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Original paint scheme from the first Mad Max movie on a Falcon coupe instead of the sedan. Both are 73'.
One mid-Winters afternoon my visitor relates tales of train driving in the good old days of Steam, while Max listens intently.
en.wikipedia.org/wiki/Max_Ernst
check out some of his paintings here:
LC-A+RL - Krab
I put my Colorsplash flash inside 2 condoms and used it independent from the Krab. Not a bad effect. I'm going to play around with this more.
The Aftermath of Christmas Morning
Waggin' tails and ringin' bells....start off our Christmas morn...then ribbons are pulled and papers torn...
A ball to fetch ....a ring to catch....something green, something blue....and a couple of bones to chew
Then it's.... he's got mine...she's got mine...what happened to mine...it's under the couch, I can't get it out....I want to play catch...... I want to play fetch...can't we all agree.....it's all about me...it's all about me...it's all about me....Then I stood up and began to shout..."You're driving me crazy without a doubt...if you don't settle down your all going OUT!!
Then after all was said and done....and everyone had had there fun...and toys were here and toys were there and toys were everywhere.....they settled down with there favorite one..................and forget the other toys..."Now that's my good litle girl, and that's my good little boys."........ R. Fourcher
Thanks to Sleletal Mess for the textures
we stood in your room and laughed out loud. suddenly the laughter died and we were caught in an eye to eye. we sat on the floor and did we sit close. i could smell your thoughts and thought. do you want to touch a lot like me? too scared to say a thing. i left your house and kicked myself. i put those feelings on a shelf to die. i guess i'm not a gambling type but think of what the two of us had lost. i needed some time to think it out. 7-eleven parking lot. a toothless woman turned and stopped. i gave her a dime and a chesterfield. she leaned down and kissed my cheek. i was scared but it felt sweet. felt so sweet. she asked me if i had a name. i told her i was glued up on some chick. we sat and smoked against the wall. drank a beer felt the chill of fall. i took my car and drove it down the hill by your house. i drove so fast. the wind it couldn't cool me down, so i turned it around and came back up. you were waiting on your step, steam showing off your breath and water in your eyes. we pulled each other into one, parkas clinging on the lawn and kissed right there. said all my chicks they smoke these things and handed you a chesterfield king. held your hand and watched tv and traced the little lines along your palm.
Max Hamburger, a place of special importance to me, since we've arrived to Sweden. For the first five days it's been my umbilical chord to the Internet, and as such, to the whole outer world, for that matter. And right as we came, we've got pretty much snowed in, so one could feel really remote, cut-off, or isolated from said rest. Hence my affective bond to this venue, still somewhat in place even now, several weeks later, although we haven't been there at all lately. But everytime I drive by, the place feels kind of homey and familiar now. :)
At any rate, their fishburgers were quite decent, the crew was nice, and coffee was free on the house whenever you've ordered something. They also have that coffee + kanelbulle menu for 9 Kronor (cca. 1 Euro), consisting of hot coffee and a nice piece of spirally rolled, spicy cupcake. And of course (what's more important) free Wi-Fi access, gotta love MAX! ^o^
Vintage French postcard. Imprimerie Moderne, Béziers. Photo Paul Boyer. Édouard de Max as emperor Heliogabalus in the musical tragedy Héliogabale by Déodat de Séverac and Émile Sicard, performed at the Arènes de Béziers, on 21 and 23 August 1910.
Actor Édouard de Max (1869-1924) was a leading man and 'monstre sacré' of the French stage. He also appeared in silent films of the 1910s and 1920s, including two versions of the The Three Musketeers.
Édouard de Max, pseudonym of Eduard Alexandru Max, was born 14 February 1869 in Iași, Romania, as the son of a Jewish doctor. In Paris he took acting lessons from Gustave Worms at the Conservatoire national supérieur d'art dramatique, where he graduated with two awards. In 1891 he debuted at the Odéon in the role of Nero in Racine's Britannicus, one of his favorite plays, together with the Shakespeare plays Julius Caesar, King Lear, The Merchant of Venice, and Beaumarchais' Le Barbier de Séville. De Max had a brilliant, highly successful career in both tragedy and comedy, and both modern and classic repertory. His most remarkable results he obtained in tragedy and the decadent repertory of Wilde and D'Annunzio.
Édouard de Max recited at the Théâtre libre of André Antoine, and at the Théâtre Sarah Bernhardt, where he acted together with 'la divine Sarah'. September 1901 he substituted Dumény as Petronius in the popular staging of Quo vadis? at the Théâtre de la Porte Saint-Martin. In 1915 De Max entered the Comédie Française, becoming Bernhardt's fixed partner, with whom he share extravagance and a disgust for daily banality and conventions. He helped both the launching of André Gide and Jean Cocteau.
De Max was noted for his bronze, almost singer-like voice, but also his athletic physique, causing a scandal in 1900 when acting at the Arena of Béziers almost nude in Promethée, scripted by Jean Lorrain and with music by Gabriel Fauré. In 1910 he returned to Béziers to play the title character in the musical tragedy Héliogabale by Déodat de Séverac and Émile Sicard.
IMDB makes a bit of a mess of the early films in which De Max supposedly played, as Cine-Ressources and the Pathé Seydoux site indicate these films were not performed by De Max, such as Macbeth (1908) and Tosca (1909, even if IMDB writes 1908). Probably his first film part was in Athalie (Michel Carré or Albert Capellani, 1910), adapted from the Racine play. While De Max played the male lead of the Grand Prêtre Joad, Jeanne Delvair played the title role. This was followed by the Corneille adaptation Polyeucte (1911) by Camille de Morlhon, with again Jeanne Delvair in the female lead.
De Max was the protagonist in Abel Gance's early drama Le masque d'horreur (1912), a Grand Guignol-styled horror movie. Here, a mad sculptor, searching for the perfect realization of "the mask of horror", takes himself as model before a mirror. He swallows a virulent poison to observe the effects of pain. And to make it complete, he cuts himself and smears the blood over the oil lamp that lights him. Red tinting of the film enhanced the gruesome image. IMDB also mentions a film Une vengeance d'Edgar Poë (Gerard Bourgeois, 1912) but this Pathé film lacks at the Pathe Seydoux site. In 1913 De Max appeared in the adaptation of Alexandre Dumas' famous novel Les Trois Mousquetaires/The Three Musketeers (1913, André Calmettes, Henri Pouctal), produced by Film d'Art. Emile Dehelly played D'Artagnan, while nor Ciné-Ressources nor IMDB indicate what part De Max played.
After a long absence on the screen, De Max reappeared in 1919 in L'Ami Fritz by René Hervil, based on the story by Alexandre Chatrian and Émile Erckmann, scripted by Suzanne Devoyod, and produced by Société des Films Molière. De Max's co-actors were Léon Mathot, who had the lead, Huguette Duflos, and Thérèse Kolb. All actors were from the Comédie Française - they may well have produced the film themselves. In 1920 Edouard de Max acted in the second adaptation of Dumas'novel, Les Trois Mousquetaires/The Three Musketeers (1921, Henri Diamant Berger), but this time more prominently as the evil, plotting and powerful Cardinal de Richelieu. He is the spider in the web, who uses Milady de Winter (Claude Merelle) to conquer D'Artagnan (Aimé Simon-Girard) and his Three Musketeers (Henri Rollan, Pierre de Guingand, Charles Martinelli). Art director Robert Mallet-Stevens went to great lengths to get all the historical details right, so De Max used a same stick as Richelieu and his autograph had to be a copy of Richelieu's. The film was a French twelve-hour film divided into one-hour chapters, designed to be released as a serial in consecutive weeks over a three-month period. This silent super-serial was produced by Pathé Frères.
Afterward, De Max played in Diamant-Berger's (and Dumas' ) sequel to Les trois mousquetaires: Vingts ans après/Five Years Later (1922), now as Bishop and later Cardinal de Gondi, the greatest adversary of Cardinal Mazarin (Jean Périer). De Max reappeared in Diamant-Berger's films Les mauvais garçons/The Bad Boys (1922), with a young Maurice Chevalier as the bad boy and De Max as Nero, and Milady (1923), a fusion of the two earlier Dumas films made for the exports. De Max also starred as Joseph the hunchback in Le Carillonneur (1922) by René Coiffard. IMDB mentions a film, Le bossu, but this is unconfirmed by French databases, and may have been a mix-up with Le bossu (1925) by Jean Kemm, in which De Max does not act. Lastly, IMDB mentions Messalina (wrongly dated as 1924, while it is 1923), in which De Max didn't act according to Italian reference literature.
Édouard de Max died 28 October 1924 in Paris, at the age of 55.
Photo provided by 8th Day Communications for Max Brenner Australia
This photo accompanied published at www.girlsguidetocitylife.com