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I wrap up the Syracuse Crunch 2018-2019 Season with my favorite photos from the 2nd Half of the Season.
I believe there is a backstory here. These players were on the same team a couple of seasons ago. I think they were in the scrum not to fight but to catch up on old times. Either that or Referee Schrader is one funny guy.
Syracuse Crunch Troy Bourke (20) and Toronto Marlies Sam Jardine (25) share a laugh with Referee Brandon Schrader (46) in American Hockey League (AHL) action at the War Memorial Arena in Syracuse, New York on Saturday, February 23, 2019. Toronto won 3-2 in overtime.
BOX DATE: 1987
MANUFACTURER: Mattel
DOLLS IN LINE: Barbie; Ken; Skipper; Miko; Christie; Teresa; Steven
BODY TYPE: 1966; Twist 'N Turn waist; straight arms; bend & snap legs
HEAD MOLD: 1980 "Oriental"
***The doll in the middle wearing 2002 Barbie Daytime style & evening sparkle #68209.
The doll on the right is wearing 1970 Barbie Perfect Beginnings Pak.
PERSONAL FUN FACT: The Miko doll in the middle of this photo is one of my dearest friends. We have been together since 2003 or 2004, when I rescued her from a random lot of dolls at the flea market. She was one of many childhood dolls that was purchased in bulk. Back in the day, Colleen and I began to find a passion for buying entire lots of Barbies. It all started when Colleen wanted certain 1987 mold Skipper dolls we would find, but the sellers wanted to sell their entire stash of dolls together, and not part them out. Dad, who spoiled us rotten, would buy all the dolls, so Colleen could get her hands on Skipper. After a while, we really enjoyed finding random discoveries in the lots and adding tons of unique friends to our collection. That is how I ended up with my first Island Friend Miko. Back then, I thought Miko was a Kira doll. But as an adult collector, I quickly sorted out my mistake. She looks so much better now than she did circa 2003/2004. I remember how her long, kanekalon hair used to frizzy up into a puffy ponytail. No matter how much I brushed her hair, it always looked unkempt and voluminous. Plus, she always looked a bit sad and vulnerable, and those leg splotches only added to her forlorn appearance. I loved transforming her into a beauty with the techniques I learned as an adult collector (it's amazing what hot water can do for doll hair). She's hardly recognizable, and yet she'll always be my sad little Miko doll. She's one of my favorite Asian dollies in my collection--in fact, she might be my most special (I love her even more than Ocean Friends Kira).
Miko number two came from a charity store--she is the doll on the right. You are probably perplexed by how different looking these dolls are. Yes, they are both Island Fun Miko dolls, they are just manufactured in different countries (see my facial closeups for reference). Dolls from the 80s are notorious for being produced in many starkly different variations. This girl looks most like the Island Fun Miko dolls I've seen in collector books. She has that signature curly hair too (it's saran, so it held its style for all these years). When I found her, she was in a large plastic container at a charity store. It was during the spring of 2017, when Colleen and I stopped in at this store after my dentist appointment. Miko and Ski Fun Ken were the two oldest dolls in said container, save the two 1970s Dawn dolls we also rescued. We think that Ski Fun Ken and Miko probably originated from the same place, since they were both in decent condition for their age. Granted, someone made the mistake of brushing through Miko's curly hair and making it into an Afro. But this was easily remedied with a boil wash. I had almost no doubt in my mind when I bought her that she was another Island Fun Miko, but I was excited about owning such a unique variation. She's definitely the prettier of my two gals, but my first, shabby friend will always have a special place in my heart!
The Miko on the far left stole my breath away in 2024. Colleen and I weren't having any luck at the local flea market one early November Sunday. We had hoped to bump into a seller we'd bought dolls from the week prior (she promised to bring more in). But either we missed the woman somehow, or she wasn't set up that day. Anyways, we wandered into the building we only check out a few times a year. There was a small chance we might find something cool. Well, we found something AMAZING...a case of 16 80s/90s Barbies. They were from an estate clean out, based on what the seller told us. All were wearing clothes, most dressed in their own factory attire. I immediately drooled over this Miko, who was donning her swimsuit. It was $20 for all of them...a bargain we couldn't resist. We dubbed this the "Great 80s Lot." This gal puts my other two to shame, in terms of her beauty. I love that she too is a saran variant.
Have been sick lately and haven't been able to take any new pics ...
Was inspired by Camilla's very cool shot of fonzie boo with the Rollip filter (http://www.flickr.com/photos/fiftyeggs/4581065521/)
... so uploaded some old pics with vintage filters.
It's good to take a break from serious work and have some fun.
Here Magda and I set up a shot and then started messing about. I liked this one the best.
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I write a popular blog aimed at helping other photographers and sharing my views on our craft. It's called Beyond the Obvious.
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East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 128/69, 1969. Photo: Unifrance-Film.
French actor of Spanish origin Louis de Funès (1914-1983) was one of the giants of French comedy alongside André Bourvil and Fernandel. In many of his over 130 films, he portrayed a humorously excitable, cranky man with a propensity to hyperactivity, bad faith, and uncontrolled fits of anger. Along with his short height (1.63 m) and his facial contortions, this hyperactivity produced a highly comic effect, especially opposite Bourvil, who always played calm, slightly naive, good-humored men.
Louis de Funès (French pronunciation: [lwi də fynɛs]) was born Louis Germain David de Funès de Galarza in Courbevoie, France in 1914. His father, Carlos Luis de Funès de Galarza had been a lawyer in Seville, Spain, but became a diamond cutter upon arriving in France. His mother, Leonor Soto Reguera was of Spanish and Portuguese extraction. Since the couple's families opposed their marriage, they settled in France in 1904. Known to friends and intimates as ‘Fufu’, the young De Funès was fond of drawing and piano playing and spoke French, Spanish, and English well. He studied at the prestigious Lycée Condorcet in Paris. He showed a penchant for tomfoolery, something which caused him trouble at school and later made it hard for him to hold down a job. He became a pianist, working mostly as a jazz pianist at Pigalle, the famous red-light district. There he made his customers laugh each time he made a grimace. He studied acting for one year at the Simon acting school. It proved to be a waste of time except for his meeting with actor Daniel Gélin, who would become a close friend. In 1936, he married Germaine Louise Elodie Carroyer with whom he had a son, Daniel (1937). In 1942, they divorced. During the occupation of Paris in the Second World War, he continued his piano studies at a music school, where he fell in love with a secretary, Jeanne Barthelémy de Maupassant, a grandniece of the famous author Guy de Maupassant. They married in 1943 and remained together for forty years until De Funès' death in 1983. The pair had two sons: Patrick (1944) and Olivier (1947). Patrick became a doctor who practiced in Saint-Germain en Laye. Olivier was an actor for a while, known for the son roles in his father's films, including Le Grand Restaurant/The Big Restaurant (Jacques Besnard, 1966), Fantômas se déchaine/Fantomas Strikes Back (André Hunebelle, 1965) starring Jean Marais, Les Grandes Vacances/The Big Vacation (Jean Girault, 1967), and Hibernatus (Edouard Molinaro, 1969) with Claude Gensac as De Funès’ wife, a role she played in many of his films. Olivier later worked as an aviator for Air France Europe.
Through the early 1940s, Louis de Funès continued playing piano at clubs, thinking there wasn't much call for a short, balding, skinny actor. His wife and Daniel Gélin encouraged him to overcome his fear of rejection. De Funès began his show business career in the theatre, where he enjoyed moderate success. At the age of 31, thanks to his contact with Daniel Gélin, he made his film debut with an uncredited bit part as a porter in La Tentation de Barbizon/The Temptation of Barbizon (1945, Jean Stelli) starring Simone Renant. For the next ten years, de Funès would appear in fifty films, but always in minor roles, usually as an extra, scarcely noticed by the audience. Sometimes he had a supporting part such as in the Fernandel comedy Boniface somnambule/The Sleepwalker (Maurice Labro, 1951) and the comedy-drama La vie d'un honnête homme/The Virtuous Scoundrel (Sacha Guitry, 1953) starring Michel Simon. In the meanwhile, he pursued a theatrical career. Even after he attained the status of a film star, he continued to play theatre. His stage career culminated in a magnificent performance in the play Oscar, a role which he would later reprise in the film version of 1967. During this period, De Funès developed a pattern of daily activities: in the morning he did dubbing for recognized artists such as Renato Rascel and the Italian comic Totò, during the afternoon he worked in film, and in the theater in the evening. A break came when he appeared as the black-market pork butcher Jambier (another small role) in the well-known WWII comedy, La Traversée de Paris/Four Bags Full (Claude Autant-Lara, 1956) starring Jean Gabin and Bourvil. In his next film, the mediocre comedy Comme un cheveu sur la soupe/Crazy in the Noodle (Maurice Régamey, 1957), De Funès finally played the leading role. More interesting was Ni vu, ni connu/Neither Seen Nor Recognized (Yves Robert, 1958). He achieved stardom with the comedy Pouic-Pouic (Jean Girault, 1963) opposite Mireille Darc. This successful film guaranteed De Funès top billing in all of his subsequent films.
Between 1964 and 1979, Louis de Funès topped France's box office of the year's most successful films seven times. At the age of 49, De Funès unexpectedly became a superstar with the international success of two films. Fantômas (André Hunebelle, 1964) was France's own answer to the James Bond frenzy and lead to a trilogy co-starring Jean Marais and Mylène Demongeot. The second success was the crime comedy Le gendarme de Saint-Tropez/The Gendarme of St. Tropez (Jean Girault, 1964) with Michel Galabru. After their first successful collaboration on Pouic-Pouic, director Girault had perceived De Funès as the ideal actor to play the part of the accident-prone gendarme. The film led to a series of six 'Gendarme' films. De Funès's collaboration with director Gérard Oury produced a memorable tandem of de Funès with Bourvil, another great comic actor, in Le Corniaud/The Sucker (Gérard Oury, 1964). The successful partnership was repeated two years later in La Grande Vadrouille/Don't Look Now - We're Being Shot At (Gérard Oury, 1966), one of the most successful and the largest grossing film ever made in France, drawing an audience of 17,27 million. It remains his greatest success. Oury envisaged a further reunion of the two comics in his historical comedy La Folie des grandeurs/Delusions of Grandeur (Gérard Oury, 1970), but Bourvil's death in 1970 led to the unlikely pairing of de Funès with Yves Montand in this film. Very successful, even in the USA, was Les aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (Gérard Oury, 1973) with Suzy Delair. De Funès played a bigoted Frenchman who finds himself forced to impersonate a popular rabbi while on the run from a group of assassins. In 1975, Oury had scheduled to make Le Crocodile/The Crocodile with De Funès as a South American dictator, but in March 1975, the actor was hospitalised for heart problems and was forced to take a rest from acting. The Crocodile project was canceled.
After his recovery, Louis de Funès collaborated with Claude Zidi, in a departure from his usual image. Zidi wrote for him L'aile ou la cuisse/The Wing and the Thigh (Claude Zidi, 1976), opposite Coluche as his son. He played a well-known gourmet and publisher of a famous restaurant guide, who is waging a war against a fast-food entrepreneur. It was a new character full of nuances and frankness and arguably the best of his roles. In 1980, De Funès realised a long-standing dream to make a film version of Molière's play, L'Avare/The Miser (Louis de Funès, Jean Girault, 1980). In 1982, De Funès made his final film, Le Gendarme et les gendarmettes/Never Play Clever Again (Tony Aboyantz, Jean Girault, 1982). Unlike the characters he played, de Funès was said to be a very shy person in real life. He became a knight of France's Légion d'honneur in 1973. He resided in the Château de Clermont, a 17th-century monument, located in the commune of Le Cellier, which is situated near Nantes in France. In his later years, he suffered from a heart condition after having suffered a heart attack caused by straining himself too much with his stage antics. Louis de Funès died of a massive stroke in 1983, a few months after making Le Gendarme et les gendarmettes. He was laid to rest in the Cimetière du Cellier, the cemetery situated in the grounds of the château. Films de France: “Although fame was a long time coming, Louis de Funès is regarded today as not just a great comic actor with an unfaltering ability to make his audience laugh, but practically an institution in his own right. His many films bear testimony to the extent of his comic genius and demonstrate the tragedy that he never earned the international recognition that he certainly deserved.”
Sources: Steve Shelokhonov (IMDb), Films de France, Wikipedia, and IMDb.
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Not for everyone I know but I just love it. These 2 have such a special bond. Got to love the blues though.
On a side note, shooting at 14:00 is tough, very harsh sun. So happy to start Dee's course soon!