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7 Moments From "Spiral" - NCIS: Los Angeles S6 E12
While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage.
"Spiral" - NCIS: Los Angeles S6 E12
While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage. When the team arrives to help, they discover the entire building is wired with explosives, on NCIS: LOS ANGELES, Monday, Jan. 5 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Michael Yarish/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved.
Pictured: Eric Christian Olsen (LAPD Liaison Marty Deeks). While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage. When the team arrives to help, they discover the entire building is wired with explosives, on NCIS: LOS ANGELES, Monday, Jan. 5 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Michael Yarish/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved.
Pictured: Chris O'Donnell (Special Agent G. Callen) and Jordan Belfi (Tom Blanchard). While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage. When the team arrives to help, they discover the entire building is wired with explosives, on NCIS: LOS ANGELES, Monday, Jan. 5 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Michael Yarish/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved.
Pictured: Chris O'Donnell (Special Agent G. Callen). While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage. When the team arrives to help, they discover the entire building is wired with explosives, on NCIS: LOS ANGELES, Monday, Jan. 5 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Michael Yarish/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved.
Pictured: Eric Christian Olsen (LAPD Liaison Marty Deeks) and Daniela Ruah (Special Agent Kensi Blye). While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage. When the team arrives to help, they discover the entire building is wired with explosives, on NCIS: LOS ANGELES, Monday, Jan. 5 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Neil Jacobs/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved.
Pictured: Patrick Gallagher (Don The Security Guard) and Daniela Ruah (Special Agent Kensi Blye). While Callen is undercover in the mail room of an office building to investigate an arms dealer, it is over taken by terrorists and Callen becomes a hostage. When the team arrives to help, they discover the entire building is wired with explosives, on NCIS: LOS ANGELES, Monday, Jan. 5 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Neil Jacobs/CBS ©2014 CBS Broadcasting, Inc. All Rights Reserved.
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ANT JONES (1986-1987)
Ricky Simmonds
Arriving on screen in Series 9 (1986), Ant Jones (play ed by Ricky Simmonds),became one of Grange Hill's most popular characters. A romance with Georgina, constant clashes with Mr Bronson, running away from home and an eventual transfer to rival school St Joseph's were some of the highlights of Ant's time on Grange H
ill. In an exclusive interview with Grange Hill Gold, Ricky talks about his time at Britain's best known school and how he eventually swapped acting for music.
You started your career as a child model – how did that come about?
When I was about 12 or 13, a neighbour was doing some modelling and said 'why don't you try?' I thought it sounded a good alternative to being a paper boy and an easy way to earn money! I was really fortunate; I put some pictures together and the first job I got was Kays Catalogue…. for two weeks in the South of France! It was brilliant; I thought every job was going to be like that.
I didn't set out to, but I did get a lot of work. I'd always looked a lot younger than my age, so when I was doing work aged about 13, it was with people a few years younger. With me, there was a bit more of maturity and professional attitude than someone aged about 10 or 11. It was really good fun to do and great training ground for being in-front of the camera.
What lead to you going into acting?
When I was 7, the Central School of Speech and Drama in London were doing a play called The Duchess Of Malfi and needed a young kid for a couple of scenes. My primary school was a few minutes away and possibly because I looked a bit Mediterranean, they asked me if I wanted to do it. When I went on stage with an audience it was great; this electric atmosphere. I got the bug!
I remember crying to my mum and dad, saying I wanted to go to stage school. They were really level headed about it and said I'd have a normal education and if I wanted to go to drama-college at 16 it would be my choice. It was heart-breaking; it was all I wanted to do.
I got on with life at normal school, then when I was about 15, I started these Saturday classes with Stella Greenfield who was also an agent. You got to go on loads of auditions and that got me into it. I was a child actor in a way, but I didn't start until I was 16 and had left school; I was never taking time off school to do acting.
One of your first major roles was in the well-remembered Children's Film Foundation film, Pop Pirates. What are your memories of this?
I'd gone to Sixth Form but wasn't really getting anywhere, and then, who knows why, I decided I wanted to go and work in a hotel as a page boy. I did that, but I wasn't really enjoying that and then after 3 weeks of working there, I got the role in Pop Pirates for The Children's Film Foundation.
They were looking for someone who could play instruments and had a music background as well as being able to act. I was lucky I could do that . . . . . . and mime playing the guitar; I've never been able to master playing that properly. I was very fortunate to be able to get that part and work with Roger Daltrey. It was a wonderful experience. I got to film in Brighton for a week, which as a 16 year old, it's very exciting to get a part where you're going off on location.
When Grange Hill was on, they showed Pop Pirates on the BBC a couple of times on a Friday afternoon and even Phillip Schofield seemed pleased to be introducing it. It was strange little film ; there was a naivety about lots of those CFF films – a bit of a Famous Five kind of vibe.
I went for a lot of auditions before I got any parts, but once I was starting to work, the parts were there. I worked pretty solidly for about three or four years with lots of theatre and TV. I thought I'd be working in the hotel for much longer!
Which other roles did you have before Grange Hill?
I'd done a lot of theatre work. I did the stage version of On Golden Pond, and then straight after I did understudying for Adrian Mole in the West End. When I auditioned for Grange Hill, I'd been doing that for about 6 months. I was sad to leave as I was having a great time, but I couldn't do both.
The only other TV role I'd had was for a show called Free-Time in which they had a scene retelling the story of Little Red Riding Hood. I played the wolf. I remember being, in a slightly self-righteous way, disappointed as they'd spelt my name wrong at the end, but then I was in a wolf costume and couldn't be seen anyway!
Did you audition specifically for the part of Ant?
I auditioned for Ziggy. I saw an advert in The Stage, saying that Grange Hill were looking for a Liverpudlian actor to play a 13 year old major new role. I phoned up my agent and said that I wanted to audition and they asked if I wanted to be in Grange Hill. Of course I wanted to be in Grange Hill! Everybody wanted to be in Grange Hill!
I figured out that if a producer or director knew you were putting on an accent, instead of listening or watching their performance purely, they'll always be listening to see how long they can keep the accent up for. So I decided to go along as a Liverpudlian right from the word go with this Scouse accent. I did the audition, and sometimes you know if it's gone well and they said 'Look that was really good, but we're going to be really honest with you; you look a bit too old for this part. Ziggy's a bit younger than you look, but it was a really, really good audition."
They asked if I'd done any other work and in my Scouse accent I said " I'm playing Adrian Mole in the West End, and I once played this cockney guitarist in this film." The director looked at me and said "You can do a cockney accent?!" He asked me to read for another part, for a character that was a bit older, the Ant Jones role. And so I read (in my cockney accent) and he said 'That's a really good accent you can do!"
I went away and they called me in for a recall with Phil Redmond, who I knew was Liverpudlian. I thought he might suss me out if I turned up with a Liverpudlian accent. My friend Deborah, who had Liverpudlian parents, said, the night before the audition; 'If he asks you where you're from, say Allerton – the posh part!' Sure enough he did ask me and I got away with it! I did the cockney accent for the part and I got the role.
For about 2 months, I was really sweating about the fact that when I got there, I might have to spend 9 months coming into work every day as a Liverpudlian. I really wrestled with that and thought I'll just go in as normal; and it was never mentioned! We were having lunch one day and the producer, in front of another couple of members of staff, said ; 'Oh yes, auditions are funny things. Some people can turn up at an audition as if they are from Liverpool. Can't they Ricky?!' Very funny.
I could have been Ziggy Greaves if I'd just been a little bit younger, but George was amazing. What an actor he was.
How similar were you to Ant Jones?
Not that similar. He was a very serious character. I've got that side to me and I can be sensitive at times but he seemed to be sensitive all the time! He was great to play as there was a lot of conflict and drama. It was a joy to play some of the more dramatic scenes that I was given for him.
Did you like the character of Ant?
I think it was more the drama he created. To have scenes where you're really pissed off with a teacher and you have to do long daggered looks, and are wronged by everyone; it was a little bit dramatic which is great to play. I wouldn't put that kind of sensitive, serious character at the top of my favourite character list, but it was a godsend to get a part like that, where you could do these really dramatic scenes. You got anger, tears a couple of times, running away from home; all that kind of stuff. I didn't think about it at the time, but afterwards I realised I was very lucky to be able to play so many extremes when it's just a show about school.
What was it like working with Michael Sheard (Mr Bronson)?
It was great to work with people like Michael Sheard; a really accomplished actor who really cared about the craft. It was almost like a masterclass with people like him. He could go a little bit over the top as well; he did play Hitler in Indiana Jones, and he'd never let you forget it, or the fact that he did Star Wars! But those scenes we had were great. It was a bit gritty, for the time; brave, gritty stuff. That was probably Phil Redmond's influence more than anything. He did the same with Brookside.
Some of the race issues, kids on drugs, that Grange Hill had, was really hard hitting stuff. At the time, I didn't think 'this is really gritty'; you were just a part of it. Maybe that was why it connected so well, because it was a little more realistic (though no one said the f-word!).
Did you get on well with the cast?
We all got on really well, which sounds a bit clichéd. It was a really good laugh ; we had a scream. I was in a weird position in that I was nearly 17 when I started, and I'd hang out with all the younger actors, but then a lot of them, between scenes would then go into another room at Elstree where they'd have their schooling. I'd go in with the 'adult' actors and I'd suddenly have to be a little bit more mature; sitting there doing my crossword! It was weird going between the two but I loved it. A lot of them used to be really envious of me that I didn't have to do school work and could go and wander around Albert Square next door or hang out in the canteen with Dirty Den, instead of doing Biology homework!
When I passed my driving test everyone was envious then. There were only about a handful of us who could drive. I think Melissa, who played Jacqui, passed her test before me. I remember we were both driving in, and you could see the others were very jealous, having to get on with their Geography or whatever they were doing.
Everyone was good fun. You had a couple of prima-donnas – I won't name them! – but for the most part everyone was lovely. I thought that on the first day I went in. It was terrifying; anyone who has gone to a new school and doesn't know anyone, will know that feeling. If you're a bit shy, like I could be at times, and every single person you look around at is so famous in the UK; there's Fay Lucas getting her lunch – oh look it's Gonch and Hollo over there!- it's very weird and unreal. On that day, Erkan Mustafa (Roland), I'll never forget, was brilliant. He came over and sat with me and started chatting; not that everyone else was blanking me but I was just the new person there! He had such a great way about him that was so welcoming. Everyone was friendly, and it was like being at school to a certain degree; just having a laugh with your mates all the time. A totally unique thing!
It's also really rewarding having life long friendships with a lot of the people I worked with… Erkan (Roland), George (Ziggy), Lisa (Julie), Sara (Julia), Fiona (Laura) are amongst the many that I have regularly been in contact with over the years – and most notably one of my best friends since we worked together is Simon Vaughan (Freddie). We also shared a flat together soon after he joined the cast. I was best man at his wedding, and I roasted him to within an inch of his life!
Ant was seen as one of the pin ups of the show. Did you get much reaction to your character from the public?
I feel really stupid talking about this, but there were so many letters sent to the BBC for Grange Hill. I've seen other actors ay about being watched by millions, but it really was. Some episodes were like 9 or 10 million; it was massive and there was a lot of mail for everyone! Because I was in at a time when there was massive ratings and an exciting bunch of storylines, it coincided. I got the most valentines I'll ever get in my life, on one of the years! It was bizarre, but it was fun; a unique experience. Although people say when you're doing it, you don't appreciate how unique it is, I think everyone kind of did, apart from the ones who were first on it, like Todd Carty and those actors; they didn't know it was going to be a success. But everyone I was in the cast with, we all joined that show knowing it was the biggest show in kids TV and practically every kid we all knew was a fan of it.
On my first day of rehearsals, I remember walking through the gates at Elstree, and I was just thinking that this is such a big thing! I was aware of how unique it was and didn't treat it in a flippant way; I really appreciated it.
Grange Hill won a BAFTA during the 1986 series, and for many this is regarded as the golden era of Grange Hill. Why do you think this series was so successful?
I might argue that other generations have their own era. When I fell in love with Grange Hill it was Tucker, Benny, Trisha Yates. The thing that I particularly related to was that when I was 11, that was when the programme started and they were all the same age as me. It felt extra special for people of my time, that they were charting exactly what we were going through.
I don't know if the era we were in is stronger than that era, or the Pogo Patterson / Stupot era, which were brilliant. It might be it had gathered such momentum by then, 6 or 7 years after that initial brilliance.
Another thing that doesn't get mentioned a lot is that when I was there, Anthony Minghella, who went on to be a really successful director and writer (The English Patient for example), was script editor. Sometimes I think that it's no coincidence that some of the real strong, brave storylines were being tackled at the time when when he was a major creative influence there. He's sadly no longer with us, but he was a real rare talent.
Did you enjoy being involved in the Just Say No campaign, and what are your memories of this?
Again, that's the weird thing, it wasn't too mind blowing at the time, but years go by and you think we're sitting with the First Lady in the White House. It's really bizarre. I'm a big fan of surreal comedy; I love Spike Milligan and Monty Python, and it's almost Python-esque that idea; it's ludicrous! I can't remember if I thought it was bizarre at the time or I took it in my stride. Standing on the pitch at the Yankee Stadium and miming the Just Say No song was just absurd.
Also, I really felt for some of the other actors who didn't go. Only 9 of us went and I remember being at work for rehearsals and everyone was being told who had been picked. Some of the actors who weren't picked and thought they would be picked, really took it quite hard; they were quite upset. I remember thinking this fe
els really awkward, like we'd won some kind of golden ticket. I really felt for the ones who couldn't go; it was a real shame, but they couldn't take everyone clearly.
How do you look back at the Just Say No record; with pride . . . . . or any other emotions?
I love the leading nature of these questions! I don't know if Mmoloki (Kevin Baylon) is totally proud of the rap that he wrote, not to say I don't love it and its really good fun to listen to. It was a bit of a cheesy, slightly awful record and I was quite embarrassed about it for a number of years, probably because I was so into music. When you're a bit younger, I was probably doing a bit of an Ant Jones and taking things a little too sensitively! I do not think that's a great record by any stretch of the imagination, but after I've got over that early youthful period where I tried to forget it, I find it quite funny to be a part of it. It's like the whole experience of going to the White House ; a bit crazy and absurd! Although the best thing about that record is the saxophone; I heard it recently on one of these 80s programmes and I thought that's actually a really good saxophone part. Maybe it's slightly under-rated; maybe it needs to be reappraised?!
I've been fortunate enough to have quite a lot of records that I've written with my long-term writing partner, go into the Top 40, but I've never reached where Grange Hill got! Top 5 – that's a land mark if ever there was one!
Have you always been interested in music?
I'd always played piano by ear and I'd had lessons, but I didn't like playing what you had to play in the lessons, so I shied away from it. I was always tinkering with keyboards. I bought an electronic keyboard when I was about 12. I was always writing songs and then I started a little band with a couple of mates. I was really into playing keyboard and writing; not so much singing. I did more of that years later. Music was a passion from early on.
When I was about 21, I decided I wanted to concentrate mainly on music, which is kind of what I've been doing for the last several decades! The fact that the first thing I did professionally in acting was as a singer playing guitar and I ended up as a musician, is a nice parallel.
And then you started a band . . . . .
I joined my brother Danny's band called Clear Conscience which we subsequently renamed Protocol. That was fairly soon after Grange Hill. It went through several kinds of sounds from pop, to heavy rock, to more of a Pink Floyd kind of type sound, and through different line ups. It did get a bit Spinal Tap, with our 17th bass player at one point! We were going for about three years and did a lot of gigs around the UK. It was almost like an apprenticeship. With that band I really learnt how to write a song; the collaboration process and crafting something out of musical ideas. Protocol was great but it didn't achieve too much and slowly disbanded in the early 90s.
What happened next?
Me and the keyboard player, Steve Jones (who I'm still working with all these years later) started a band called The Good Strawberries. We got signed to an independent label in the UK and did an album. We did a really good tour with the Ministry Of Sound when they were first starting. Paul Oakenfold was headlining and we were like the support band. That was more of a rock / dance cross-over; club music in a more rock style. That sort of feel apart because of issues in the band and the record company being crap.
Relating back to Grange Hill, there was a track on the album we made, called 'Peace On The Evening News', I wanted about 4 or 5 spoken bits at the beginning which would be like news-reel / commentator footage. There was one voice where I needed someone to talk about this character in the song and I thought of Michael Sheard. I got in touch with him and me and Steve took our very vintage recording equipment and he did this line really well in his best Michael Sheard-ian voice. He asked how much he'd be paid and we didn't really have a budget so he suggested if it sells a million we'd pay him. Didn't sell a million, but it was nice to see him again.
Tell us about how you moved into Dance music.
After 1995, Steve and I started a series of projects that were just me and him putting an act together, so we're known as The Space Brothers in more trance / progressive areas of club music. We're still releasing records under that name. Another one was Chakra – The Time, which we had a lot of success with on Warner Brothers. We did a lot of these projects where we would get other singers, female singers, to front a record or an album we were doing. Another long-term one we've got is Lustral, which we've done a couple of albums with. It's more song orientated and a bit more ambient, down-tempo chill-out music. So that's what has kept me busy! We did run a download store called Audiojelly which ran for about ten years. It was a really hard business to be in and it took away from the time I had to write and produce, so I stopped that a few years ago to focus on what I love doing. We're working on a new album now which is really good – I would say that! – but I think some of the stuff I'm working on now is really special.
It's really fortunate to be able to do something that you're passionate about and make a career out of it. That's not to say I didn't love acting. It was great but the problem with acting is you are not in control of your own destiny; you can only act when someone says can we hire you. So, even though I loved acting, I had an equal passion for music and decided to go down that road, which is where I am now.
What are your favourite memories from your time playing Ant?
One of the best weeks for everyone was when we did a week filming in Coventry on a barge trip. It was just a riot! Really really funny. It was pretty much most of us – there were only a few who unfortunately didn't get to do it. You had practically the whole cast there and because we were staying at this place where we were together every night as well, obviously we were young people just having a real laugh.
I remember things like a cricket match episode and a fun run episode where the whole cast were there. Periods of filming like that were great. A lot of the time, when you were working during the week on Grange Hill, you'd work with only about ten actors and the other cast might not be there on that day, because they haven't got scenes or were in tutor periods. Those kind of events where it was the whole cast were great fun because you were there with all your mates. It was really really good fun.
Do you have any bad memories of your time there?
It's not bad, but a slight negative. The second year I was there, I was going to be doing less episodes because Ant had left the Grange Hill school. The producer had said to me that I wasn't going to have so many episodes, but if I was offered any other parts they would do their best to work round it for me so I could do both. I auditioned for a part in a Dennis Potter TV play, and he'd written so many great things. It was for the part of a 17 year old American who had some weird adventure on a holiday with a step-mother or something who he had a kissing scene with. I knew the woman was going to be played by Glynis Barber of Dempsey and Makepeace. You couldn't go wrong; a Dennis Potter TV movie, a kiss with Glynis Barber and a month filming in Portugal. I got the role and the Grange Hill producer said it would be fine, but phoned me a couple of days later to say they'd done everything they could but they couldn't move the scenes that I'd got, so they wouldn't let me do it. I was really disappointed by that because it would have been such a great thing to do. I was a bit frustrated with the producer because he'd made this promise but I knew it wasn't perso nal.
Grange Hill was the most positive thing. There was nothing that wasn't completely positive and joyous about it. I can't remember doing an interview about Grange Hill since I left, but whenever people have asked me about it, they assume it probably wasn't as fun as it looked, but it really was!
If I could do it all over again, I wouldn't change anything. Though I wish I'd written a diary, because there's so much that I'll probably never remember; so many funny things that happened. I don't think I've ever seen any footage of us in rehearsal or messing about, and I'd love it any of the actors did have any. In 1985/6 I don't think people really had video cameras so I don't think anyone really has any footage. There's been some great pics that some of the actors have shared, but unlike the digital world we live in with mobile phones and cameras, not a lot. I'd love it if anymore could be unearthed as it's a great reminder of it.
How do you look back at the fashions and the legendary 'Ant Jones' hair?!
I love your questions! I'm not going to take all the blame, but it was the 80s so I don't think we can totally blame Grange Hill or my barber. In fact my mum was my barber at the time, because she used to be a hairdresser. It wasn't like I was going into a big TV show and I had to have my hair like that; that really was my haircut at the time! Blame my mother for that one! It was acceptable in the 80s as Calvin says. . . . . .
What lead to you leaving Grange Hill?
I didn't really leave. I was only contracted to do a year; one series. I wasn't supposed to be doing another year as Ant went to St Josephs. Because the series that I was in was so well received in every aspect, and the Zammo storyline which was so well done by Lee, really connected with people, I think I was lucky to be in a series that was peaking in those terms. Because a lot of people seemed to have engaged with my scenes as Ant, they thought they'd like to have Ant back, and asked me if they could find a way to keep Ant, would I do another series. Of course I would! I kind of got an extra series out of it as a pose to doing just one. At the end of that series he splits up with Georgina and then there is very little link to Grange Hill school anymore to have the character in too many episodes. I'd forgotten about Ant's final scene where he watches everyone having fun and goes off on his own – it was like a character in Eastenders having a good send off. I didn't get a Jereme Irving scene though, who drowned in the swimming pool. Now that was a gritty bit of drama – it really shook you!
Did you expect your role in Grange Hill to be remembered 30 years later?
I never thought
that would happen. Things went very quickly then. You didn't have YouTube or the internet so the idea of things being given a more permanent reminder didn't happen. When we were doing that programme, it was only things like the classic comedies would be repeated. When I was a kid, I remember a programme called Fox with Peter Vaughan, Larry Lamb and Ray Winstone. I found the DVD online about 4 or 5 years ago, and not having seen it for 20 odd years it was great. The mind-set then was that you watched something and you didn't expect to see it again.
But then when they started putting clips online a couple of years ago, I was amazed by that. The interest in it surprised me.
When Terry Sue Patt (Benny Green) sadly died in 2015, there was a huge reaction. Not just from social media sites, but writers and people who'd grown up watching Grange Hill, were saying he was an iconic figure. Not only was he the first character in it, but it was rare to have a black character in any series, let alone a children's drama in the 1970s. It broke a lot of ground with diversity which people would talk about nowadays. It took me by surprise that it was such a big news item, and that so many people had watched Grange Hill. You don't think about it, until sadly something like that happens and you're reminded how much affection there was for the show and people like Terry.
I'm kind of proud of I was in that, because it was a special part of childhood for me as a fan, and then to be in it as well, and to have people still interested in it and discussing it, years later, is great; really really great.
What do you think Ant Jones is doing now?
Blow drying his hair!
(c) 2017 Grange Hill Gold. Not to be reproduced without permission
Thanks to Ricky Simmonds
Visit http://www.early-sarah-brightman.com/ricky_simmonds.htm – a fan site that was invaluable when researching for this interview. Many thanks!


The Notts set to reopen with new landlords - and they're keeping it just how you like it
Former staff will be returning under the plans to preserve the feel of the characterful pub
Gregory Ford
Director Mike Brierley (right) and chef Nicholas Walton (centre) outside the Nottingham House on Sea View Street (Image: Grimsby Live)
The new landlords at The Nottingham House in Cleethorpes have said they are committed to preserving the character of the pub and their promise goes beyond maintaining the decor inside.
Well-known local former landlord of multiple venues Mike Brierley is leading a small group who have pumped around £30,000 into re-vamping the Sea View Street pub ahead of a re-opening date of May 17.
Mike is one of four directors that will be overseeing the running of the venue while the responsibility for the day-to-day running will fall to Michelin star trained chef Nicholas Walton who will act as head chef and manager.
The group have decided to re-hire all of the former staff that lost their jobs when the popular pub called time after the impact of the pandemic was felt in June last year.
The directors and head chef are taking a hands-on approach to getting the pub ready for their opening day (Image: Grimsby Live)
Mike said: "I've been involved in pubs in the area since 1973, I've been at various places like the Cricketers Arms and the Tivoli Tavern at various times, in a way it's always been part of my life.
"I run a little pub company but this is a separate venture, this is four people that didn't want to see what was a popular and unique pub close its doors for good.
"We know the pub well and what we're looking to do is preserve the character of the place, we know some former regulars might have been worried about it so we've offered jobs to all the staff that lost them when it closed last year.
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"I wouldn't quite go as far as to say we've undertaken a renovation because we're not trying to change what is there we're just redecorating and bringing things back up to scratch.
"That said I think we've put around £30,000 into it so far but a lot of that work has been under the surface with plumbers and electricians, people will see it is all quite familiar when they come back to visit.
"We have upgraded the rooms to let upstairs and a lot of the seating has had to be replaced, the dining room has had a spruce up and the lounge rooms are looking fresher.
"The important thing is that we haven't changed the character of the pub which would have been against everything that we wanted to achieve here."
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It was feared that last orders had been called at the venue when long serving former landlord Roger Gott decided not to renew his lease from Star Pubs and Bars, the pub businesses of Heineken UK last year.
He had been in charge of the venue for ten years, and built it into one of the busiest pubs in the chain.
At the time Roger said: "It is a combination of the 10 year lease ending and I am getting old. It feels like the end of an era for me. We shall miss the customers, some of whom have been coming here for 40 to 50 years."
There is still work to be done in the traditional pub before its opening later this month (Image: Grimsby Live)
Mike and his fellow directors have invested in Sky and BT sports which will be shown in the tap room at the front of the pub which will also be dog friendly.
They're also committed to maintaining the pub's offering of seven hand pulled beers alongside Tetleys, lagers, Guinness and a selection of wines and spirits.
Michelin star trained chef Nicholas Walton will be bringing a menu of British classics for weekly menu with specials on a Friday and Saturday.
More details on the offerings from the kitchen will be coming next week and the pub is scheduled to open its doors on May 17.
The kitchen is not anticipated to be ready in time for the May 17 opening date and more details on the restaurant opening dates will follow.
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CrimeA 15-year-old boy, a 14-year-old boy and a 15-year-old girl have been arrested
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North East Lincolnshire CouncilIt will help low-income families whose homes are difficult to heat


Lita returns, Sami Zayn introduces "InZayn" segment on Friday Night SmackDown
johnpollock January 14, 2022, 8:05pm #1
Originally published at	Lita returns, Sami Zayn introduces "InZayn" segment on SmackDown
Lita is set to return on tonight's edition of Friday Night SmackDown from Omaha, Nebraska.
The former women's champion was one of the nineteen entrants announced last week for the women's Royal Rumble later this month.
They are promoting it as the first SmackDown appearance for Lita in nearly 20 years. Her last match on SmackDown occurred in March 2002 teaming with Trish Stratus against Ivory & Jazz two weeks before the first-ever draft and Lita was a Raw talent from 2002-06.
They have also announced that Seth Rollins will appear on the show for a "face-to-face" segment with WWE Universal champion Roman Reigns prior to their match at the Royal Rumble.
Sami Zayn will introduce a segment called "InZayn" where he tries to "out Jackass Johnny Knoxville", which will either be the best or worst thing on the show with little room for anything else.
Aliyah will take on Natalya in a singles match with both women part of the Royal Rumble on January 29th.
Rewind-A-SmackDown is live tonight at 11:15 p.m. ET for all POST Wrestling Café members with reviews of SmackDown and AEW Rampage.


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History of the Dude Ranch
The short answer is: it was probably an inevitable accident. The people who lived and made the West were known for their hospitality and neighborliness, so it only makes sense that they would open their doors to friends, family, and visitors from out East. Some people say the first 'dude ranchers' –though they didn't call themselves that at the time—were either Teddy Roosevelt in North Dakota or Kit Carson in New Mexico. I'd like to think it was a little earlier, either Bill Sublette, a famous mountain man, who agreed to take some Easterners to Brown's Hole for the summer of 1844 or Jim Bridger, immortalized in legends of the West, when he guided Sir George Gore on a hunting trip in North Park in 1850. Yes, the same North Park that we can see from the front porch of our lodge. Grand County alone is currently home to four dude ranches, including the one where I was raised from birth and the one where my parents met and fell in love with the west and each other.
Perhaps there is something in the water, maybe it's the way the mountains slope and the rocks jut that just repel the advance of civilization, and it just might be the utterly shocking beauty of this place that draws people to it who have a desire to remember the West when it was wild.
Regardless of who got it rolling, the fad began to snowball shortly thereafter. The West began to open up to the population out East with the transcontinental railway, and everyone started looking for places to experience some of the magic that inspired all those stories and dime-store novels. These cattle ranches sometimes evolved into dude ranches without even realizing it, and, of course, no one had invented the term 'dude ranch' yet, either. Living in the West isn't a way to get rich, and supplementing the meager income of cattle ranching with paying visitors made ends meet that much easier.
They were "Families That Take in Friends"(an Informal History of Dude Ranches, by Joel H. Bernstein), with the first intentional dude ranch being the Eaton's ranch up in Wyoming; in a testament to true Western hospitality, they are still in business four generations down the line. And, while no one truly knows where the term comes from, 'dudes' were known as the nicely dressed, greenhorn Easterners who sought to find a vacation in the West during the summer months. Dudes came to Ranches, and they were willing to pay good money for it.
Latigo was founded as a dude ranch, set in the ideal location for wild beauty, perfect trail rides, and endless views, in 1928, only shortly after the other ranches in the west organized to form the Dude Rancher's Association and figure out how to sell the unique little industry to a wider market.
All of the ranches in the association have updated over the decades, including Latigo. We've expanded on the original program to include things like a swimming pool, fishing in our trout pond, shooting, wagon rides, and a truly excellent menu. Essentially, the history of dude ranches follows the story of those who love the West and this life enough to share it. That has never changed.
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'Thank you' just seems so inadequate…It was honestly one of the best vacations I can remember.
David & Judith F.
The horse riding was wonderful, the food excellent, the scenery breathtaking and your company very, very pleasant.
P.J.
Everything was top notch, and everyone was so friendly and helpful.
Sue P.
We loved Latigo Ranch! It was our best vacation ever! Cabins were comfortable, food was scrumptious and the wranglers were wonderful.
John & Jenni E.
This has been our second consecutive visit and again it has equaled all expectations.
PO Box 237, 201 County Road 1911, Kremmling, CO 80459 | {970} 724-9008
Licensed Permitee and Equal Opportunity Service Provider on the Medicine Bow-Routt National Forests
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Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation
Aleksandra Fucic, Stefano Bonassi, Sarolta Gundy, Juozas Lazutka, Radim J. Sram, Marcello Ceppi, Joe N. Lucas
Istituto San Raffaele Pisana
A.O.U. San Martino - IST, Istituto Nazionale Ricerca sul Cancro (GENOVA)
BACKGROUND/AIM: Biomonitoring is currently applied in the estimation of health risks after overexposure to ionizing radiation (IR). The aim of this study was to compare the association of dicentric chromosomes and acentric fragments (AF) with cancer risk in subjects exposed to IR, as well as in control subjects.MATERIALS AND METHODS: The study was performed on 3,574 subjects (2,030 subjects exposed to IR and 1,544 control subjects). The mean follow-up period was 8 years.RESULTS: In subjects reporting exposure to IR, the presence of AFs and dicentric chromosomes was associated with a significant increase in cancer risk, hazard ratio (HR)=1.78 (95% confidence interval (CI)=1.01-3.13) and HR=1.73 (95% CI=1.03-2.90), respectively.CONCLUSION: AFs are associated with cancer risk and have a similar sensitivity to dicentric chromosomes in subjects exposed to IR. Because automated AF scoring can be easily introduced using fast flow cytometry combined with the pan-centromere staining, this biomarker may hold promise as a potential sensitive biomarker of exposure to IR and cancer risk.
Anticancer Research
Fucic, A., Bonassi, S., Gundy, S., Lazutka, J., Sram, R. J., Ceppi, M., & Lucas, J. N. (2016). Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation. Anticancer Research, 36(5), 2451-2457.
Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation. / Fucic, Aleksandra; Bonassi, Stefano; Gundy, Sarolta; Lazutka, Juozas; Sram, Radim J.; Ceppi, Marcello; Lucas, Joe N.
In: Anticancer Research, Vol. 36, No. 5, 05.2016, p. 2451-2457.
Fucic, A, Bonassi, S, Gundy, S, Lazutka, J, Sram, RJ, Ceppi, M & Lucas, JN 2016, 'Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation', Anticancer Research, vol. 36, no. 5, pp. 2451-2457.
Fucic A, Bonassi S, Gundy S, Lazutka J, Sram RJ, Ceppi M et al. Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation. Anticancer Research. 2016 May;36(5):2451-2457.
Fucic, Aleksandra ; Bonassi, Stefano ; Gundy, Sarolta ; Lazutka, Juozas ; Sram, Radim J. ; Ceppi, Marcello ; Lucas, Joe N. / Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation. In: Anticancer Research. 2016 ; Vol. 36, No. 5. pp. 2451-2457.
@article{56e52d3355a9486c98c320916cbe1bf8,
title = "Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation",
abstract = "BACKGROUND/AIM: Biomonitoring is currently applied in the estimation of health risks after overexposure to ionizing radiation (IR). The aim of this study was to compare the association of dicentric chromosomes and acentric fragments (AF) with cancer risk in subjects exposed to IR, as well as in control subjects.MATERIALS AND METHODS: The study was performed on 3,574 subjects (2,030 subjects exposed to IR and 1,544 control subjects). The mean follow-up period was 8 years.RESULTS: In subjects reporting exposure to IR, the presence of AFs and dicentric chromosomes was associated with a significant increase in cancer risk, hazard ratio (HR)=1.78 (95{\%} confidence interval (CI)=1.01-3.13) and HR=1.73 (95{\%} CI=1.03-2.90), respectively.CONCLUSION: AFs are associated with cancer risk and have a similar sensitivity to dicentric chromosomes in subjects exposed to IR. Because automated AF scoring can be easily introduced using fast flow cytometry combined with the pan-centromere staining, this biomarker may hold promise as a potential sensitive biomarker of exposure to IR and cancer risk.",
keywords = "Chromosome Aberrations, Genetic Predisposition to Disease, Humans, Neoplasms, Radiation-Induced, Radiation, Ionizing, Journal Article",
author = "Aleksandra Fucic and Stefano Bonassi and Sarolta Gundy and Juozas Lazutka and Sram, {Radim J.} and Marcello Ceppi and Lucas, {Joe N.}",
note = "Copyright{\circledC} 2016 International Institute of Anticancer Research (Dr. John G. Delinassios), All rights reserved.",
journal = "Anticancer Research",
publisher = "International Institute of Anticancer Research",
T1 - Frequency of Acentric Fragments Are Associated with Cancer Risk in Subjects Exposed to Ionizing Radiation
AU - Fucic, Aleksandra
AU - Bonassi, Stefano
AU - Gundy, Sarolta
AU - Lazutka, Juozas
AU - Sram, Radim J.
AU - Ceppi, Marcello
AU - Lucas, Joe N.
N1 - Copyright© 2016 International Institute of Anticancer Research (Dr. John G. Delinassios), All rights reserved.
N2 - BACKGROUND/AIM: Biomonitoring is currently applied in the estimation of health risks after overexposure to ionizing radiation (IR). The aim of this study was to compare the association of dicentric chromosomes and acentric fragments (AF) with cancer risk in subjects exposed to IR, as well as in control subjects.MATERIALS AND METHODS: The study was performed on 3,574 subjects (2,030 subjects exposed to IR and 1,544 control subjects). The mean follow-up period was 8 years.RESULTS: In subjects reporting exposure to IR, the presence of AFs and dicentric chromosomes was associated with a significant increase in cancer risk, hazard ratio (HR)=1.78 (95% confidence interval (CI)=1.01-3.13) and HR=1.73 (95% CI=1.03-2.90), respectively.CONCLUSION: AFs are associated with cancer risk and have a similar sensitivity to dicentric chromosomes in subjects exposed to IR. Because automated AF scoring can be easily introduced using fast flow cytometry combined with the pan-centromere staining, this biomarker may hold promise as a potential sensitive biomarker of exposure to IR and cancer risk.
AB - BACKGROUND/AIM: Biomonitoring is currently applied in the estimation of health risks after overexposure to ionizing radiation (IR). The aim of this study was to compare the association of dicentric chromosomes and acentric fragments (AF) with cancer risk in subjects exposed to IR, as well as in control subjects.MATERIALS AND METHODS: The study was performed on 3,574 subjects (2,030 subjects exposed to IR and 1,544 control subjects). The mean follow-up period was 8 years.RESULTS: In subjects reporting exposure to IR, the presence of AFs and dicentric chromosomes was associated with a significant increase in cancer risk, hazard ratio (HR)=1.78 (95% confidence interval (CI)=1.01-3.13) and HR=1.73 (95% CI=1.03-2.90), respectively.CONCLUSION: AFs are associated with cancer risk and have a similar sensitivity to dicentric chromosomes in subjects exposed to IR. Because automated AF scoring can be easily introduced using fast flow cytometry combined with the pan-centromere staining, this biomarker may hold promise as a potential sensitive biomarker of exposure to IR and cancer risk.
KW - Chromosome Aberrations
KW - Genetic Predisposition to Disease
KW - Neoplasms, Radiation-Induced
KW - Radiation, Ionizing
KW - Journal Article
JO - Anticancer Research
JF - Anticancer Research
Istituto San Raffaele Pisana - Identificazione di nuovi modelli organizzativi e gestionali per ottimizzare la risposta riabilitativa nel paziente con disabilità.


N icco and Rocco Ruscitto are both psychology majors at CSU Fuller- ton. At first glance, most people don't realize they are identical twins. ey don't look exactly alike; Rocco has a beard, and they differ in weight by about 15 pounds. But Nancy Segal did a double take and recognized that they were identical twins the minute she set eyes on them. That's b e c a u s e sh e i s c o n si d e re d o n e of th e foremost experts on twins in the country. Author of four books and more than 200 scientific articles about twins, she runs the Twin Studies Center at CSU Fullerton, where she is a psychology professor. And yes, she is a twin. Her fraternal twin sister lives in New York and is an attorney. S h e a ske d th e 2 2 - ye a r - o l d Ru s c itt o brothers if they would drop by her lab and contribute to her research. ey were hon- ored to assist such a renowned researcher. ey wish, however, that they had met her earlier. She could have come to their defense a few years ago when they were taking the same online college course and their work was so similar that they were unjustly accused of cheating. "is happens on occasion," says Segal, California Faculty Association . "I have worked on a number of cases where twins were accused of cheating because they came up with the same answers on tests and homework assignments. Several of these cases have gone to court, and in some cases students have been dismissed from their universities. It's unfortunate that some faculty and administrators don't real- ize students with matched talents can do similar work." Segal has a passion for clearing up mis- conceptions about twins and studying the ways they are alike and different that con- stantly drives her to break new ground on the topic. She has studied the relationships of twins with each other and with outsid- ers. She has studied twins who were raised together and twins who were raised apart, and some who were reunited after decades of separation. She has compared the bond of fraternal twins with that of identical twins. She estimates that she has studied hundreds if not thousands of twins. She made headlines in 2014 when she arranged for a reunion of twins Ann Hunt and Elizabeth Hamel, who had been apart for 78 years, since they were 5 months old. Hunt, from England , was adopted and learned she had a twin sister after her Meet twin expert Nancy Segal By Sherry Posnick-Goodwin In 2014, Segal arranged for the reunion of twins Elizabeth Hamel (left) and Ann Hunt, who had been apart for 78 years, since they were 5 months old. Photo courtesy Nancy Segal. Nancy Segal with twins Rocco and Nicco Ruscitto. Photo by Scott Buschman. 14 cta.org perspectives


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The Press on Frieze Masters and Frieze London
Gabriel Orozco´s commissioned work for the Deutsche Guggenheim
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"The magical beauty of objects"
The press on Gabriel Orozco's commissioned work for
the Deutsche Guggenheim
Thousands of objects are at the center of Gabriel Orozco's exhibition project "Asterisms," the 18th commissioned work for the Deutsche Guggenheim. The artist arranged objects he found on the beach in a nature protection area in Mexico and on a sports field in New York into a poetic installation that critics are raving about.
"A a philosophical investigation of formal aspects, materials, longevity and erosion." This is how Gabriel Orozco described his exhibition project Asterisms at the Deutsche Guggenheim in an interview with Claudia Bodin, the New York correspondent of Art. "It is reminiscent of a classification of finds. You have all these objects in front of you and you try to find a meaning for the whole puzzle," said the Mexican artist. In the review of the exhibition in Art, Birgit Sonna writes that Orozco transferred "relics from human and other life into surreal perspectives by radically shifting the context and presenting very contemporary things as though they are finds from antiquity. (…) Erosion is his main subject. Or the poetry of decay, the wearing away of cultural ideas, identities, rituals. With Orozco, we see the ravages of time gnawing on social forms that still exist."
The Berliner Morgenpost writes that with his "astonishing floor work (…)," the artist realized "the ultimate summer show." In the Berliner Zeitung Ingeborg Ruthe says that the "world-famous poet among the conceptualists" is showing "a clearly conceived work that consists of simple ingredients yet is highly complex" at the Deutsche Guggenheim. "(…) A giant carpet composed of garbage and flotsam turns into a strange, urgent, poetic topography before our very eyes. (…) It is abundantly obvious that Orozco has a very special eye for the magical beauty of objects." Writing for Informationsdienst Kunst, Karlheinz Schmid has a completely different viewpoint. In his opinion, the exhibition is an "artistic debacle": "Orozco is merely searching for traces, engaging in aesthetic games that provide no real insights." Christiane Meixner from the Tagesspiegel on the other hand sees in Asterisms a "mosaic shedding light on 21st-century culture and living habits." She writes that the work "contains poetic energy that affords a new view. And that makes plastic elements of fascinating beauty out of waste."
In the blog Hypedefender, we read: "What for the viewer is a mountain of garbage in nature is visibly staged by Orozco as a cultural asset, illustrating the conflict of man versus nature." taz editor Ingo Arend writes that "the work in Berlin's upscale little show room would have been perfect for Carolyn Christov-Bakargiev's post-human documenta 13." He sums up the exhibition as follows: "But the 51-year-old does not just play around with forms in his work. A sense of the collision of nature and culture, of consumption and the throwaway society is always present. Orozco consciously chooses everyday objects for his works. But whereas Duchamp puts them in the context of art, Orozco gives them a form. He called his double work in Berlin Asterisms – Sternbilder. Thus he combines the profane and the poetic. The result can be called beauty."
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Free Radicals - Elad Lassry´s Hermetic Photographic Works / It's interesting to be unsure - A conversation with Lorna Simpson / The Human Dimension - Thomas Scheibitz at the MMK / Visual Encyclopedia of the People's Republic - Liu Zheng's monumental photo atlas The Chinese / On Disappearance and Illumination - Michael Stevenson in the Portikus, Frankfurt / 10 Years - ArtMag Celebrates its Anniversary! / Dynamic Duo - Preview Frieze London and Frieze Masters / Fabian Marti: Trip to the Other Side / Wallpaper and Transcendence: Shannon Bool - Excursions into Modernism
Asterisms - Gabriel Orozco's Commission for the Deutsche Guggenheim / This Undreamt Descent - Wangechi Mutu in the Kunsthalle Baden-Baden
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Genetics Society of America announces Howard Lipshitz as new Editor...
GENETICS and G3 welcome new editors
Genetics Society of America partners with Oxford University Press to...
GENETICS welcomes new editors
Congratulations to the 2020 Early Career Scientist Leadership Program cohort!
GSA-Art: Douglas Bishop
Guest posts are contributed by members of our community. The views expressed in guest posts are those of the author(s) and are not necessarily endorsed by the Genetics Society of America. If you'd like to write a guest post, e-mail cgelling@genetics-gsa.org.
Late December, Marysville, WA.
GSA-Art features the creative works of scientists, particularly geneticists. Read more about the series from GSA President Stan Fields. If you would like to submit your own work or nominate someone else's, please send an email GenesToGenomes@genetics-gsa.org with "GSA-Art" in the subject line.
Douglas Bishop is a professor in the Department of Radiation and Cellular Oncology and the Department of Molecular Genetics and Cell Biology at the University of Chicago.
Summer shadows, Craigville, MA
Long Beach, Craigville, MA
New in G3: chicken genome assembly, Drosophila co-CRISPR, and more
Jeannie Lee appointed GSA Vice-President
Art & CultureGSA-Art


Many artist to paint and tell their stories. It
Many adults know about the negative
stereotypical views video games received throughout the years. Views consisting
of promoting violence and aggressive behavior, which it will not help the
players later in life, and other usual excuses many parents use in not letting
their children play them. Nevertheless, many of the generations, both new and
old, look to video games as a form of art and inspiration. Video games over the
past few years are now considered an art form.
It is astonishing on how something so negatively viewed, has become a
good portion of art culture. Truly, video games are a
collision of art, literature, and playwrights in one interactive medium. Yet,
how are video games an example of all three arts, in the first place?
One, video games are similar to that which
is considered fine art such as paintings like the Mona Lisa or cultural
structures like the Thinker because of the in-depth intent and meanings the
player experiences and the exhibitions held in respected art venues. The art that
is exhibited in museums and art venues and many Universities have archives,
studies, and even made documentaries about them and their artists.
Surprisingly, in the recent years, dozens of video game exhibits have been held
in thoroughly respectable venues and museums such as the Smithsonian and MoMA
(Moriarty, 2015). G1 Universities even carry archives of
the games and hardware, as well as carry out video game studies and made
documentaries out of these studies. However, is video game really an art? Many
experts in the recent years consider these games as an art form that collides
art and science together, and its own technology expanding the canvas for an
artist to paint and tell their stories. It is believed to be the art form that
only exists in digital space and the only form of media that allows for
personalization of the artistic experience while retaining the authority of the
artist. To clarify, video games allow each player a different experience the
artists convey in art or graphics of the game. They even include traditional
forms of artistic expression in a new style, such as sculpture in 3D modeling,
illustration in 2D modeling, or pointillism in pixel
sprites (Melissinos, 2015). However,
that is just the visual art aspect of video games.G2 G3 G4
Two, video games are an example of
artistic literature because they contain elements of a plot and interactive
storytelling. In the few decades of video games development, most games have
been developed with interactive storytelling. By definition, interactive
storytelling is "a form of the digital environment in which users create
or influence a dramatic storyline through actions" (Ferk, n.d.). In
literature, the author has absolute control over the story, whereas in video
games the creator of the story gives some control to the player, therefore,
making the player experience the story told. For instance, in literature, the
author presents the protagonist to his or her readers. The G5 G6 G7 protagonist's
actions are fixed by the author, therefore the readers just watch on the
sidelines as if the two were different peG8 ople.
Now games, on the other hand, allows the player to experience the protagonist's
journey as if they were the same person. A perfect example of this experience
is role-playing games or RPGs, where the PC or player's character, whose
actions and decisions are controlled by the user, does not see the story but
actually participates in it. What are supporting characters in literature are
the same as NPCs or non-player characters in video games, they are not
controlled by the user but by an AI or artificial intelligence created by the
same creator of the story. Nevertheless, do video games follow the same plot
devices aG9 G10 G11 s in literature? As a matter of fact,
they do. Every video game story follows a strict rule of having a beginning,
body, climax, and ending and archetype. By definition, an archetype G12 is an idea, symbol, pattern, or
character-type, in a story and it's any story element that appears again and
again in stories from cultures around the world and symbolizes something
universal in the human experience (2017, Archetype: Definitions and Examples). In the case
of the Sonic the Hedgehog games;
Sonic is the hero G13 archetype, Shadow is the anti-hero
archetype, Tails aka Miles Prowler is the sidekick archetype, and Dr. Eggman is
arch nemesis archetype. As mentioned, video games are both art and literature.
There is, however, one last artistic aspect of video games to mention.G14 G15 G16 G17 G18
Lastly, video games are like theatre
productions where the player becomes the star actor or actress and director by
of playing as the main characterG19 in a fictional world or story. Video
games are similar to an interactive theatre or "a presentational or
theatrical form or work that breaks the "fourth wall" that
traditionally separates the performer from the audience both physically and
verballyG20 ." (2012, Pawar). Nevertheless, in
video games, the interactivity is the participation of the playerG21 as the main character of the story. According to
Daniel and Sidney Homan, during the age of " video game narrative"
games, where plot, narrative, and dialogue started become important to video
game development, enhancing the player's role as an actor and giving them the
role of playwright devising the script and determining the direction of the
plot (2014, pg. 7) G22 G23 G24 Now in the recent years, the narrative in
video games has become all-important since most contain multiple story paths,
thousands of lines of alternate dialogue, and adding a voice to their
characters. In both theater and games,
the audience has the ability to change the meaning and even the script usedG25 G26 G27 . In summary, video games are a
combination of these three considered art mediums; however, there are art
critics who believe otherwise. G28 G29 G30
Many famous art critics believe that video
games can never be art due to there being no individual ownership for the
"artist" to make it theirs. Robert Ebert (2010), a film critic, once wrote:
"G31 No one in or out of the field has
ever been able to cite a game worthy of comparison with the great poets,
filmmakers, novelists, and poets.G32 "(para. 21). Ebert argues the one
difference between art and games is that you can win a game. To clarify, a
video game has rules, points, objectives, and an outcome; therefore, even if
one can cite a game with no rules or points, it ceases to be a game and becomes
a representation of a story, a novel, a play, dance, a film. A story, novel,
play, or film are a thing that cannot be won, only experienced (2010, para.
11). G33 He also argues the interactivity of a
game meant that the creator was unable to claim an authorial vision (Stuart,
2012). To clarify, Ebert states "No one 'owns' the game" (Stuart, 2012, para.4).
In this case, there is no artist, therefore no work of art. However, these are the same counter-arguments
used again and again.
A rebuttal to Ebert's argument may be that
games are an expressive medium and a form of communication because of their
interactivity and rules. According to Chris Melissinos, while playing games,
gamers can be inspired to feel guilt or joy or moral ambiguity and be
transformed instead of just distracted (Tucker, 2012). Melissinos, comparing
games and books, states that in books, everything is laid before the audience
so there is nothing to discover; nevertheless, games allow the ownership of the
author to remain true while allowing the observer to explore and experiment the
world given. Keith Stuart states that the critics like Ebert feel threatened by
video games being art; therefore, they attempt to barricade themselves against
the flood of the new, to fence in what they understand and can safely ascribe
meaning to (Stuart, 2012). In Ebert's argument "No one in or out of the
field has ever been able to cite a game worthy of comparison with the great
poets, filmmakers, novelists, and poets."G34 (2010, para.21); however, two things
have happened in this decade that weakens this argument. First, the rise of the
independent games because of the "Indies" producing thousands of edgy, curious
and deeply personal games those are similar to art (Moriarty 2015). Second, the
new experiences which fuse the technology of games and cinema into dynamic
hybrids that are neither games nor cinema (Moriarty, 2015). In the argument of video games having rules
and can be won not experienced, Melissinos (2015) rebukes "In video games, we
find three distinct voices: the creator, the game, and the player. Those who
play a game are following the story of the author and are bound by the
constructs of the rules—but G35 based on the choices they make; the
experience can be completely personal. If you can observe the work of another
and find in it personal connection, then art has been achieved." (para.3). Game
developers make games about serious issues and historic events, portraying
their own or others' struggles with life, or based off of folklore and legends.
In June of 2012, the Supreme Court ruled video games should be considered an
art form, as deserving of the United States First Amendment safeguards as "the
protected books, plays, and movies that preceded them.G36 "(Tucker, 2012, para.1).
To clarify, some games are based on other art
mediums such as film and literature.G37
Games can be either based loosely on these mediums creating a different
interpretation or can be exactly derived from the medium. Sometimes, a popular novel becomes a base for
G38 G39 a film creating two sources game
developers can merge or use separately no matter the profound difference. The
games may even become better than the mediums their based off of because the
game sometimes achieve what the author or movie director is trying to do. For
instance, Middle-Earth: Shadow of Mordor is
based on the Lord of the Rings novels
and The Hobbit films. However, the absurdly long LOTR and Hobbit
films built drama into their absurdly long battle sequences, wherein the
audience needed to see named characters in peril and reappearing super-threats
is something Mordor does not use (Meer, 2015). According to Alec Meer (2015),
Mordor structure in the battle scenes are more vivid and breathlessly inspiring
due to the hero becoming stronger in a more realistic slow pace. To clarify,
Mordor had achieved the battle scenes and experiences the movies and novels
tried to portray since a novel and movie have a limited time for the main
characters progression (Meer, 2015). Even so, literature-based games are
developed and are moreG40 popular than movie based games
because literature based games has less limitations on the story or script.
Literature games can also be a retelling of a story in a different light. For
example, American McGee's Alice
released in 2000 by Electronic Arts, a dark retelling of the Alice in Wonderland story starting with
Alice in a catatonic state due to the death of her family (American McGee's
Alice (Video Game), n.d.). In this state, she is transported to a twisted
Wonderland, using a variety of deadly toys to kill the Queen's minions, many of
which are her former friends and companions trying to destroy her and solving a
number of puzzles along the way to destroy the Queen of Hearts and return
Wonderland to its former self, thus healing her mind as well. Her guide and
primary ally is a twisted, emaciated Cheshire Cat, who can be summoned by the
player for hints on how to go or just the occasional cryptic quote (American
McGee's Alice (Video Game), n.d.). As noted, the game is twisted and morbid
journey into the mind based off of Alice
in Wonderland. Some video games are inspired by literature and tell an
entirely different story in the case of Assassin's
Creed. Surprisingly, Creed was heavily inspired by a 1930 novel titled Alamut. According to David Roberts
(2016), the author's, Vladimir Bartol, novel Alamut centers on a man named Hassan-i Sabbah, who is a Persian
missionary and converted a small community back in the 11th century. Sabbah
formed the Hashshashin to further their order. The motto of the Hashshashin
"Nothing is an absolute reality, all is permitted." (Roberts, 2016,
para.1). Creed follows the Hashshashin motto in a different way because Alamut doesn't
really touch on the whole "ancient high-tech civilization controls
humanity's actions through a series of magical artifacts to prevent a massive
cataclysm in 2012" plot Assassin's
Creed contains. Lastly, these games allow exploration of the world created
in the book as portrayed in The Witcher.
Witcher is actually based off of a Polish series of dark fantasy short stories
and novels under the same title. For the game, the developers use the lovely
"amnesia" trick on the Polish novel series' main protagonist, Geralt of Rivia
(Roberts, 2016). In the game, Geralt lost much of his memory of his time
adventuring, leaving you to learn about the world and its inhabitants as you
progress. The Witcher series are
famous for wading in the books' own morally gray ethics – only this time, the
player's choices actually affect the world more than if one would simply turn a
page (Roberts, 2016). Many iconic video game franchises even sources for other
mediums, mostly for film and books; for instance, a grand example would be the
famous Resident Evil series. Six
movies, a book series, and comic series under the same title were loosely based
off it (JTRW, 2014). All those mentioned
are examples of how video games is becoming a new herald to books, films, and
plays that precede art.G41 G42 G43
As mentioned, even
though video games still receive negative stereotypical views to this day, it
is rapidly becoming an art form in the art culture. Whether some art critics
disagree and maintain the same "video games can never be art"
argument, there is no denying a cultural change on what is believed to be art
and on video games themselves. Video games are an example of fine art like
sculptures and paintings the in-depth intent and meanings the player experiences and the same use of artistic techniques
with new methods. They are appearing in art shows and exhibited in respected
venues such as MoMA. Video games are interactive stories that allow the player
to personally experience the plot and explore the fictional world they are in.
They are similar to the interactive theatre productions enhancing the player's
role of the actor, in addition to the roles of director and playwright. Video
games are derived from the older art mediums, such as literature and film, and
some of these older mediums are based on video games. In short, video games are
really becoming a part of art culture whether everyone wants it or not.G44
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EC3 vs. Matt Cardona at "Free the Narrative" show
Apr 16, 2021 - by Marc Middleton
EC3 and Matt Cardona (fka Zack Ryder) are set to face off at a special "Free The Narrative" event that will air ahead of Memorial Day Weekend.
EC3 has been using the "Free The Narrative" line since leaving WWE last year. He is currently working with ROH, while Cardona is working with Impact Wrestling.
The special event is available for pre-ordering now at $14.99 via Vimeo. It will air exclusively through Vimeo on Vimeo on Thursday, May 27 at 8pm ET.
The official promotional material for this event notes, "There will be no three-letter companies or corporate wrestling brands—only answers. In addition to this 'featured fight,' EC3 has personally invited people you know and people you will know, all of whom are ready to embrace the #ControlYourNarrative movement. Set to an original score, 'Free The Narrative' is an entirely independent production that will feature an innovative blend of professional wrestling, cinema, and harsh reality."
There's no word yet on who else will be involved with the show, but we will keep you updated.
Stay tuned for more on EC3 and Cardona. You can see the full announcement below, along with the poster, the trailer and a video of the two shooting on each other over coffee:
EC3 FIGHTS MATT CARDONA ON MEMORIAL DAY!
THE LONG AWAITED, COMPLETELY INDEPENDENT CLASH WILL BE AVAILABLE ONLY ON VIMEO.
FREE THE NARRATIVE 5-27-21
"Are you happy, Matt?"
A lot has changed in one year. While they have taken very different paths, EC3 and MATT CARDONA now find themselves on a collision course. Since their public dismissal during a world-wide pandemic, EC3 has asked, even demanded, that Cardona answer a seemingly simple question: "Are you happy?" EC3 believes the answer goes far deeper than MATT admits, and has tormented CARDONA on social media, his podcast and his YouTube show in a quest for the "truth."
Now, we will finally learn the answer. These rivals will face off at "Free The Narrative," which will be available to fans only on VIMEO on Thursday 5/27/2021 Memorial Day Weekend.
There will be no three-letter companies or corporate wrestling brands—only answers.
In addition to this "featured fight," EC3 has personally invited people you know and people you will know, all of whom are ready to embrace the #ControlYourNarrative movement.
Set to an original score, "Free The Narrative is an entirely independent production that will feature an innovative blend of professional wrestling, cinema, and harsh reality.
Free the Narrative tells original and personal stories—it is more than just a surface perspective into the hardship of a very competitive industry. This is a profound glimpse into the reality that these wrestlers face, and this venue and The Narrative platform offer them the chance to destroy their pasts through the primal act of combat.
To "Control Your Narrative" is to "tell your story."
At "Free The Narrative" their stories will be told.
4/22/19 Live Raw Coverage: A new era begins on the red brand
Austin Reflects on his 316 Matches with The Undertaker
Owen Hart passed away twenty years ago today
First Raw teases for Monday
Cena on breaking Flair's record, proposing at WrestleMania, retiring, more


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API in Dublin, Ireland: University College Dublin Summer Health Sciences Program
Students who choose to study abroad in Dublin at the Health Sciences Summer School at University College Dublin (UCD) take courses in the field of healthcare.
Ideal for health students seeking a global perspective, the Health Sciences Summer School at UCD provides a challenging international education experience in central Dublin. Students on this program will benefit greatly by developing their knowledge of comparative health systems and their skills in research, in addition to benefiting from the rich culture of Dublin and the opportunity to integrate into Irish life.
Students who choose to study abroad in Dublin at the Health Sciences Summer School at University College Dublin (UCD) take courses in the field of healthcare, including Introduction to Health Systems, Critical Appraisal of Research for Healthcare, and Introduction to Statistics.
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University College Dublin is a dynamic, modern university where cutting-edge research and scholarship provide a stimulating intellectual environment – the ideal surroundings for learning and discovery. For over 150 years, UCD has produced graduates of remarkable distinction including famous surgeons, architects, entrepreneurs and five of Ireland's Taoisigh (Prime Ministers). Perhaps the best known of all its graduates is the writer James Joyce, who completed his Bachelor of Arts at the university in 1902.
Pre-departure, On-site, and Re-entry services included, such as advising and online resources, airport reception, resident directors, housing, tuition, tutoring, medical & life insurance, excursions, social & cultural activities, alumni network, Learning and Engagement Badge Program and more!
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NewsFile | Remembering Marianne de Trey and a New Studio in Kansas City
Welcome to NewsFile, your weekly roundup of news from the world of contemporary ceramics and contemporary ceramic art. Unfortunately, as is sometimes the case on NewsFile, we have sad tidings this week. Marianne de Trey, a force within the British crafts movement, has passed away. From The Guardian:
Above image: Marianne de Trey. Photograph from the Ceramics Review Archive.
Marianne de Trey, who has died aged 102, was one of the pioneers of the British functional studio ceramics movement after the second world war. Following the ideals of Bernard Leach, these potters provided handcrafted alternatives to factory production. Through her tablewares, her role as a teacher and the decorative pieces she continued to make into old age, Marianne contributed significantly to the British crafts revival. Her fine, often exuberant tablewares are among the signature forms of postwar ceramics.
She also left her mark in the US and went on to run a pottery at Dartington in Devon that became integral to the artistic programme established there by Leonard and Dorothy Elmhirst.
Marianne was born in London to well-to-do Swiss parents, Emma (nee Lehmann) and Auguste de Trey. Her father, who ran an old family business making dental tools, encouraged Marianne to attend the Royal College of Art in London, where she studied textiles, graduating in 1936 and going on to teach the subject at Ipswich Art School. At the RCA she met Sam Haile, a fellow student, whom she married in 1938. He was a charismatic painter and potter, part of the British surrealist group. He introduced his new wife to a broader world of revolutionary art, literature, music and politics, a wonderful but frightening time, she said.
Though an energetic traveller abroad, her life at Dartington was frugal, her lack of interest in material things typical of many craftspeople of her generation. She received numerous honours, including two retrospectives of her work, and was made a CBE in 2006. On the latter award Marianne's feelings were mixed, particularly when it came to a tiresome search around Totnes for a hat for the investiture. Down to earth, direct and practical, she was not the sort of woman who wore hats.
While some of the grander artistic schemes at Dartington ultimately failed, Marianne's perseverance ensured an unbroken tradition of pottery over half a century.
She is survived by her daughter, Sarah (who also goes by the name of Tattwa Gyani), and two grandchildren, Tom and Anna.
Marianne de Trey, potter, born 3 November 1913; died 18 October 2016.
Welcome, Kansas City Urban Potters
News out of one of America's ceramics hubs: KC Urban Potters just opened its doors in Kansas City, MO. Their website currently features the work of about 7 ceramists and we suggest giving it a look. From the studio:
Kansas City Urban Potters is a collective of full-time studio artists making functional pottery with a high standard of craftsmanship. Located in the heart of an already-strong clay community, the collective looks to expand visibility of contemporary studio pottery to local and regional audiences through invitational exhibitions, public lectures and community-based events. Through joining forces and partnering with other local organizations, makers can accomplish far more than what would be individually possible.
Do you love or loathe these missives from the world of contemporary ceramics and contemporary ceramic art? Let us know in the comments.
The staff of Kansas City Urban Pottery. Click to see a larger image.
Filed Under: All Topics, Art, contemporary ceramic art, Contemporary Ceramics, News Tagged With: britain, contemporary ceramic art, contemporary ceramics, kansas city, kc urban potters, london, marianne de trey, missouri, obituary, uk, united kingdom
Bill Rodgers
Bill Rodgers is a reformed journalist living in Santa Fe, New Mexico. A lover of nontraditional storytelling, he explores the role of narrative in art. Bill is Managing Editor of cfile.


Fantasy author completes final books of series
Fantasy author completes final books of series -- Stephen R. Donaldson publishes ''The Last Runes of the Earth,'' his first book of the Covenant series in two decades
By Gilbert Cruz
Updated October 15, 2004 at 04:00 AM EDT
It's been two decades since we last saw Thomas Covenant, a modern-day leper traveling between our world and a parallel realm of magic, creatures, and arcane language. Now the hero of Stephen R. Donaldson's landmark fantasy saga returns in The Runes of the Earth, the first of four books that will complete the Covenant series (whose first six titles have sold 10 million copies). Why the delay? Donaldson, 57, says that he just wasn't good enough to finish the story at the time. "I had an encounter with my own limits…. I needed to stretch and grow as a writer before I tackled this final installment, so I turned to other storytelling ideas," he says. "One thing led to another and suddenly it was 21 years later." In the meantime, Donaldson wrote 10 other books and enjoyed his life in New Mexico — though he'd rather not say exactly where, a lesson learned after a zealous young reader dropped by while the author was writing the second trilogy 25 years ago. "This kid hitchhiked from Iowa with his backpack and arrived at my door, assuming that he could live with me while I taught him to be…me, " he recalls. "I practically had to drive him away from my doorstep." With Covenant back, Donaldson might have to lock his doors again.