Jerrald King Goldsmith was an American composer and conductor most known for his work in film and television scoring. He composed scores for such films as Star Trek: The Motion Picture and four other films within the Star Trek franchise, The Sand Pebbles, Logan's Run, Planet of the Apes, Papillon, The Wind and the Lion, The Omen, The Boys from Brazil, Capricorn One, Outland, The Secret of NIMH, Hoosiers, Total Recall, Basic Instinct, Air Force One, L. A. Confidential, The Mummy, three Rambo films, Explorers, he collaborated with some of film history's most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, Franklin J. Schaffner, his work for Donner and Scott involved a rejected score for Timeline and a controversially edited score for Alien, where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on Freud: The Secret Passion was used without his approval in several scenes.
Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, eighteen Academy Awards. Goldsmith, was born February 1929, in Los Angeles, California, his family was Romanian Jewish. His parents were Tessa, a school teacher, Morris Goldsmith, a structural engineer, he started playing piano at age six, but only "got serious" by the time. At age thirteen, he studied piano with concert pianist and educator Jakob Gimpel and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, John Williams. At age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa's soundtrack to pursue a career in music. Goldsmith enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College.
There he was able to coach singers, work as an assistant choral director, play piano accompaniment, work as an assistant conductor. In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin. There he began writing scores for such radio shows as CBS Radio Workshop, Frontier Gentleman, Romance. In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated, "It was about 1950. CBS had a workshop, once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show, but you had to be an employee. They needed someone to do music, I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. I could do these shows. About six months the music department heard what I did, liked it, gave me a job." He progressed into scoring such live CBS television shows as Climax! and Playhouse 90. He scored multiple episodes of the television series The Twilight Zone.
He remained at CBS until 1960, after which he moved on to Revue Studios and to MGM Studios for producer Norman Felton, whom he had worked for during live television and would compose music for such television shows as Dr. Kildare and The Man from U. N. C. L. E.. His feature film debut occurred, he continued with scores to such films as the 1957 western Face of a Fugitive and the 1959 science fiction film City of Fear. Jerry Goldsmith began the decade composing for such television shows as Dr. Kildare and Thriller as well as the 1960 drama film The Spiral Road. However, he only began receiving widespread name recognition after his intimate score to the 1962 classic western Lonely Are the Brave, his involvement in the picture was the result of a recommendation by veteran composer Alfred Newman, impressed with Goldsmith's score on the television show Thriller and took it upon himself to recommend Goldsmith to the head of Universal Pictures' music department, despite having never met him. That same year, Goldsmith composed the atonal and dissonant score to the 1962 pseudo-biopic Freud that focused on a five-year period of the life of psychoanalyst Sigmund Freud.
Goldsmith's score went on to garner him his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to Lawrence of Arabia. In 1963, Goldsmith composed a score to The Stripper, his first collaboration with director Franklin J. Schaffner for whom Goldsmith would score the films Planet of the Apes, Patton and The Boys from Brazil. Following his success with Lonely Are the Brave and Freud, Goldsmith went on to achieve more critical recognition with the theme music to The Man from U. N. C. L. E. and scores to such films as the 1964 western Rio Conchos, the 1964 political thriller Seven Days in May, the 1965 romantic drama A Patch of Blue, the 1965 epic war film In Harm's Way, the 1966 World War I air combat film The Blue Max, the 1966 period naval war epic The Sand Pebbles, the 1967 thriller Warning Shot, the 1967 western Hour of the Gun, the 1968 controversial mystery The Detective. His score for The Blue Max is regarded by many Goldsmith aficionados as one
Austin is the capital of the U. S. state of Texas and the seat of Travis County, with portions extending into Hays and Williamson counties. It is the 4th-most populous city in Texas, it is the fastest growing large city in the United States, the second most populous state capital after Phoenix and the southernmost state capital in the contiguous United States. As of the U. S. Census Bureau's July 1, 2017 estimate, Austin had a population of 950,715 up from 790,491 at the 2010 census; the city is the cultural and economic center of the Austin–Round Rock metropolitan statistical area, which had an estimated population of 2,115,827 as of July 1, 2017. Located in Central Texas within the greater Texas Hill Country, it is home to numerous lakes and waterways, including Lady Bird Lake and Lake Travis on the Colorado River, Barton Springs, McKinney Falls, Lake Walter E. Long. In the 1830s, pioneers began to settle the area in central Austin along the Colorado River. In 1839, the site was chosen to replace Houston as the capital of the Republic of Texas and was incorporated under the name "Waterloo."
Shortly afterward, the name was changed to Austin in honor of Stephen F. Austin, the "Father of Texas" and the republic's first secretary of state; the city grew throughout the 19th century and became a center for government and education with the construction of the Texas State Capitol and the University of Texas at Austin. After a severe lull in economic growth from the Great Depression, Austin resumed its steady development, by the 1990s it emerged as a center for technology and business. A number of Fortune 500 companies have headquarters or regional offices in Austin including, 3M, Amazon.com, Apple Inc. Cisco, eBay, General Motors, Google, IBM, Oracle Corporation, PayPal, Texas Instruments, Whole Foods Market. Dell's worldwide headquarters is located in Round Rock. Residents of Austin are known as Austinites, they include a diverse mix of government employees, college students, high-tech workers, blue-collar workers, a vibrant LGBT community. The city's official slogan promotes Austin as "The Live Music Capital of the World," a reference to the city's many musicians and live music venues, as well as the long-running PBS TV concert series Austin City Limits.
The city adopted "Silicon Hills" as a nickname in the 1990s due to a rapid influx of technology and development companies. In recent years, some Austinites have adopted the unofficial slogan "Keep Austin Weird," which refers to the desire to protect small and local businesses from being overrun by large corporations. In the late 19th century, Austin was known as the "City of the Violet Crown," because of the colorful glow of light across the hills just after sunset. Today, many Austin businesses use the term "Violet Crown" in their name. Austin is known as a "clean-air city" for its stringent no-smoking ordinances that apply to all public places and buildings, including restaurants and bars. U. S. News & World Report named Austin the #1 place to live in the U. S. for 2017 and 2018. In 2016, Forbes ranked Austin #1 on its "Cities of the Future" list in 2017 placed the city at that same position on its list for the "Next Biggest Boom Town in the U. S." In 2017, Forbes awarded the South River City neighborhood of Austin its #2 ranking for "Best Cities and Neighborhoods for Millennials."
WalletHub named Austin the #6 best place in the country to live for 2017. The FBI ranked Austin as the #2 safest major city in the U. S. for 2012. Austin, Travis County and Williamson County have been the site of human habitation since at least 9200 BC; the area's earliest known inhabitants lived during the late Pleistocene and are linked to the Clovis culture around 9200 BC, based on evidence found throughout the area and documented at the much-studied Gault Site, midway between Georgetown and Fort Hood. When settlers arrived from Europe, the Tonkawa tribe inhabited the area; the Comanches and Lipan Apaches were known to travel through the area. Spanish colonists, including the Espinosa-Olivares-Aguirre expedition, traveled through the area for centuries, though few permanent settlements were created for some time. In 1730, three missions from East Texas were combined and reestablished as one mission on the south side of the Colorado River, in what is now Zilker Park, in Austin; the mission was in this area for only about seven months, was moved to San Antonio de Béxar and split into three missions.
Early in the 19th century, Spanish forts were established in what are now San Marcos. Following Mexico's independence, new settlements were established in Central Texas, but growth in the region was stagnant because of conflicts with the regional Native Americans. In 1835 -- 1836, Texans won independence from Mexico. Texas thus became an independent country with its own president and monetary system. After Vice President Mirabeau B. Lamar visited the area during a buffalo-hunting expedition between 1837 and 1838, he proposed that the republic's capital in Houston, be relocated to the area situated on the north bank of the Colorado River. In 1839, the Texas Congress formed a commission to seek a site for a new capital to be named for Stephen F. Austin. Mirabeau B. Lamar, second president of the newly formed Republic of Texas, advised the commissioners to investigate the area named Waterloo, noting the area's hills and pleasant surroundings. Waterloo was selected, "Austin" was chosen as the town's new name.
The location was seen as a convenient crossroads for trade routes between Santa Fe and Galveston Bay, as well as routes between northern Mexico and the Red River. Edwin Wall
The concept of the supernatural encompasses anything, inexplicable by scientific understanding of the laws of nature but argued by believers to exist. Examples include immaterial beings such as angels and spirits, claimed human abilities like magic and extrasensory perception. Supernatural entities have been invoked to explain phenomena as diverse as lightning and the human senses. Naturalists maintain that nothing beyond the physical world exists and hence maintain skeptical attitudes towards supernatural concepts; the supernatural is featured in paranormal and religious contexts, but can feature as an explanation in more secular contexts. Occurring as both an adjective and a noun, descendants of the modern English compound supernatural enters the language from two sources: via Middle French and directly from the Middle French's term's ancestor, post-Classical Latin. Post-classical Latin supernaturalis first occurs in the 6th century, composed of the Latin prefix super- and nātūrālis; the earliest known appearance of the word in the English language occurs in a Middle English translation of Catherine of Siena's Dialogue.
The semantic value of the term has shifted over the history of its use. The term referred to Christian understandings of the world. For example, as an adjective, the term can mean'belonging to a realm or system that transcends nature, as that of divine, magical, or ghostly beings. Obsolete uses include'of, relating to, or dealing with metaphysics'; as a noun, the term can mean'a supernatural being', with a strong history of employment in relation to entities from the mythologies of the indigenous peoples of the Americas. The metaphysical considerations of the existence of the supernatural can be difficult to approach as an exercise in philosophy or theology because any dependencies on its antithesis, the natural, will have to be inverted or rejected. One complicating factor is that there is disagreement about the definition of "natural" and the limits of naturalism. Concepts in the supernatural domain are related to concepts in religious spirituality and occultism or spiritualism. For sometimes we use the word nature for that Author of nature whom the schoolmen, harshly enough, call natura naturans, as when it is said that nature hath made man corporeal and immaterial.
Sometimes we mean by the nature of a thing the essence, or that which the schoolmen scruple not to call the quiddity of a thing, the attribute or attributes on whose score it is what it is, whether the thing be corporeal or not, as when we attempt to define the nature of an angle, or of a triangle, or of a fluid body, as such. Sometimes we take nature for an internal principle of motion, as when we say that a stone let fall in the air is by nature carried towards the centre of the earth, and, on the contrary, that fire or flame does move upwards toward firmament. Sometimes we understand by nature the established course of things, as when we say that nature makes the night succeed the day, nature hath made respiration necessary to the life of men. Sometimes we take nature for an aggregate of powers belonging to a body a living one, as when physicians say that nature is strong or weak or spent, or that in such or such diseases nature left to herself will do the cure. Sometimes we take nature for the universe, or system of the corporeal works of God, as when it is said of a phoenix, or a chimera, that there is no such thing in nature, i.e. in the world.
And sometimes too, that most we would express by nature a semi-deity or other strange kind of being, such as this discourse examines the notion of. And besides these more absolute acceptions, if I may so call them, of the word nature, it has divers others, as nature is wont to be set or in opposition or contradistinction to other things, as when we say of a stone when it falls downwards that it does it by a natural motion, but that if it be thrown upwards its motion that way is violent. So chemists distinguish vitriol into natural and fictitious, or made by art, i.e. by the intervention of human power or skill. We say that wicked men are still in the state of nature, but the regenerate in a state of grace; the term "supernatural" is used interchangeably with paranormal or preternatural — the latter limited to an adjective for describing abilities which appear to exceed what is possible within the boundaries of the laws of physics. Epistemologically, the relationship between the supernatural and the natural is indistinct in terms of natural phenomena that, ex hypothesi, violate the laws of nature, in so far as such laws are realistically accountable.
Parapsychologists use the term psi to refer to an assumed unitary force underlying the phenomena they study. Psi is defined in the Journal of Parapsychology as "personal factors or processes in nature which transcend accepted laws" and "which are non-physical in nature", it is used to cover both extrasensory perception, an "awareness of or response to an external event or influence not apprehended by sens
A mime or mime artist is a person who uses mime as a theatrical medium or as a performance art. Miming involves acting out a story through body motions, without the use of speech. In earlier times, in English, such a performer would be referred to as a mummer. Miming is distinguished from silent comedy, in which the artist is a character in a film or sketch without sound. Jacques Copeau influenced by Commedia dell'arte and Japanese Noh theatre, used masks in the training of his actors, his pupil Étienne Decroux was influenced by this, started exploring and developing the possibilities of mime, developed corporeal mime into a sculptural form, taking it outside the realms of naturalism. Jacques Lecoq contributed to the development of mime and physical theatre with his training methods; the performance of mime originates at its earliest in Ancient Greece. In Medieval Europe, early forms of mime such as mummer plays and dumbshows evolved. In early nineteenth-century Paris, Jean-Gaspard Deburau solidified the many attributes that have come to be known in modern times—the silent figure in whiteface.
The first recorded mime was Telestēs in the play Seven Against Thebes by Aeschylus. Tragic mime was developed by Puladēs of Kilikia. Mime was an aspect of Roman theatre from its earliest times, paralleling the Atellan farce in its improvisation, it began to replace the Atellanae as interludes or postscripts on the main theatre stages. Under the Empire mime became the predominant Roman drama, if with mixed fortunes under different emperors. Trajan banished mime artists. Nero himself acted as a mime; the mime was distinguished from other dramas by its absence of masks, by the presence of female as well as male performers. Stock characters included the lead, the stooge or stupidus, the gigolo, or cultus adulter. While most of this article has treated mime as a constellation of related and linked Western theatre genres and performance techniques, analogous performances are evident in the theatrical traditions of other civilizations. Classical Indian musical theatre, although erroneously labeled a "dance," is a group of theatrical forms in which the performer presents a narrative via stylized gesture, an array of hand positions, mime illusions to play different characters and landscapes.
Recitation and percussive footwork sometimes accompany the performance. The Natya Shastra, an ancient treatise on theatre by Bharata Muni, mentions silent performance, or mukabhinaya. In Kathakali, stories from Indian epics are told with facial expressions, hand signals and body motions. Performances are accompanied by songs narrating the story while the actors act out the scene, followed by actor detailing without background support of narrative song; the Japanese Noh tradition has influenced many contemporary mime and theatre practitioners including Jacques Copeau and Jacques Lecoq because of its use of mask work and physical performance style. Butoh, though referred to as a dance form, has been adopted by various theatre practitioners as well. Prior to the work of Étienne Decroux there was no major treatise on the art of mime, so any recreation of mime as performed prior to the twentieth century is conjecture, based on interpretation of diverse sources. However, the twentieth century brought a new medium into widespread usage: the motion picture.
The restrictions of early motion picture technology meant that stories had to be told with minimal dialogue, restricted to intertitles. This demanded a stylized form of physical acting derived from the stage. Thus, mime played an important role in films prior to advent of talkies; the mimetic style of film acting was used to great effect in German Expressionist film. Silent film comedians like Charlie Chaplin, Harold Lloyd, Buster Keaton learned the craft of mime in the theatre, but through film, they would have a profound influence on mimes working in live theatre decades after their deaths. Indeed, Chaplin may be the best-documented mime in history; the famous French comedian and director Jacques Tati achieved his initial popularity working as a mime, indeed his films had only minimal dialogue, relying instead on many subtle expertly choreographed visual gags. Tati, like Chaplin before him, would mime out the movements of every single character in his films and ask his actors to repeat them.
Mime has been performed with Marcel Marceau and his character "Bip" being the most famous. Mime is a popular art form in street theatre and busking. Traditionally, these sorts of performances involve the actor/actress wearing tight black and white clothing with white facial makeup. However, contemporary mimes perform without whiteface. While traditional mimes have been silent, contemporary mimes, while refraining from speaking, sometimes employ vocal sounds when they perform. Mime acts are comical, but some can be serious. On the stage, Mime Artist Nithor Mahbub from Bangladesh introduced the first practice of teaching through humor with group Mimo Drama troupe Mime Art. Canadian author Michael Jacot's first novel, The Last Butterfl
An intelligence quotient is a total score derived from several standardized tests designed to assess human intelligence. The abbreviation "IQ" was coined by the psychologist William Stern for the German term Intelligenzquotient, his term for a scoring method for intelligence tests at University of Breslau he advocated in a 1912 book. IQ is a score obtained by dividing a person's mental age score, obtained by administering an intelligence test, by the person's chronological age, both expressed in terms of years and months; the resulting fraction is multiplied by 100 to obtain the IQ score. When current IQ tests were developed, the median raw score of the norming sample is defined as IQ 100 and scores each standard deviation up or down are defined as 15 IQ points greater or less, although this was not always so historically. By this definition two-thirds of the population scores are between IQ 85 and IQ 115. About 2.5 percent of the population scores above 130, 2.5 percent below 70. Scores from intelligence tests are estimates of intelligence.
Unlike, for example and mass, a concrete measure of intelligence cannot be achieved given the abstract nature of the concept of "intelligence". IQ scores have been shown to be associated with such factors as morbidity and mortality, parental social status, and, to a substantial degree, biological parental IQ. While the heritability of IQ has been investigated for nearly a century, there is still debate about the significance of heritability estimates and the mechanisms of inheritance. IQ scores are used for educational placement, assessment of intellectual disability, evaluating job applicants; when students improve their scores on standardized tests, they do not always improve their cognitive abilities, such as memory and speed. In research contexts they have been studied as predictors of job performance, income, they are used to study distributions of psychometric intelligence in populations and the correlations between it and other variables. Raw scores on IQ tests for many populations have been rising at an average rate that scales to three IQ points per decade since the early 20th century, a phenomenon called the Flynn effect.
Investigation of different patterns of increases in subtest scores can inform current research on human intelligence. Before IQ tests were devised, there were attempts to classify people into intelligence categories by observing their behavior in daily life; those other forms of behavioral observation are still important for validating classifications based on IQ test scores. Both intelligence classification by observation of behavior outside the testing room and classification by IQ testing depend on the definition of "intelligence" used in a particular case and on the reliability and error of estimation in the classification procedure; the English statistician Francis Galton made the first attempt at creating a standardized test for rating a person's intelligence. A pioneer of psychometrics and the application of statistical methods to the study of human diversity and the study of inheritance of human traits, he believed that intelligence was a product of heredity, he hypothesized that there should exist a correlation between intelligence and other observable traits such as reflexes, muscle grip, head size.
He set up the first mental testing centre in the world in 1882 and he published "Inquiries into Human Faculty and Its Development" in 1883, in which he set out his theories. After gathering data on a variety of physical variables, he was unable to show any such correlation, he abandoned this research. French psychologist Alfred Binet, together with Victor Henri and Théodore Simon had more success in 1905, when they published the Binet-Simon test, which focused on verbal abilities, it was intended to identify mental retardation in school children, but in specific contradistinction to claims made by psychiatrists that these children were "sick" and should therefore be removed from school and cared for in asylums. The score on the Binet-Simon scale would reveal the child's mental age. For example, a six-year-old child who passed all the tasks passed by six-year-olds—but nothing beyond—would have a mental age that matched his chronological age, 6.0.. Binet came under the control of practical judgment.
In Binet's view, there were limitations with the scale and he stressed what he saw as the remarkable diversity of intelligence and the subsequent need to study it using qualitative, as opposed to quantitative, measures. American psychologist Henry H. Goddard published a translation of it in 1910. American psychologist Lewis Terman at Stanford University revised the Binet-Simon scale, which resulted in the Stanford-Binet Intelligence Scales, it became the most popular test in the United States for decades. The many different kinds of IQ tests include a wide variety of item content; some test items are visual. Test items vary from being based on abstract-reasoning problems to concentrating on arithmetic, vocabulary, or general knowledge; the British psychologist Charles Spearman in 1904 made the first formal factor analysis of correlations between the tests. He observed that children's school grades across unrelated school subjects were positively correlated, reasoned that these correlations reflected the influence of an underlying general mental ability that entered into performance on all kinds of mental tests.
He suggested that all mental performance could be conceptualized in terms of a single general ability factor and a large num
Bathos is a literary term, coined by Alexander Pope in his 1727 essay "Peri Bathous", to describe amusingly failed attempts at sublimity. In particular, bathos is associated with anticlimax, an abrupt transition from a lofty style or grand topic to a common or vulgar one; this may be either intentional. Intentional bathos appears in satirical genres such as mock epic. "Bathos" or "bathetic" is used for similar effects in other branches of the arts, such as musical passages marked ridicolosamente. In film, bathos may appear in a contrast cut intended for comic relief or be produced by an accidental jump cut; as the combination of the high with the low, the term was introduced by Alexander Pope in his essay Peri Bathous, Or the Art of Sinking in Poetry. On the one hand, Pope's work is a parody in prose of Longinus' Peri Hupsous, in that he imitates Longinus's system for the purpose of ridiculing contemporary poets, but, on the other, it is a blow Pope struck in an ongoing struggle against the "dunces."
The nearest model for Pope's essay is the Treatise of the Sublime by Boileau of 1712. Pope admired Boileau, but one of Pope's literary adversaries, Leonard Welsted, had issued a "translation" of Longinus in 1726, a translation of Boileau; because Welsted and Pope's other foes were championing this "sublime," Pope commented upon and countered their system with his Peri Bathos in the Swift-Pope-Gay-Arbuthnot Miscellanies. Whereas Boileau had offered a detailed discussion of all the ways in which poetry could ascend or be "awe-inspiring," Pope offers a lengthy schematic of the ways in which authors might "sink" in poetry, satirizing the men who were allied with Ambrose Philips. Pope and Philips had been adversaries since the publication of Pope's Odes, the rivalry broke down along political lines. According to Pope, bathos can be most applicable to love making after two years of marriage, in binary opposition to the sublime but is no less political. Edmund Burke was believed to be charmed by Pope's articulation of love after marriage, inspiring Burke's essay A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful.
One example of Pope's style and satire shows in his description of sinking in painting. In the commonplace Academic hierarchic ranking of pictorial genres, still life ranked the lowest. However, Pope describes how it might fall and, with the single word "stiffen," evokes the unnatural deadness, a mark of failure in this "low" genre: Many Painters who could never hit a Nose or an Eye, have with Felicity copied a Small-Pox, or been admirable at a Toad or a Red-Herring, and are we without Genius's for Still Life, which they can work up and stiffen with incredible Accuracy.. In chapters X and XI, Pope explains the comic use of the figures of speech. Although Pope's manual of bad verse offers numerous methods for writing poorly, of all these ways to "sink," the method, most remembered now is the act of combining serious matters with trivial ones; the radical juxtaposition of the serious with the frivolous does two things. First, it violates "decorum," or the fittingness of subject, second, it creates humor with an unexpected and improper juxtaposition.
Since Pope's day, the term "bathos," because of confusion with "pathos," has been used for art forms, sometimes events, where something is so pathetic as to be humorous. When artists consciously mix the serious with the trivial, the effect is of Surreal humour and the absurd. However, when an artist is unconscious of the juxtaposition, the result is bathos. Arguably, some forms of kitsch express bathos in the concrete arts. A tolerant but detached enjoyment of the aesthetic characteristics that are inherent in naive and honest bathos is an element of the camp sensibility, as first analyzed by Susan Sontag, in a 1964 essay "Notes on camp". Bathos as Pope described it may be found in a grandly rising thought that punctures itself: Pope offers one "Master of a Show in Smithfield, who wrote in large Letters, over the Picture of his Elephant: "This is the greatest Elephant in the World, except Himself."Several decades before Pope coined the term, John Dryden had described one of the breath-taking and magically extravagant settings for his Restoration spectacular and Albanius: "The cave of Proteus rises out of the sea, it consists of several arches of rock work, adorned with mother of pearl and abundance of shells of various kinds.
Through the arches is seen the sea, parts of Dover pier."Pope himself employed this type of figure intentionally for humor in his mock-heroic Rape of the Lock, where a lady would be upset at the death of a lover "or lapdog." Søren Kierkegaard, in The Sickness Unto Death, did the same thing, when he suggested that the "self" is easy to lose and that the loss of "an arm, a leg, a dog, or a wife" would be more grievous. When intended, this is the literary figure of undercutting; when the context demands a lofty, serious, or grand interpretation, the effect is bathos. In 1764, William Hogarth published his last engraving, The Bathos, or the Manner of Sinking in Sublime Paintings inscribed to Dealers in Dark Pictures, depicting Father Time lying exhausted in a scene of destruction, parodying the fashion at th
Barry Francis Crimmins was an American stand-up comedian, political satirist, author, Air America Radio writer and correspondent, comedy club owner. Crimmins was born in Kingston, New York, to Margaret Hooe and Phillip "Phil" Crimmins, a traveling salesman; when he was six, his family moved to New York. After graduating from high school in 1971, he started performing stand-up comedy at Under the Stone and moved to Boston, Massachusetts, to pursue his comedic career. Crimmins founded The Ding Ho and Stitches, in the 1980s in Boston, his productions there included performances by comedians Steven Wright, Paula Poundstone, Bobcat Goldthwait, Kevin Meaney, Jimmy Tingle and many others. Crimmins' satirical writing and comedy routines focused on the need for social change. In the 1990s, in a more serious vein, he led a crusade against images of child abuse on the Internet, calling for police investigation of Internet service providers, he received the "Peace Leadership Award" from Boston Mobilization for Survival, was honored by Community Works with the "Artist for Social Change Award" for his years of activism.
Howard Zinn presented him with "The Courage of Conscience Award" from Wellesley College and The Life Experience School at The Peace Abbey in Sherborn, Massachusetts. Crimmins was featured on the podcast WTF with Marc Maron in 2013, discussing his personal life and career as a political activist and his role in the Boston comedy scene. In 2016, between performances in London, he appeared on Stuart Goldsmith's podcast The Comedian's Comedian. Crimmins was featured in a number of film and television appearances, including When Stand Up Stood Out, The Smothers Brothers Comedy Hour, The Young Comedians All-Star Reunion, he Kill the Messenger on Green Linnet. His articles were published in the Boston Phoenix among other publications. Crimmins's life and work in comedy and politics were the subjects of a documentary entitled Call Me Lucky directed by Bobcat Goldthwait. On June 4, 2016, Crimmins shot a special, Whatever Threatens You, in Lawrence, Kansas for Louis C. K.'s production company Pig Newton.
Crimmins was an anti-pedophilia activist. He survived sexual abuse as a child, he began to expose online pedophilia in the 1990s, when he lived in Ohio. He spent hours in AOL chat rooms devoted to exposing predators, posing as a 12-year-old boy named "Sean". In 1995, after turning his evidence over to the FBI, he testified before Congress in 1995 about pedophilia on the internet, how child pornography laws needed to be enforced. AOL shut down the chat rooms dedicated to pedophilia and child pornography. In 2016, Crimmins endorsed Senator Bernie Sanders for President of the United States during the 2016 presidential election. In 2017, in the wake of the #MeToo campaign, Crimmins voiced support of the movement and called for increased awareness of harassment in the workplace. Crimmins was married to a photographer and font designer in August 2017 in Chicago, they resided in New York. In January 2018, he was diagnosed with cancer and described the prognosis as "not good". A few months earlier, Helen was diagnosed with stage four non-Hodgkin lymphoma.
Crimmins died of cancer on February 28, 2018, in Syracuse at the age of 64. His wife Helen reported his death from his Twitter account on March 1, saying, "Barry passed peacefully yesterday with Bobcat and I, he would want everyone to know that he cared about mankind and wants you to carry on the good fight. Peace." Never Shake Hands with a War Criminal, published by Seven Stories Press. Barry Crimmins on IMDb "Strange Bedfellows: Comedy and Politics". AllMusic.com. Retrieved March 11, 2014. "Barry Crimmins: Kill the Messenger". AllMusic.com. Retrieved March 11, 2014