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Hoy fue un día de introspección, de reflexión, de perdón.
Qué hacemos bien, qué hacemos mal, qué podemos mejorar. Siempre es bueno saberlo.
--
Today was a day of introspection, reflection, forgiveness.
What we do well, what we do wrong, what we can improve. It is always good to know.
I'm finding the my birthday is becoming less significant for me with each new year. The sad truth is I don't have many friends any more and the few that I do have or spread across the country and I'm not really close to my family, though they are trying (long story). My friend Tim and his partner are in Austin, My friend John is in San Jose, Honey is in Boston still I think (I can never keep track), and my friends here in Houston (Eric, the two Michaels, and Albert) are kind of busy doing there own thing so we often talk on the phone more than we see each other in person. So for me my B-Day is kind of Just another Day. So my friend Eric tries to take me out to eat to celebrate the day whenever we can arrange it. This year was the first time in a while that we were able to do it on the actual day, for the past few years it has been falling on days that I work. So we went to an Indian Restaurant that I had never been to before, Shiva, and just hung out. I really had a good time. There hasn't been too much of that lately.
Actually I am feeling a bit overwhealmed and the only way that I think I'm making it through it is by not thinking about it at all and just doing what I need to do to keep everything from falling apart. The say the past year has been rough is an understatement. The main theme for the past year was dealing with health issues. For the first part of the year I had foot problems which culminated with having to have a growth removed from the sole of my right foot. Thankfully it came out benign but I'm still in the healing process and am not quite back to 100%. They told me it could take at least a year before all the nerves grow back and that it would hurt periodically throughout that time. All I'll say is that they didn't lie. Having to stay off my feet brought other issues but I won't go into that. Needless to say I've pretty much gained back whatever weight I lost and have been dealing with unnecessary pain because my insurance refused to pay for something that my Doctor's requested. That was going to be another running theme for the year. But I guess it is what it is. But I was kind of bummed about not being able to get out and take pictures and such.
My real running problem is my mom. I think I've alluded to the fact that she can't really live by herself. Her health has been slowly deteriorating over the last 12 years or so and it seems lately that process has been speeding up a bit. I've been noticing that she is fogetting things more and more. And she fell twice while I was at home. One of the times I couldn't get her up by myself and had to try and talk her through doing it herself. I'm a little out of my element trying to help people when they are in that much pain. There were several times over the past year where I've had to deal with situations that were clearly beyond my scope. She has good days and bad days but I can kind of see where things are going to be five to ten years down the road if things continue along the route they're going. She can still do most things for herself but there are times I have to push her to at least try. That has been a challenge in itself. I'm learning new levels of patience and new levels of failure. He,he,he Being an only child a lot of the responsibilty falls on me. Truth is I probably take on more than I should. I have been in the parent role for a really long time and have missed out on a lot of things that many of the people I know have gotten to experience. I kind of feel bad for her though. She went in for rotator cuff surgery and wound up in the hospital for six weeks from complications. That situation was bad enough that she doesn't want them to do her other arm even though she needs it. So between all of the physical therapy and the other health complications she had a really rough year. I think after her third time in the hospital last year I was starting to think maybe I'm in a little over my head.
I have been working nights to help accomodate all of the stuff that I do for her. I have been working that schedule for thirteen years. My job decided that I didn't need to work that schedule anymore. Without asking me they put me on a 5 AM to 4 PM schedule pretty much ruining everything I used to be able to do. In fact I'm finding I have even less time to take care of myself because I'm having to squeeze everything I used to do in two of my days off. I guess the only good thing is I'm sleeping a little more as opposed to the 3 or 4 hours I used to get on the old schedule. When someone mentioned that I take care of my mom to management they informed them that schedule was changed for business needs and if I or anyone else had any problems with that then we could seek employment elsewhere. The funny thing is they never said it to my face. My mom was a little upset by the changes but I told her not to worry about it. If I needed to take her somewher she needed to go to that she couldn't get to her by herself then I wouldn't be into work that day. At this point I don't care if I get paid for missing that day or not. You can replace a job, you can't replace a person. Unfortunately what all the changes mean is I can't do most of the stuff I used to and it means putting her in a situation where she was at home by herself after having cataract surgery to put all of her drops in her eyes and do simple things around the house when she was not supposed to be lifting or doing anything strenuous. She's hard headed so i know she did things she wasn't supposed to. My fear is she's going to fall and have to lay there for eleven hours until I get back home.
So to say that I've had more on my mind lately is a bit of an understatement. I'm not usually this gloomy but Winter is always hard for me. We've had stretches of uncharacteristic cold a quite a bit of rainy, gloomy days that were starting to get to me as well as my mom's upcoming surgery. Like I said I have a bit on my mind. I'm sure everything will work itself out. I just needed to get this somewhere besides stuck in my head. Sorry I got a bit long winded.
Anyway, Dinner at Shiva's was excellent. Indian is the only vegetarian food that I really, really enjoy. My mom is treating me to lunch or something today so I have to figure out where I want to go. Yay, for free food two days in a row!!!
The End was a English Group produced by Bill Wyman as a forerunner to the Rolling Stones Psychedelic Albums
First released in 1969 it got lost among the many Heavyweight Groups around that time
Out on the Decca label this is a re release from 2005
Decca 844 115-2
The philosophy of the wisest man that ever existed, is mainly derived from the act of introspection.
~ William Godwin
Press "L" to view Large on Black.
I've posted a simple tutorial on the sound design of this video here :] aprilmakesmovies.wordpress.com/2014/01/01/sound-design-bts/
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
My friend and brilliantly talented actress, Cassie Bradley, in 'Every You Every Me", written by Barney Norris and directed by David Mercatali, at Salisbury Playhouse.
The play is about reality, mental health, exam results, Kurt Cobain...and the provision of mental health services for young people.
Cassie has just been cast in "Husbands and Sons" which opens at the National Theatre in October.
www.nationaltheatre.org.uk/shows/husbands-and-sons
You can see more of my pics of Cassie in my Cassie Bradley set.
aka Digital lo-fi drive-by 113
This is a Picassa collage/multiple exposure composed of snaps shot with my ultra lo-fi digital toy, the one I picked up on a trip in the autumn at a 24-hour pharmacy. It's a quirky little toy, and did I mention that it was über-cheap? Ok.
So, why is this image here? This is another very personal post. Three years ago, My Mom and I brought me Da to a medical facility in this odd little German town in the hills of Texas (one that is, for numerous reasons, a tourist magnet). We're still here. Why? That's a story that I haven't the energy to tell, and it would probably try your patience (potentially more than usual ;).
But this day has inspired me and pushed me in myriad directions --- introspection, ad nauseam -- and I wanted to honor/keep up a tradition of posting something on this day. Ok. Briefly, we arrived here in the midst of a significant torrential downpour (I've lived through and loved many, many storms, so I don't say that lightly), that turned into an ice storm, with a bit of freaky Texas snow punctuating the stressful affair, just before it melted into a muddy wonderland. All of this felt like incidental circumstance, however, the setting for some of the most anxiety-inspiring ordeals of my very odd little life thus far. Borderline Shakespearean moments comfortably mingled with those infused with a sort of Jabberwocky sense -- along with the tedious tide of callousness and vacuity I know as bureaucracy -- but there was no Tumtum Tree for me.
At this late hour, I'm probably wandering into the land of Jabberwocky -- although this all feels too prosaic, actually. So, I apologize. But thank you, as always, for checking in on the latest bit of madness from yours truly.
One last time, allow me to say that I hope 2010 is extraordinary for us all! Prost. ^_^
Just some fun with the phone.
Camera: ancient HTC Desire HD
Exposure compensation and blur: Photoshop + Pixeluvo
CD Release Introspection by Joel Heyard - Dudelange - Op der Schmelz CNA - 15/11/2018 - photo: claude piscitelli
CD Release Introspection by Joel Heyard - support Go by Brooks - Dudelange - Op der Schmelz CNA - 15/11/2018 - photo: claude piscitelli
A young woman with long hair sits inside a vintage car, gazing thoughtfully as sunlight filters through the trees, creating a serene atmosphere.
Italian postcard. Photo Vettori, Bologna, No. 3067.
Renzo Ricci (1899-1978) was an Italian stage and screen actor and also stage director.
Renzo Ricci was born in Florence on 27 September 1899. The modern theater, faced so strongly to the introspection of the characters, found in Renzo Ricci one of its most careful forerunners. Trained at the Accademia dei Fidenti, he started working as a professional in 1915 at the famous Gramatica-Carini-Piperno company. He married the actress Margherita Bagni, daughter of Ambrogio Bagni and Ines Cristina. Their daughter, Nora Ricci, would also become an important prose actress and first wife of Vittorio Gassman. Ricci later remarried with Eva Magni, with whom he formed a stage company after World War II. Always attentive to modern problems of directing, he was directed by Guido Salvini (in La Nave by Gabriele d'Annunzio, which in 1928 opened the season of the Italian director's renewal) and by Renato Simoni (in his Adelchi by Alessandro Manzoni, 1940), as well as by Luchino Visconti (in his famous Troilus and Cressida staged in the Boboli Gardens in Florence in 1949). In 1946 he proposed to the young Giorgio Strehler to re-stage Caligula by Albert Camus (for which he presented the world premiere in Geneva, at the Théâtre de la Comédie). With Strehler Ricci would also be Richard III, at the Piccolo Teatro in 1950, Firs in The Cherry Orchard by Anton Chekhov (1972) and the Plenipotentiary in Jean Genet's Balcony, in May 1976, which would also be his last performance. Always looking for new and current experiences, he created a vast and committed repertory, which included the major authors: Shakespeare, Pirandello, Shaw, Ibsen, Bernstein, Coward, Guitry, Boudet, Anouilh, Albert Camus, Odets, Fabbri, Eliot, O'Neill. From the latter he proposed the Italian premiere of Long Day's Journey Into Night, for which he also did the direction, in collaboration with Virginio Puecher in 1957. Even if intermittently, Ricci also was active as voice actor since the mid-1930s to 1960's. He also did performances of stages plays on RAI radio in the 1950s, including The Fourposter by Jan de Hartog, directed by Ricci himself.
When sound cinema set in in Italy, Ricci started his career as film actor. His first part was in the court case drama Corte d’Assise (Guido Brignone 1930), the second Italian sound feature after La canzone dell’amore, and starring Elio Steiner, Lya Franca, Marcella Albani and Carlo Ninchi. Ricic reunited with Ninchi in the mountain drama La Wally (Guido Brignone 1932), starring Germana Paolieri, and with Ricci as her jealous suitor. After two more films in the early 1930s, the comedy Ninì Falpalà (Amleto Palermi, 1933) with Dina Galli and Ricci in the lead, and Aurora sul mare (Giorgio SImonelli, 1934), Ricci stopped acting in film until 1940, when he played ‘the great modern actor’ next to Ermete Zacconi, Irma Grammatica, Memo Benassi and other ‘monstres sacrés’ of the Italian stage in L’Orizzonte dipinto (Guido Salvini, 1940). Valentina Cortese had her debut in this film. After another film, Turbamento (Guido Brignone1941), Ricci stayed off the film set until 1953, when he acted as Petronius in Primo Zeglio’s Nerone e Messalina, with Gino Cervi and Yvonne Sanson in the title roles. In the biopic Casta Diva (Carmine Gallone, 1954) on the life of composer Vincenzo Bellini (played by Maurice Ronet), Ricci was the judge Fumaroli, with whose daughter Maddalena (Antonella Lualdi) Bellini falls in love. Perhaps most famous Ricci is for his supporting parts in films of the early 1960s. In L’Avventura (Michelangelo Antonioni, 1960) he was the father of Anna (Lea Massari), the girl who mysteriously disappears at the start of the film. In Viva l’Italia (Roberto Rossellini, 1961) Ricci played the legendary Giuseppe Garibaldi, leading his military campaign of volunteers, the Thousand (I Mille), who embarked for Sicily to free Southern Italy from the Bourbon rule. This was the film Rossellini stated he was proudest of. After the peplum Io, Semiramide (Primo Zeglio, 1962), starring Yvonne Furneaux, Ricci played in Luchino Visconti’s Vaghe stelle dell’Orsa (Sandra, 1965) the family lawyer Gilardini, stepfather of the protagonists Sandra (Claudia Cardinale) and Gianni (Jean Sorel). Particularly Sandra hates Gilardini, as she suspects that her mother (Marie Bell) and he are responsible for the death of her father, the Jewish scientist Wald-Luzzati, killed in a concentration camp. Instead Gilardini accuses Sandra and Gianni of incest. After this, Ricci quitted the film set but for one last performance, in Patrice Chéreau’s La chair de l’orchidée (1975), starring Charlotte Rampling. Renzo Ricci died in Milan on 20 October 1978.
Sources: Italian Wikipedia, IMDB.
Photographer:Fred H. Politinsky
Subject: Interview
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