke away from its tow lines last week, the tug that was towing the rig through dangerous seas Monday disconnected the line for the safety of the towing vessel's crew.
"The Coast Guard said the Kulluk grounded around 9 p.m. Monday on the southeast side of Sitkalidak Island in Ocean Bay," reports Alaska's KTUU Channel 2. Sitkalidak is a small island that lies just south of Kodiak Island.
It will likely be several hours before the Coast Guard can estimate the extent of the damage — the agency will send aircraft to survey the area at first light Tuesday.
Royal Dutch Shell PLC's Kulluk rig is built especially for the Alaskan gulf, as Darci Sinclair of Shell tells Jeff.
"It's a round ship and the diesel fuel tanks are located at the center, encased in very heavy steel," Sinclair says. "But it's really too soon to know if there was any damage to the ship."
The rig has been in trouble since Thursday, when the ship towing it suffered an engine failure; in a separate incident, a tow line snapped, as Alaska Public Radio reports. One day later, a "unified command" group was assembled, made up of members of the Coast Guard and representatives of the state, tribal, and federal governments.
The rig's 18 crew members were taken off the vessel Saturday; the situation deteriorated on New Year's Eve, as a powerful storm moved into the area.
Copyright 2020 NPR. To see more, visit https://www.npr.org.


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Is your dryer not starting, not heating, not tumbling, door not locking, not drying, won't stop, tripping breaker, too hot, making too much noise, won't turn at all, stop in mid cycle? Your Smeg Dryer is not working properly and could be caused by many things. The best thing for you to do is to call us today so we can get an experienced Smeg technician out to you so you do not have to take your clothes to a laundromat. Do not try to fix this by yourself especially if it is gas, it could be a fire hazard if this is not fixed properly by a trained technician.
Smeg Dishwasher Repair City
Is your Smeg dishwasher not cleaning, not draining, buttons not working, leaking, motor not working, won't fill, making noises, won't start, won't latch, showing error codes, dispenser won't work, stops mid cycle, overflowing? Do not try to fix this yourself as water damage will be much more costly than scheduling one of our experienced Smeg repair technicians.
Call today, 631-417-0049, Smeg repair to schedule a same day or next day appointment for a small diagnostic fee
Other Communities serviced: Babylon, Brookhaven, East Hampton, Huntington, Islip, Riverhead, Shelter Island, Smithtown, Southampton, Town of Southold, Amagansett, Amityville, Aquebogue, Asharoken, Argyle Lake, Babylon (town), Babylon (village), Baiting Hollow, Bay Shore, Bayport, Baywood, Belle Terre, Bellport, Blue Point, Bohemia, Brentwood, Bridgehampton, Brightwaters, Brookhaven (town), Brookhaven (hamlet)Calverton, Center Moriches, Centereach, Centerport, Central Islip, Cherry Grove (a.k.a. Fire Island), Cold Spring Harbor, Commack, Copiague, Copiague Harbor, Coram, CutchogueDeer Park, Dering Harbor, Dix HillsEast Farmingdale, East Hampton (town), East Hampton (village), East Islip, East Marion, East Moriches, East Northport, East Patchogue, East Quogue, East Setauket, East Shoreham, Eastport, Eatons Neck, ElwoodFarmingville, Fire Island (a.k.a. Cherry Grove), Fire Island Pines, Fishers Island, Flanders, Fort SalongaGilgo, Gordon Heights, Great River, Greenlawn, Greenport, Greenport WestHalesite, Hampton Bays, Hauppauge, Head of the Harbor, Holbrook, Holtsville, Huntington (town), Huntington (hamlet), Huntington Bay, Huntington StationIslandia, Islip (town), Islip (hamlet), Islip TerraceJamesportKings ParkLake Grove, Lake Ronkonkoma, Laurel, Lindenhurst, Lloyd HarborManorville, Mastic, Mastic Beach, Mattituck, Medford, Melville, Middle Island, Miller Place, Montauk, Moriches, Mount SinaiNapeague, Nesconset, New Suffolk, Nissequogue, North Amityville, North Babylon, North Bay Shore, North Bellport, North Great River, North Haven, North Lindenhurst, North Patchogue, North Sea, Northampton, Northport, Northville, Northwest Harbor, Noyack (Noyac), Patchogue Bay, Oak Beach–Captree, Oakdale, Ocean Beach, Old Field, OrientPatchogue, Peconic, Poquott, Port Jefferson, Port Jefferson StationQuiogue, QuogueRemsenburg, Ridge, Riverhead (town), Riverhead (hamlet), Riverside, Rocky Point, RonkonkomaSag Harbor, Sagaponack, Saltaire, Sayville, Selden, Setauket, Shelter Island, Shelter Island Heights, Shinnecock Hills, Shirley, Shoreham, Smithtown (town), Smithtown (hamlet), Southampton (town), Southampton (village), Southampton (hamlet), Southold (town), Southold (hamlet), Sound Beach, South Huntington, Speonk, Springs, St. James, Stony BrookTerryville, TuckahoeVillage of the BranchWading River, Wainscott, Water Mill (Watermill), West Babylon, West Bay Shore, West Gilgo Beach, West Hampton Dunes (Westhampton Dunes), West Hills, West Islip, West Sayville, Westhampton, Westhampton Beach, Wheatley Heights, Wyandanch, North WyandanchYaphank


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Modern Coffee Cups Mockup
Modern Coffee Cups Mockup templates For Design and Create your own eye-catching marketing Material.
Modern Coffee Cups Mockup is awesome super set of high definition (2000 X 1500), photorealistic Menu template to showcase your Items and impress your Customers.
With a look you can reach and touch, the collection includes available in your shop on a White background.
These PSD files uses the Smart-Object feature, so you can replace the item's content easily and quickly.
Here you Got Photoshop File and Vector Files
If You Want Customize Design Please Contact Me Here I Will Surely Reply with 3-4 hours and Do your Job.
It's easy! You just need to double-click the Smart-Object, paste your artwork, save, and you're done.
Note also the quality of entanglement design in modern print design – the use of headers, a lot of white space, and typography choices.
1 review for Modern Coffee Cups Mockup
Good quality.


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June 08, 2017
F.D.A. Asks Drug Maker to Stop Selling a Dangerous Opioid
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Lunchbox Pepper Mix Organic Snack Pepper Seed
All three colors in one mix.
Equal amounts of our red, yellow, and orange Lunchbox snack peppers have been combined in this mix. These beautiful, mini-sized peppers are remarkably sweet and flavorful. They are delicious sautéed, as an addition to salads and, of course, perfect for a healthy snack. All three varieties have tall, strong plants that yield well for snack-type peppers. Sell the mixed colors loose or in clamshells. Bred by Janika Eckert. NOTE: Lunchbox Red is slightly smaller than the rest of the series. USDA Certified Organic.
- This product does not ship to the following countries: Austria, Australia, Belgium, Bulgaria, Cyprus, Czech Republic, Germany, Denmark, Estonia, Spain, Finland, France, United Kingdom, Greece, Croatia, Hungary, Ireland, Italy, Japan, Republic of Korea, Lithuania, Luxembourg, Latvia, Netherlands, New Zealand, Poland, Portugal, Romania, Sweden, Slovenia, Slovakia, Taiwan.
CULTURE: Peppers thrive in well-drained, fertile soils with a pH of 6.5. Abundant phosphorus and calcium is needed for the best results.
GROWING SEEDLINGS: Sow seed in 20-row or shallow flats, 4 seeds/in., 1/4" deep, in late March or about 8 weeks prior to transplanting. If possible, maintain soil temperatures at 80-90°F (27-32°C). Pepper seeds germinate very slowly in cooler soil. When the first true leaves appear, transplant seedlings into 2" cell-type containers or 4" pots. Grow plants at approx. 70°F (21°C) day and 60°F (16°C) nights.
COLD TREATMENT: Exposing the seedlings to controlled cold treatments can increase the number of flowers and fruits. When the third true leaf appears, grow the plants at a minimum night temperature of 53-55°F (12-13°C) for 4 weeks. The plants should receive full sunlight. After 4 weeks adjust temperature to 70°F (21°C) day and night. If this technique is used, peppers should be seeded 1-2 weeks earlier than usual.
TRANSPLANTING: Transplant out after frost when the soil is warm and weather is settled. Ideal seedlings have buds, but no open flowers. Space pepper plants 12-18" apart in rows 24-36" apart, or 2 rows on poly/paper mulch, 18" between plants. Water-in transplants using a high phosphorus solution.
ROW COVERS: Cold weather is buffered and earliness increased by using black plastic mulch, especially in combination with lightweight fabric row covers supported by wire hoops. Remove row covers in sunny weather above 85°F (29°C) to prevent blossom drop and heat damage.
INSECT PESTS: Control climbing cutworms with Bacillus thuringiensis, or with paper cylinder collars. Control tarnished plant bugs, aphids, and flea beetles with pyrethrin.
DISEASES AND PROBLEMS: To prevent bacterial spot and Phytophthora, drip irrigate only, plant only in well-drained soils, minimize soil compaction, and follow a 4-year crop rotation. Sunscald is caused by an inadequate foliage canopy. Prevent blossom end rot with adequate soil calcium and regular moisture. Big bushy plants with few peppers can be caused by an excess of nitrogen, hot or cold temperature extremes during the flowering period, tarnished plant bug injury, and choice of late, poorly-adapted varieties.
BACTERIAL SPOT NOTICE: Bacterial spot can be seedborne. All Johnny's pepper seed lots are tested for bacterial spot.
NOTE: A disease-free test result does not guarantee a seed lot to be disease-free, only that in the sample tested, the pathogen targeted was not found.
HARVEST AND STORAGE: Pick the first peppers promptly when they reach full size to encourage further fruit set. Wash and hold at 45°F (7°C) and 95% relative humidity.
DAYS TO MATURITY: Approximate days from transplanting outdoors to first pickings of full size fruit.
AVG. TRANSPLANT SEEDING RATE: Avg. 19 plants/ Pkt., 750 plants/1,000 seeds, 19,360 seeds per acre of transplants (avg. 14,520 plants), 12" between plants in rows 36" apart.
SEED SPECS: SEEDS/OZ.: Avg. 4,300.
PACKET: 25 seeds, unless otherwise noted.
Johnny's is committed to your success, every step of the way.
We want you, our customer, to be 100% satisfied with all of our seeds, tools, and supplies.
If anything you purchase from us proves unsatisfactory, we will either replace the item or refund the purchase price.


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Elevation Growth Partners Help Nonprofits Reach New Fundraising Goals
Partner now with an experienced fundraising consultant who's on a mission to grow your nonprofit fundraising in Clarkston, Georgia! Meet Tim Gunsolley of Elevation Growth Partners, Colorado Springs, CO.
Elevation Growth Partners can help you and your nonprofit fundraising in Clarkston, Georgia construct a roadmap for growth, refine your fundraising strategies, and expand your audience and revenue.
Growth for your vision is our mission. As supportive fundraising consultants for Christian organizations, Tim Gunsolley and his team at Elevation Growth Partners can show you how to enlarge and improve major gift donations, enhance strategic planning, enrich foundation management, and flourish at nonprofit fundraising campaigns and events.
Since 2001, Tim Gunsolley and Elevation Growth Partners have served more than 400 ministries, helping them raise hundreds of millions of dollars. We've developed a unique process to help you crystalize your message and outline a pathway forward. You'll finish the ministry fundraising process with a powerful message, a clear roadmap for growth, and a revenue pathway to fuel your vision in Clarkston, Georgia.
Partnership with an Elevation fundraising consultant provides robust nonprofit fundraising ideas, fundraising plans, fundraising campaigns, fundraising events, and fundraising strategies that can actually succeed. Our main goal is to train and equip faith-based nonprofit leaders on how to build thriving and well-resourced organizations in Clarkston, Georgia.
Expect More, Reach Higher with Elevation Growth Partners<h/2>
The Elevation Growth Partners nonprofit fundraising training programs designed for you and your team in Clarkston, Georgia include: the Major Gift Fundraising Intensive, the 1000-Day Plan client-customized fundraising strategy, Capital and Growth Fundraising campaigns, Fundraising Event plans, and Foundation and Grant Management help.
The Major Gift Fundraising Intensive provides a step-by-step process for the relationship manager (CEO, VP, Director, or Regional Representative) to launch or add a million-dollar caseload from relationship nonprofit fundraising. Our verified methodology and toolset have been used by hundreds of nonprofit leaders to boost donor relationships in Clarkston, Georgia and raise the major gifts that naturally come as a result.
The 1000-Day Plan is a customized nonprofit fundraising strategy to increase your vision that establishes a compelling case for your cause, clearly presents your unique approach to the people you serve and creates an urgency for constituents to respond.
When your organization's growth strategy calls for a nonprofit fundraising event, Elevation Growth Partners knows how to focus on success. Elevation's fundraising events, whether at a 5-star resort hosting hundreds of donors or in the home of a prominent host, highlight you as the client with a personalized approach. That's how Elevation's staff of experienced live event specialists generate unique events custom-made to promote each client.
We'll also help you book nationally-known speakers and musicians, secure a welcoming resort location, craft a specialized message, and give your guests a live experience they will always remember. Most importantly, Elevation Growth Partners will create a compelling message that generates major and mega nonprofit fundraising gifts on your behalf back in Clarkston, Georgia.
And there's more! When you're seeking a private foundation grant in Clarkston, Georgia, Elevation Growth Partners offers grant-seekers important how-to-apply knowledge and hands-on support.
Estimates indicate that private foundations grant more than $71 billion dollars each year to the causes they support. Yet, foundation managers require specific proposals from grant-seekers in order to qualify for funding. Using cross-tabulation of three distinct research datasets, Elevation Growth Partners concentrates on researching the right foundations to support your cause. And our master grant-writers have secured 7-figure grants for Christian nonprofit projects and programs like yours. Elevation does the research, works with you to prepare your proposal, and even manages the complicated submission and reporting schedule on your behalf.


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Tiny Rose Gold Dot Studs
Sold Out
Hand made from the highest quality 925 sterling silver. The Ichu Classic's range is designed to be layered and complimented by other pieces within the collection.
- Measurements: 3 mm circle
- Detailing: rose gold plated, polished, post/stud closure.
- 925 sterling silver base
- Australian designed, Mexican made.
- Gift bag or box included.


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Epson Pro WF-4725 Ink Cartridges
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Sync iPhone Contacts with Outlook 365
Sync iPhone Contacts with Outlook 365 in just a few clicks. Keep your Contacts updated and synchronized on all devices you are using.
Please click "Use this Gene" to sync iPhone Contacts with Outlook 365.
Select what you want to sync Outlook 365 with
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Select what you want to sync iPhone Contacts with
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SyncGene customers reviews
About SyncGene
iPhone Contacts and Outlook 365 synchronization solution
SyncGene is a Free* synchronization service and a web app. Synchronize calendars, contacts and tasks across various devices, accounts and services you use.
*Data sync is limited to two sources in the Free version. Manual sync is limited to one synchronization per month. Automatic sync for Free account is limited to seven days preview after functionality is enabled.
Synchronize Contacts, Calendar and Tasks automatically. SyncGene connects Office 365, iCloud, Gmail and other apps you use.
Sync iPhone Contacts with Outlook 365
SyncGene allows two-way synchronization between iPhone Contacts and Outlook 365. No matter what device you are using - SyncGene will make Contact management an easy task.
Compatible with different devices or phones
SyncGene is compatible with any phone which is based on iOS or Android operating system. We ensure that synchronization between iPhone Contacts and Outlook 365 will work using different mobile devices or software versions.
Easy to view and manage iPhone Contacts and Outlook 365 solution
View and edit your contacts on the go. Since it is a cloud-based service - you can do it via web browser or mobile app. Your iPhone Contacts and Outlook 365 contacts will be synchronized automatically, wherever you are.
Avoid creating duplicate contacts
SyncGene prevents creating duplicate appointments. Sync iPhone Contacts and Outlook 365 automatically or sync manually and schedule the synchronization time or intervals. Stay organized and duplicate free while syncing between multiple accounts, platforms or devices.
Sync the GAL with iPhone
Synchronize the whole GAL with iPhone in less than a day. CiraApps software is designed so that the process of transfer can be done by anyone and anytime.
Up to date contacts with scheduled synchronization
SyncGene automatic scheduling is the solution for always up to date contacts. Choose specific sources iPhone Contacts and Outlook 365. Set up the time and interval for synchronization. Get all contacts on any your device. The contact sync will be working automatically without interruptions.
Backup iPhone Contacts data to Google Drive
SyncGene helps to back up your iPhone Contacts to your Google Drive automatically. All backups are stored in your personal account. SyncGene does not store any personal data on the servers.
How to Sync iPhone Contacts with Outlook 365?
Easily sync Contacts between iPhone Contacts and Outlook 365.
- 1. Go to SyncGene and sign up;
- 2. Find the "Add Account" tab, select iCloud and sign in to your iCloud account;
- 3. Click on "Add Account" and log in to your Outlook 365 account;
- 4. Find the "Filters" tab, choose Contacts sync option and check the folders you want to sync;
- 5. Click "Save" and then "Sync all".
We will notify you when your iPhone Contacts will be synchronized with Outlook 365. From now on you can manage your contacts either from Outlook 365 or iPhone Contacts.
About iPhone Contacts and Outlook 365 synchronization solutions
iPhone Contacts is a personal contacts app made by Apple Inc. that runs on the iOS mobile operating system. It offers online cloud backup of contacts using Apple's iCloud service, or can synchronize with other services or devices.
Office 365 is a line of subscription services offered by Microsoft, as part of the Microsoft Office product line. It allows use of the Microsoft Office software suite over the life of the subscription, as well as cloud-based software as a service products for business environments, such as hosted Exchange Server, Skype for Business Server, and SharePoint among others.
To learn more about synchronization for iPhone Contacts and Outlook 365 - please click section below.
iPhone Contacts synchronization solutions
iPhone Contacts can be synchronized with Outlook 365 and other online services. Click here to browse all iPhone Contacts synchronization solutions.
About Cira
The company behind SyncGene
Cira Apps Limited is a SaaS company with solutions that enhance Office 365 productivity for iPhone and Android business users. CiraSync, the flagship product, is used by more than 12,500 companies to provide productivity gains and cost savings via contact and calendar automation. The company is headquartered in Austin, Texas.
Our satisfied customers
Customers worldwide trust Cira Apps Limited services for personal and business needs