That about sums up the visual treatment for "Hanging Mirror", the lead track off House Cricks and Other Excuses to Get Out, the sparse and disquieting debut record from Louisville's Jaye Jayle.
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If House Cricks is a collection of dark folk, boogie drone, and threadbare rhythm and blues incantations that settle more like ashes blown from the pages of a lost Cormac McCarthy novel than anything resembling an indie record, "Hanging Mirror" is the moment the primitive shock of the Sun's reflection and human perception come to dominate all mental bandwidth, "when all moral and emotional inhibitions have left," said Evan Patterson, the brooding singer-songwriter force behind Jaye Jayle.
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The bases of the facility with the circular pool, as well as the canals below the pool, are the remains of the former Turkish "Little Hamam". The chimney is large and made of cricks, in the factory-style chimneys.
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Her models included her husband's secretaries and au pairs for their children. The Cricks became famous for their parties in the 1960s either in Cambridge or at a cottage near Haverhill. At one party, a nude model posed on a couch to encourage their guests to become amateur painters.
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Henry also developed North Totness, which is the land from Pentelows Road to the Walkers Flat Road, surveyed in 1869. John Hendry, a blacksmith living in Totness, developed the land to the west of Mount Pleasant, comprising that from the Cricks Mill Road (to Williamstown) to Railway Terrace, and this was surveyed in 1865.
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When her husband became a professor at the Salk Institute in the 1970s, the Cricks moved to California. Odile Crick outlived her husband and died from cancer in La Jolla, California, aged 86. The Odile Crick Memorial Exhibition of her art was held at the Salk Institute, La Jolla, on 12 October 2007. She was survived by a brother Philippe, her two daughters Gabrielle and Jacqueline (1954–2011), two grandchildren, and her stepson, Michael.
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Evans' early screen appearances were as Charley Smiler, a disaster-prone 'dude' character dressed in frock coat, waistcoat and spats. In 1912, Fred and Joe Evans began working at the Ec-Ko studios in Teddington, and set up their own production company, Folly Films. Unable to use the Charley Smiler character because of legal threats from Cricks and Martin, Evans devised a new character, Pimple, an accident-prone clown with a tight jacket, baggy pants, big boots, cricket cap, and lank strands of hair around a central parting. The films were scripted by Joe Evans.
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James Carr's family remained actively associated with the business for several more generations. In 1906, the Peek, Frean and Co. factory in Bermondsey was the subject of one of the earliest documentary films shot by Cricks and Sharp. This was in part to celebrate an expansion of the company's cake business, which later made the wedding cakes for both Queen Elizabeth II and the Wedding of Charles, Prince of Wales, and Lady Diana Spencer. In 1949, when James Carr's relative Rupert Carr established a new biscuit factory in York, he named the new street on which it stood "Bermondsey Road".
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Evans was born in London into a family of music hall and circus performers. His grandfather, also named Fred Evans, was a popular clown who staged harlequinades; his uncle Will Evans was a leading music hall comedian; and his parents were members of several touring musical troupes. He was a childhood friend of Charlie Chaplin, and as a child performed with his brother Joe as part of his parents' pantomime act, the Florador Quartet. Fred and Joe then worked together and individually in music hall, and for Sanger's Circus, before joining filmmakers Cricks and Martin in 1910.
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Techniques explored in these trick films included slow motion and fast motion created by varying the camera cranking speed; the editing device called the substitution splice; and various in-camera effects, such as multiple exposure. "Trick novelties," as the British often called trick films, received a wide vogue in the United Kingdom, with Robert W. Paul and Cecil Hepworth among their practitioners. John Howard Martin, of the Cricks and Martin filmmaking duo, produced popular trick films as late as 1913, when he began doing solo work. However, British interest in trick films was generally on the wane by 1912, with even an elaborate production like Méliès's The Conquest of the Pole received relatively coolly.
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