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The Phoenix metro area is still filled with empty lots, once farms, as the property owners hold out for higher prices to sell out. View large.
Minolta XG-M with Fujichrome Tungsten ISO64 (T64) 35mm slide film, cross-processed.
"..I offer my love, for you
When my heart was never open
(and my spirit never free)
To the world that you have shown me
But my eyes could not division
All the colours of love and of life ever more
Evermore.."
I See You - Leona Lewis
- - - - - -
I love the movie Avatar [yes the one with the blue people!] it's my favorite. My mom's room is the coldest one in the house & her window is always dewy like this, especially with the weather deviating so much liek this....so, I had a photoshoot. & i keep forgetting to take my tripod out of her car dammit!
lol
enjoy! <3
Józef Unrug (German: Joseph von Unruh; 7 October 1884 – 28 February 1973) was a Polish admiral who helped establish Poland's navy after World War I. During the opening stages of World War II, he served as the Polish Navy's commander-in-chief. As a German POW, he refused all German offers to change sides and was incarcerated in several Oflags, including Colditz Castle. He stayed in exile after the war in the United Kingdom, Morocco and France where he died and was buried. In September 2018 he was posthumously promoted in the rank of Admiral of the fleet by the President of Poland. After 45 years his remains, along with those of his wife Zofia, were exhumed from Montrésor and taken in October 2018 to his final resting place in Gdynia, Poland.
Nabisco had an offer in the early 1960s with their Shredded Wheat cerials whereby if you collected 10 tokens from the end of the box you could send them off and get a free Dinky Toy - happy days!!
The Dinky Toys Anglia was introduced in 1961.
The models with the original mailing box are very rare, the outer box from Nabisco would have gone straight into the bin or on the back of the fire.
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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Hamley Bridge- two towns, two rivers, two rail gauges.
A district council was declared at nearby Saddleworth in 1868 although land had first been offered for sale here in 1856 when the Hundred of Alma was declared. Thus the first settlement was at Alma and not Hamley Bridge. When the railway line came through on its way to Burra a railway siding was located here called Alma. A private town grew up around it from 1868 and in 1879 became known as Hamley Bridge. The first town lots were sold in 1871 for an average of £11 for the best main street sites! Land was not put up for sale on the northern side of the railway line until 1884 when the state government gazetted the town of Duffield. In the 1890s both towns had similar populations but Hamley Bridge had outstripped Duffield in terms of population by 1921 when the whole town area changed to Hamley Bridge. It had a population of almost 800 in that year. Like Wasleys it too had three chaff mills, a blacksmith and other industries from its early years making stump jump ploughs, wheat strippers etc. Once the combine which combined seed and superphosphate was developed in the 1890s the farming population of the district increased as returns and yields improved. This was the heyday of the town.
The first railway went on to Burra in 1870 but when the link across to Balaklava and the copper triangle mining towns of Moonta and Kadina was opened in 1880 the town prospered more. After all, the copper triangle was the largest population centre outside of Adelaide and all goods had to be manually handled in Hamley Bridge as there was a change of gauge here to a narrow gauge line to Balaklava. The wife of the Acting Governor, Colonel Francis Hamley gave his name to the town in 1879 when she visited to open the new railway station. Here were employed drivers, firemen, cleaners, guards, porters, labourers and clerks. The town boomed. All this collapsed, however in 1927 when the line to Balaklava and beyond was converted to broad gauge (5’3”). At that time Hamley Bridge had three main platforms and daily trains to Adelaide, Broken Hill, and Moonta. Pictured above the 1868 Railway Bridge. The bridge to cross the Light River was a major expense and structure on the line to Burra. It is one of the highest bridges in SA rail network. It was strengthened in 1904 and new steel girders were added in 1924.
The churches of Hamley Bridge began in the 1870s with the Congregational Church in 1874, the Anglican church of St Thomas in 1889 and the Methodist Church in 1910. The Catholic community of Hamley Bridge originally worshiped at Pinkerton Plains two miles out of town. The Pinkerton church was built in 1864. The first Catholic Church built in the town was erected in 1897. But in 1922 a new larger and outstanding Catholic Church was built up near the hospital. It has an adjoining presbytery built at the same time.
Hamley Bridge Bowling Club, where we will have lunch was founded in 1926 and the current Clubrooms were opened in 1951 with further extensions in 1958.
Buildings on your Historical Walk.
1.Old Road Bridge. This bridge across the Light is on the register of the National Estate. It is probably the oldest steel bridge in SA with steel trusses and stone arches and piers. It was constructed in 1892 at a cost of over £4,000.
2.The Old Brick Yards. To the left of the main road you might be lucky enough to see the ruins of the old brickworks which supplied bricks for the town, including some beautiful old street gutters.
3.The Institute. Note the prominent position at the end of the main street. It was built in 1884 of local limestone. The new more classical style façade and front rooms were added in 1904. On the diagonal corner to the north, note the unusual roof angles of the Durdins Builders and Undertakers.
4.Memorial to Catholic Church, corner of Gilbert and Light Streets. This delightful small stone grotto commemorates the Catholic Church which was built on this spot in 1897. It also refers to the 1871 Mary McKillop School that was opened in Hamley Bridge. The church was demolished after the new St Mary’s church was opened in 1922. A Catholic School operated on this site until 1961.
5.Butchers Shop on the corner of Annie Street. The adjacent residence is fascinating. Note the fancy bargeboards to the gables, and the decorative gutter ends. It dates from 1887. The shop part has always been a butcher shop. Walk up Annie Street behind the shops to see the old stables, the limestone garden wall topped with broken glass, and the fine brick street gutters.
6.General Store and Post Office. Note the two fine pediments along the roofline. Inside there is still a long wooden general store counter and wooden shelving. It was opened in 1902 and the Bohnsack family operated it for many years. The first Post Office opened in the town in 1869 and the telephone linkage in 1905.
7.1906 House. This well constructed and impressive residence with its date on the pediment was originally a bank. This is why it looks grand for a normal residence. It was later used by a saddler.
8.Hamley Bridge Hotel. It is typical of an 1872 SA hotel which used to be a single storey building with a second storey added later. It is now rendered and the upper veranda demolished. It ceased operating as a hotel in 1960.
9.Apex Park and Station Platform. Walk through this park to gain access to the railway station platforms. You can walk to the end of the station to see the signal box and two water towers. Note the fancy steel rounded roof shelter supports. The station is a private residence.
10.Police Station across the road from Apex Park. It was built in 1880 and typical of the times. Note the old cells and lock ups in the back yard.
11.Railway Station. It is hard to see much of this current private residence. The station was a grand building in its day reflecting the importance of the break of rail gauge in the town
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
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Ocean Terminal offers a great opportunity to observe different bus stock and it's a quiet and safe place to take photographs. I have always felt this to be one of my favourite locations for bus photography.
Working on Service 22 Volvo B7TL / Wright Eclipse Gemini, number 721 (SN55 BLX) is in the company of Omni City Scania number 988 (SN57 DBO).
This small group of Polish buses were for a time the only buses Lothian had that were not made in Great Britain and the photograph provides a chance to compare two designs. Note how immaculate both of these vehicles are.
Aston Martin Residences offer breathtaking views of the Miami River, Biscayne Bay, and Brickell skyline. Additionally, Aston Martin Residences will be within walking distance of Whole Foods, Brickell City Centre, and Mary Brickell Village.
Aston Martin’s design team will design the building’s interior common spaces including the two private lobbies, the two-level fitness center with ocean views, and a full-service spa among other shared spaces within the development.
Each of the building’s common areas will feature “signature items” showcasing the car brand’s trademark colors, stitching style, and materials—from polished wood and supple leather to carbon fiber with an emphasis on comfort.
Credit for the data above is given to the following websites:
www.emporis.com/buildings/1386750/aston-martin-residences...
www.paraninternational.com/new-development/aston-martin
© All Rights Reserved - you may not use this image in any form without my prior permission.
The Sigulda cable car offers a ride over the Gauja valley, enjoying the view of a wonderful landscape over a distance of multiple kilometres. In a height of 43 m above ground the Sigulda cable car connects both sides of the river Gauja in a width of 1020 m and excites with a picturesque valley of Gauja, three medieval castles – Sigulda, Turaida, and Krimulda, the bobsleigh track, and Gauja bridge. The cable car is the oldest vehicle of its kind in the Baltic States. Welcome to a ride above tree tops!
The cable car on the route Sigulda-Krimulda-Sigulda runs every 20 or 30 minutes. Tickets can be purchased at the Sigulda box office or at the Krimulda stop (when the car stops, from the cable car attendant). Access for both ticket and gift card holders on an equal live queue basis.
Aston Martin Residences offer breathtaking views of the Miami River, Biscayne Bay, and Brickell skyline. Additionally, Aston Martin Residences will be within walking distance of Whole Foods, Brickell City Centre, and Mary Brickell Village.
Aston Martin’s design team will design the building’s interior common spaces including the two private lobbies, the two-level fitness center with ocean views, and a full-service spa among other shared spaces within the development.
Each of the building’s common areas will feature “signature items” showcasing the car brand’s trademark colors, stitching style, and materials—from polished wood and supple leather to carbon fiber with an emphasis on comfort.
Credit for the data above is given to the following websites:
www.emporis.com/buildings/1386750/aston-martin-residences...
www.paraninternational.com/new-development/aston-martin
© All Rights Reserved - you may not use this image in any form without my prior permission.
Aston Martin Residences offer breathtaking views of the Miami River, Biscayne Bay, and Brickell skyline. Additionally, Aston Martin Residences will be within walking distance of Whole Foods, Brickell City Centre, and Mary Brickell Village.
Aston Martin’s design team will design the building’s interior common spaces including the two private lobbies, the two-level fitness center with ocean views, and a full-service spa among other shared spaces within the development.
Each of the building’s common areas will feature “signature items” showcasing the car brand’s trademark colors, stitching style, and materials—from polished wood and supple leather to carbon fiber with an emphasis on comfort.
Credit for the data above is given to the following websites:
www.emporis.com/buildings/1386750/aston-martin-residences...
www.paraninternational.com/new-development/aston-martin
© All Rights Reserved - you may not use this image in any form without my prior permission.
Belgian card offered by Nieuwe Merksemsche Chocolaterie SPRL, Merksem (Antwerp). Photo: Lux- Film, Roma. Silvana Mangano as the rice picker Silvana in Riso amaro/ Bitter Rice (Giuseppe De Santis, 1949), released in Flanders and the Netherlands as Bittere Rijst.
Beautiful Italian film star Silvana Mangano (1930-1989) will be remembered most for the sexy rice picker in Riso Amaro/Bitter Rice (1949), and for Tadzio's elegant mother in Morte a Venezia/Death in Venice (1971).
Yojackets offers you Oceans Eight Anne Hathaway Leather Jacket .. with free global shipping, Shop Now!!
www.yojackets.com/product/oceans-eight-daphne-kluger-leat...
THE DISCOVERY by gleitzeit blog (the lost Interview in Rome)
I am using magnifying glass to be able to read a a PDF file of a very low quality.
My eyes are hurting. What I have found is something that is just not available…
I must say on the search for anything tagged “invisible” I find some pretty amazing
stuff I would never know about (later on that)
Paul meet me at the gate. He looked younger than I had expected. Dressed
casually.
As a host he cordially offered me to dine. While we entered the hall I had an urge to ask him, is this a museum? trying not to break anything as we passed by sculptures, paintings,
ceramics and a lot of other pieces of art which I had never seen before.
This unexpected excitement spoiled my appetite, and I was no longer hungry and
instead drank some wine.
He made clear that it is not any kind of a museum, but instead, his Paul’s studio. He lives not in Rome, but by the Terranian sea, where he was going shortly.
I asked Paul how he earns a living. Paul thought a little and tried to find an appropriate explanation. He finally lit on: "I am of independent means and don’t have to earn a living" pouring me another glass of wine.
I asked him: “ Can I buy some of your paintings? How much it will cost me?”
This question Paul left unanswered but he said that commonly he paints his
pictures without the intention to sell them.
Earlier I noticed a little girl and a young woman moving about him.
OMG!!!! I am shaken up. NOBODY KNOWS ANYTHING ABOUT Paul Jaisini’s personal life! I don’t believe this. THANK YOU GOOGLE! this is like really mystifying. I am not an emotional person, rather someone who loves to work hard and get the job done. This turned into something other than working.
Google nowadays is not your “grandfather’s” google so to speak. It is tailored
around you, your daily Internet activity, So finding any news, any special
information is no longer an easy task. I guess because there’s too much of
everything and what one is looking for could be placed out of reach. So we sort
of live on a planet that is flat as in dark ages. I say that because if one is
provided the info that is tailored with limitation it implies that breaking
away is not something one would even comprehend! We are too used to trust our social functioning and think that we know everything, on top of all news provided to us by the honest practice of the broadcasting companies.
We don’t want to be those conspiracy freaks with no trust to anything or
anyone. But truth is, if you don’t want to pay high dollar for some expert
articles on the topics that could give more than the free info, you are really
up against a brick wall of the new unknown reality and a total incapacity to acquire
the needed info of high quality without spending your whole life learning all the crap on the net and beyond in order to find finally what you need.
So search is a tricky mother. If you are creative and sort of spontaneous you
might somehow find your own style of fishing out the essentials. But in my case I
often felt helpless and lost no longer willing to participate in this
undertaking trying to document Gleitzeit.
It doesn’t look like I had managed a short explanation. But this is my formula of
finding something that is not available on the tailored to fit google search.
I enter the variations of phrases and words from the gleitzeit context of emails, postings, essays and add some other words I find on my way of locating Paul Jaisini's links. Turning the tag in a sort of a potion number nine that had proven to fetch some impossible to find info on such a quick inquiry without opening thousands of websites where I might find or might not find anything at all. And the most effective findings are with the tag "invisible" added to other things, be it email abbreviations and so on.
“The other must be his wife”, I thought, because Paul called her with some pet name's asking for a bottle of wine, for a book, or an ash tray.
“Is she your wife? “ I asked just in case.
Paul looked me in the eyes and said: “She is not my wife, nor the mother of my daughter, she is my secretary. “
The secretary I sensed didn’t like me much.
She didn’t call Jaisini by his name, Paul, but she instead addressed him as
mister Jaisini. She seemed obsequious and perhaps didn’t like me for my unrestrained manner and direct questions. She said to Paul: “You should not waste your time on this interview. You need to return to your work. “
Paul said: “It will be few minutes." and spent a few hours with me. A self-ruling man.
Paul didn’t drink any wine but he behaved at times extravagantly, showing the
outlines of the silhouettes in his paintings and explaining what was happening in the pictures.
Paul said that the point of his art being hidden from the public is an
intrigue that engages press in constant attempts to uncover the ‘truth’ behind it all. Nevertheless it is very disappointing, that people don’t care about real art, as they do about private affairs.
We went upstairs and in a spacious hall I saw a large painting. I didn’t hide my
awe.
“Wow! Where did you get such a big piece of canvas? The art stores don’t sell
this linen in such sizes. “
“It is stitched together from pieces," answered Paul.
“How did you reach the upper parts of the painting"
"I climbed the riser. Do you see the nude black man up there, tangled with a
serpent?"
"It reminds me of Laocoön. Is it intentional?"
"No, he is a symbol of physical grace without intellect. Do you see a group of
female bodies intertwined in a threesome?"
"No, I don’t see it. Where is the threesome?"
"To the left, look there."
"I look there."
"There the three figures, here is one, here is another one and the third one."
"Third is not a female figure, it’s some animal."
"It’s a female, but there is an animal, a bit higher up. The clown in the center
tears his mouth in a bloody smile, carrying out his role of a fool, laughing when
he wants to cry."
"Is that a monkey?"
"You got it, she is another symbol of the fate, she stopped hitting the tom-tom,
her direct purpose in circus. When she stopped to play and started to think, she
realized that her life is pitiful and she wants to kill herself. It’s a second
symbol of the same meaning."
"Tell me about that threesome again."
"Well, they show the natural grace, as three graces would, the sensual concept of
procreation."
"This picture must be a depiction of a circus performance, I suppose. Is it ?
Why it is so dynamic?"
"It is a circus performance but is the personal trial of human character. The ball construction is an object: - Paulsen’s ball, it is also a title of the painting."
"This ball creates some weight and it seems to move the composition with it’s
size and position and it seems to be on a verge of rolling down."
"You’re right! I also sense this immediate impulse to prevent the clown to fall
off that ball.
We went to other paintings, whole series of paintings.
When I gathered all my sensations about the art that surrounded me, it was time to leave. Paul Jaisini escorted me to the door. I shook his hand saying:
"You are an interesting man!"
"I am not a man..."
(the last sentence was a good ending)
en.wikipedia.org/wiki/Symbolism
en.wikipedia.org/wiki/Symbolism_(arts)
en.wikipedia.org/wiki/Invisibility
en.wikipedia.org/wiki/Fatalism
en.wikipedia.org/wiki/Gracefulness
en.wikipedia.org/wiki/Impossible_object
Have to type as I read PDF file that can’t be copied
Have to type as I read PDF file that can’t be copied
I am using magnifying glass to be able to read a a PDF file of very low quality. My eyes are hurting. What I have found is something that is just not available… I must say on the search for anything tagged “invisible” I find some pretty amazing stuff I would never know about (later on that) Now I am sitting in my office instead of having night out. It really is an impossible task to just discern the text. I filled up a spray bottle with cold water to spray my face to frequently refresh my eyes, as they get tired from the magnifying glass. It’s totally worth it, the thrill of discovery is my ultimate high.
Subj: Re: any suggestions?
Date: 2/5/00 Pacific Standard Time
From: bcwoodward@bigfoot.com (B. Woodward)
To: Yustas61@aol.com
CC: Angela Ahermeign
The attached file with original text before translation can be used in all related your project on Paul Jaisini.
All my corrections are in () and sometimes they replace the words nearby, other times they get inserted or have comments as well. It should be clear. Angela, you had some trouble with colloquialisms, unclear constructions and misplaced verb tenses. You switched among various forms of the past with irregularity. I’ve brushed it up. It makes a good narrative, though. Very interesting :)
Original Message-
From Angela A, Sent Thursday, February 03, 2000, 4: 25 PM
to bcwoodward@bigfoot.com
Subject Any suggestions
My first meeting with Paul Jaisini in Rome
(was it your first meeting with him, or just first time in Rome… unclear construction)
Paul Jaisini’s appearance at the exhibition of his art made a lot of noise in 1995 in Rome.
(caused a lot of noise, a lot of excitement, or was it just a noisy appearance?)
After newspapers published the (a) photograph of Paul Jaisini in the empty gallery, I read the article and realized how lucky I was to be in Rome. Nobody saw Paul Jaisini’s paintings. Yes, nobody… This what happened next. I called him once, then (a) second time. (,b)But Paul didn’t return my calls. Unfortunately I was not able to stay on guards (stand guard is the appropriate colloquialism) to catch him by the art gallery being (as I was) preoccupied with my (own) business. So I decided that I have (needed, not have) to find a way to see Paul Jaisini’s (hidden) paintings if he hides them. Such extravagance has (had) to be stopped.
I decided to offer him (no him here) to write a testament about (to) the existence of his art (, which would necessarily lead to him revealing it to me.) which will rise the necessity to see it.
I heard about Paul Jaisini before (that time) because he is quite a (reverse the a and quite) well-known contemporary artist. When I set up the appointment to meet (him) I easily found his cozy two- story town-house surrounded by (an) antique iron fence.
When I called (on) the intercom it took a while to explain who I was and why (I had come) did I come.
Paul meet me at the gate. He looked younger than I (had) expected. Dressed casually.
As a host he cordially offered me to dine. While we were entering (entered) the hall I had an urge to ask him, (“I) is it (this) a museum (?), trying to brake (break) anything, (no comma… as we passed) passing by sculptures, paintings, ceramic pieces (ceramics… drop the p word) and a lot of (other pieces of) art which I (had never seen before. drop rest of the sentence) was not able…
Gosh, I can feel how B. Woodward was feeling… WILL SHE REALLY SEE THE PAINTINGS by PAUL JAISINI?????? my eyes are punishing me for this thrill. I need to stop looking into the magnifier when I am now writing a comment without looking into unreadable copy.
Just waiting to get the courage to continue… my eyes need rest, I made myself some coffee with soy milk. But it surely means I want to prolong the suspense. I have no idea what is written in that text I located only god knows where or how.
I think that a gamer guru would understand me after he/she played hardest strategic games for a very long time and turned into a savvy thrill seeker.
medium.com/art-submissions/don-t-bother-901454f687cd The time has come to start making sense of things, of the world, of each other. We think we’re doing that, but we’re actually doing the opposite. We are complicating…EVERYTHING…tothe point of utter madness. Our world has become one ginormous madhouse, ESPECIALLY cyberspace — this alternate world we created within our world that seems to have created a world within itself — yet to be identified, recognized, and named. Making sense of things is not a bad thing. For example, let’s start with one major web enigma: Paul Jaisini and “Gleitzeit” which is this, uh, odd art movement the guy started in the 90s. If you simply google either of those names, I gaurantee you a good WTF moment or two. You’ll not just be scratching your head over this one. You’ll be scratching every part of your body like a delusional nutcase who thinks your skin is literally crawling with countless bugs. IT’S GONNA BUG THE HELL OUT OF YOU, let’s just say…maybe for a day or a week…or maybe, as for some folks, long after you’ve discovered it. You’ll be itching to understand what it’s about even just a little bit. Your mind will try to make sense of Paul Jaisini and/or Gleitzeit, it will want to, but will fail miserably. Frustration and anger will start setting in. I know because that’s how it was for me and every person that tried. The deeper you dig, the more you try to figure it out, the more confused, overwhelmed, baffled, and perplexed you’ll get. I guess for the people that attempt to understand the Paul Jaisini and Gleitzeit thing or debunk it, my advice is: DON’T EVEN TRY. DON’T GO THERE. IT’S NOT FOR YOU. The sleepless nights, the uncertainty, the questions and ideas that start invading your head, the horror of “waking up” from normality and regularity, the trauma of moving from one dimension to another… is not worth it. Well, for me it was worth it, but not for others. They claim it’s crazy and even dangerous for the mind, Paul Jaisini’s Gleitzeit. Well, sure, I mean you gotta break some eggs to make an omelette, dontchya? So, Gleitzeit is the omelette and all parties involved in GIG (Gleitzeit International Group) are the eggs. Makes sense. Speaking of which, “they” don’t want it to make sense, not even close. As a member of the group, I’m breaking protocol BIG TIME by writing this, by encouraging that you go out there, look this stuff up and figure it out, take away its shield of senselessness and defeat it… for the sake of a better world and future for us all. I hope someone out there hears me….one way or another, it had to be said…. Stelly Riesling
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
licensing dog images
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Fujifilm X camera
Hundefotos
Hundefotos kaufen
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Haustierfotos
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All pictures: © Elke Vogelsang
20180729_Opal_Yuuummyyy
Aston Martin Residences offer breathtaking views of the Miami River, Biscayne Bay, and Brickell skyline. Additionally, Aston Martin Residences will be within walking distance of Whole Foods, Brickell City Centre, and Mary Brickell Village.
Aston Martin’s design team will design the building’s interior common spaces including the two private lobbies, the two-level fitness center with ocean views, and a full-service spa among other shared spaces within the development.
Each of the building’s common areas will feature “signature items” showcasing the car brand’s trademark colors, stitching style, and materials—from polished wood and supple leather to carbon fiber with an emphasis on comfort.
Credit for the data above is given to the following websites:
www.emporis.com/buildings/1386750/aston-martin-residences...
www.paraninternational.com/new-development/aston-martin
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French postcard by Editions P.I., Paris, offered by Les Carbones Korès, no. 336. Photo: Warner Bros.
Ingrid Bergman (1915-1982) was ‘Sweden's illustrious gift to Hollywood’. In the 1940s the fresh and naturally beautiful actress won three Oscars, twice an Emmy, and once a Tony Award for Best Actress. Little known is that before she went to Hollywood she already had a European film career.
Ingrid Bergman was born in Stockholm, Sweden in 1915 to a Swedish father and a German mother. At age 17, she had a taste of acting when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (Gunnar Skoglund, 1932). The next year she was accepted to the Royal Dramatic Theatre in Stockholm, but she soon decided that stage acting was not for her. During her first summer break, she was hired at a Swedish film studio to work in film full-time. Her first film part was in Munkbrogreven/The Count of the Old Town (Edvin Adolphson, 1935), where she had a speaking part as Elsa Edlund. In the following years, she made a dozen films in Sweden that established her as a class actress. Among them were Bränningar/The Surf (Ivar Johansson, 1935) and Dollar (Gustaf Mollander, 1938). Another film, En kvinnas ansikte (Gustaf Molander, 1938) would later be remade as A Woman's Face with Joan Crawford. Bergman also made a film in Germany, Die Vier Gesellen/The Four Companions (Carl Froelich, 1938).
Ingrid Bergman's breakthrough film was Intermezzo (Gustaf Molander, 1936), in which she played a pianist who has a love affair with a celebrated and married violinist, played by Gösta Ekman. Hollywood producer David O. Selznick saw it and sent a representative from MGM to gain the rights to the story and have the actress sign a contract. Ingrid went to California and starred in MGM's remake Intermezzo: A Love Story (Gregory Ratoff, 1939), reprising her original role. The film was a hit and so was Ingrid. Her beauty was unlike anything the movie industry had seen before and her acting was superb. She was under contract to go back to Sweden to film Juninatten/A Night in June (Per Lindberg, 1940). Back in the US, she appeared in three films, all well-received. In 1942 she played in only one film, but that film, Casablanca (Michael Curtiz, 1942), would make her a huge star. Bergman chose her roles well after Casablanca. In 1943, she was nominated for an Academy Award for her role in Ernest Hemingway's For Whom the Bell Tolls (Sam Wood, 1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (George Cukor, 1944) the following year - her role as the persecuted wife of Charles Boyer got her the Oscar for Best Actress. In 1945, Ingrid played in Spellbound (Alfred Hitchcock, 1945) with Gregory Peck, Saratoga Trunk (Sam Wood, 1945), and The Bells of St. Mary's (Leo McCarey, 1945), for which she received her third Oscar nomination for her part as Sister Benedict.
Ingrid Bergman also worked with Alfred Hitchcock on another classic, Notorious (1946) with Cary Grant, and the less successful Under Capricorn (1949) with Joseph Cotten. Bergman went to Alaska during World War II in order to entertain troops. Soon after the war ended, she also went to Europe for the same purpose, where she was able to see the devastation caused by the war. It was during this time that she began a relationship with the famous photographer Robert Capa. She made no films in 1947 but bounced back with a fourth nomination for Joan of Arc (Victor Fleming, 1948). She played the part of Jeanne d'Arc three times in her career: on stage in 1946 in Maxwell Anderson's Joan of Lorraine for which she won the Tony Award, in the film version in 1948, and in 1954 in the Italian film Giovanna d'Arco al rogo/Joan of Arc at the Stake (Roberto Rossellini, 1954), based on a 1935 dramatic oratorio by Arthur Honegger. But in 1949 Saint Ingrid first would suffer a sudden and disastrous fall from grace. In 1949 Ingrid Bergman went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and got pregnant. The pregnancy caused a huge scandal in the United States. It even led to Bergman being denounced on the floor of the US Senate by Edwin C. Johnson, a Democratic senator, who referred to her as "a horrible example of womanhood and a powerful influence for evil." In addition, there was a floor vote, which resulted in her being made 'persona non grata'. The scandal forced Bergman to exile herself to Italy, leaving her husband, Dr. Petter Lindström, and daughter, Pia Lindström in the United States. Dr. Lindström eventually sued for desertion and waged a custody battle for their daughter.
In 1950, Ingrid Bergman married Rossellini and the same year their son, Renato Roberto, was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini. Isabella would later become an outstanding actress in her own right, as did her half-sister Pia.
From 1950 to 1955 Bergman and Rossellini made six films together: Stromboli (1950), Europa '51/No Greater Love (1952), a segment of Siamo donne/We, the Women (1953), Viaggio in Italia/Voyage in Italy (1954), La paura/Fear (1954) and Giovanna d'Arco al rogo/Joan of Arc at the Stake (1954). These films were ahead of their time but were generally not received well, especially in the US, where many conservative political and religious leaders still raised a hue and cry about her past. Bergman also starred in Jean Renoir's Elena et les Hommes/Elena and Her Men (1956), a romantic comedy where she played a Polish princess caught in political intrigue. Although the film wasn't a success, it has since come to be regarded as one of her best performances. Finally, after being exiled from Hollywood for seven years, Bergman returned opposite Yul Brynner in the title role in Anastasia (Anatole Litvak, 1956), which was filmed in England. For this, she won her second Academy Award. She had scarcely missed a beat. The award was accepted for her by her friend Cary Grant. Bergman would not make her first post-scandal public appearance in Hollywood until the 1958 Academy Awards when she was the presenter of the Academy Award for Best Picture. Furthermore, after being introduced by Cary Grant and walking out on stage to present, she was given a standing ovation. In 1957 she divorced Rosselini and in 1958 she married Lars Schmidt, a theatrical entrepreneur from a wealthy Swedish shipping family. After all the years she spent away from Hollywood, she still managed to maintain her status as a major star, as the success of films like Indiscreet (Stanley Donen, 1958) opposite Cary Grant and The Inn of the Sixth Happiness (Mark Robson, 1958) with Curd Jürgens showed.
In the 1960s, Ingrid Bergman concentrated on stage work and television appearances, and collaborated with her husband, theatrical producer Lars Schmidt, in such TV plays as The Turn of The Screw (John Frankenheimer, 1960) for which she won an Emmy Award and Twenty-Four Hours in a Woman's Life (Silvio Narrizano, 1961). She didn't appear in as many films as she had before, but she continued to bounce between Europe and the US making films. After a long hiatus, Bergman appeared in Cactus Flower (Gene Saks, 1968), with Walter Matthau and Goldie Hawn. In 1972, Senator Charles H. Percy entered an apology into the Congressional Record for the attack made on Bergman 22 years earlier by Edwin C. Johnson. Bergman won her third Academy Award for her role as Greta Ohlsson in Murder on the Orient Express (Sidney Lumet, 1974). Her performance is contained in a single scene: her interrogation by Poirot, captured in a single continuous take, nearly five minutes long. By 1975 Ingrid Bergman had divorced again. In her final big-screen performance in Höstsonaten/Autumn Sonata (Ingmar Bergman, 1978) she had her seventh Academy Award nomination. Bergman plays in this film a celebrity pianist who returns to Sweden to visit her neglected daughter, played by Liv Ullmann. Though she didn't win the Oscar, many felt it was the best performance of her career. In the late 1970s, Ingrid Bergman first discovered the symptoms of cancer and underwent a mastectomy. Her last role was in the television film A Woman Called Golda (Alan Gibson, 1982), about the late Israeli Prime Minister Golda Meir. Ingrid Bergman died in 1982, in London, the day after having a small party with a few friends for her 67th birthday. At her burial a single violin played the song As Time Goes By, the theme from Casablanca, recalling her most famous role, that of Ilsa Lund. That year her daughter, Pia Lindström accepted the Emmy Award for Best Actress that Ingrid won posthumously for A Woman Called Golda. Seventeen years later, in 1999, she was ranked #4 in the American Film Institute's list of greatest female screen legends. Later she was ranked #5 in Premiere's list of 'The 50 Greatest Movie Stars of All Time'. Ingrid Bergman continues to be a cultural icon - for her films and for her innocent, natural beauty.
Sources: Denny Jackson, Naim81 and Ezio Flavio de Freitas (IMDb), Wikipedia, Hitchcock.tv, and IMDb.
And, please check out our blog European Film Star Postcards.
A missing filter... Picture or maybe in the air of the time that brews a little anguish, it grinds ideas by dint of filtering the words... the cunning life with a twist. Angel or mill?
The COVID-19 pandemic has resulted in conspiracy theories and misinformation about the scale of the pandemic and the origin, prevention, diagnosis, and treatment of the disease.[1][2][3] False information, including intentional disinformation, has been spread through social media,[2][4] text messages,[5] and mass media,[6] including the tabloid media,[7] conservative media,[8][9] state media of countries such as China,[10][11] Russia,[12][13] Iran,[14] and Turkmenistan.[2][15] It has also been spread by state-backed covert operations to generate panic and sow distrust in other countries.[16][17]
Misinformation has been propagated by celebrities, politicians[18][19] (including heads of state in countries such as the United States,[20][21] Iran,[22] and Brazil[23]), and other prominent public figures.[24] Commercial scams have claimed to offer at-home tests, supposed preventives, and "miracle" cures.[25][26] Politicians and leaders of some countries have promoted purported cures, while some religious groups said that the faith of their followers and God will protect them from the virus.[27][28][29] Others have claimed the virus is a lab-developed bio-weapon that was accidentally leaked,[30][31] or deliberately designed to target a country,[32] or one with a patented vaccine, a population control scheme, the result of a spy operation,[3][4] or linked to 5G networks.[33]
The World Health Organization has declared an "infodemic" of incorrect information about the virus, which poses risks to global health.[2]
Types and origin and effect
On January 30, the BBC reported about the increasing spread of conspiracy theories and false health advice in relation to COVID-19. Notable examples at the time included false health advice shared on social media and private chats, as well as conspiracy theories such as the origin in bat soup and the outbreak being planned with the participation of the Pirbright Institute.[1][34] On January 31, The Guardian listed seven instances of misinformation, adding the conspiracy theories about bioweapons and the link to 5G technology, and including varied false health advice.[35]
In an attempt to speed up research sharing, many researches have turned to preprint servers such as arXiv, bioRxiv, medRxiv or SSRN. Papers can be uploaded to these servers without peer review or any other editorial process that ensures research quality. Some of these papers have contributed to the spread of conspiracy theories. The most notable case was a preprint paper uploaded to bioRxiv which claimed that the virus contained HIV "insertions". Following the controversy, the paper was withdrawn.[36][37][38]
According to a study published by the Reuters Institute for the Study of Journalism, most misinformation related to COVID-19 involves "various forms of reconfiguration, where existing and often true information is spun, twisted, recontextualised, or reworked". While less misinformation "was completely fabricated". The study found no deep fakes in the studied sample. The study also found that "top-down misinformation from politicians, celebrities, and other prominent public figures", while accounting for a minority of the samples, captured a majority of the social media engagement. According to their classification, the largest category of misinformation (39%) includes "misleading or false claims about the actions or policies of public authorities, including government and international bodies like the WHO or the UN".[39]
A natural experiment correlated coronavirus misinformation with increased infection and death; of two similar television news shows on the same network, one took coronavirus seriously about a month earlier than the other. People and groups exposed to the slow-response news show had higher infection and death rates.[40]
The misinformations have been used by politicians, interest groups, and state actors in many countries to scapegoat other countries for the mishandling of the domestic responses, as well as furthering political, financial agenda.[41][42][43]
Combative efforts
Further information: Impact of the 2019–20 coronavirus pandemic on journalism
File:ITU - AI for Good Webinar Series - COVID-19 Misinformation and Disinformation during COVID-19.webm
International Telecommunication Union
On February 2, the World Health Organization (WHO) described a "massive infodemic", citing an over-abundance of reported information, accurate and false, about the virus that "makes it hard for people to find trustworthy sources and reliable guidance when they need it". The WHO stated that the high demand for timely and trustworthy information has incentivised the creation of a direct WHO 24/7 myth-busting hotline where its communication and social media teams have been monitoring and responding to misinformation through its website and social media pages.[44][45][46] The WHO specifically debunked several claims as false, including the claim that a person can tell if they have the virus or not simply by holding their breath; the claim that drinking large amounts of water will protect against the virus; and the claim that gargling salt water prevents infection.[47]
In early February, Facebook, Twitter and Google said they were working with WHO to address "misinformation".[48] In a blogpost, Facebook stated they would remove content flagged by global health organizations and local authorities that violate its content policy on misinformation leading to "physical harm".[49] Facebook is also giving free advertising to WHO.[50] Nonetheless, a week after Trump's speculation that sunlight could kill the virus, the New York Times found "780 Facebook groups, 290 Facebook pages, nine Instagram accounts and thousands of tweets pushing UV light therapies," content which those companies declined to remove from their platforms.[51]
At the end of February, Amazon removed more than a million products claimed to cure or protect against coronavirus, and removed tens of thousands of listings for health products whose prices were "significantly higher than recent prices offered on or off Amazon", although numerous items were "still being sold at unusually high prices" as of February 28.[52]
Millions of instances of COVID-19 misinformation have occurred across a number of online platforms.[53] Other fake news researchers noted certain rumors started in China; many of them later spread to Korea and the United States, prompting several universities in Korea to start the multilingual Facts Before Rumors campaign to separate common claims seen online.[54][55][56][57]
The media has praised Wikipedia's coverage of COVID-19 and its combating the inclusion of misinformation through efforts led by the Wiki Project Med Foundation and the English-language Wikipedia's WikiProject Medicine, among other groups.[58][59][60]
Many local newspapers have been severely affected by losses in advertising revenues from coronavirus; journalists have been laid off, and some have closed altogether.[61]
Many newspapers with paywalls lowered them for some or all their coronavirus coverage.[62][63] Many scientific publishers made scientific papers related to the outbreak open access.[64]
The Turkish Interior Ministry has been arresting social media users whose posts were "targeting officials and spreading panic and fear by suggesting the virus had spread widely in Turkey and that officials had taken insufficient measures".[65] Iran's military said 3600 people have been arrested for "spreading rumors" about coronavirus in the country.[66] In Cambodia, some individuals who expressed concerns about the spread of COVID-19 have been arrested on fake news charges.[67][68] Algerian lawmakers passed a law criminalising "fake news" deemed harmful to "public order and state security".[69] In the Philippines,[70] China,[71] India,[72][73] Egypt,[74] Bangladesh,[75] Morocco,[76] Pakistan,[77] Saudi Arabia,[78] Oman,[79] Iran,[80] Vietnam, Laos,[81] Indonesia,[73] Mongolia,[73] Sri Lanka,[73] Kenya, South Africa,[82] Somalia,[83] Thailand,[84] Kazakhstan,[85] Azerbaijan,[86] Malaysia[87] and Hong Kong, people have been arrested for allegedly spreading false information about the coronavirus pandemic.[88][73] The United Arab Emirates have introduced criminal penalties for the spread of misinformation and rumours related to the outbreak.[89]
Conspiracy theories
Conspiracy theories have appeared both in social media and in mainstream news outlets, and are heavily influenced by geopolitics.[90]
Accidental leakage
Virologist and immunologist Vincent R. Racaniello said that "accident theories – and the lab-made theories before them – reflect a lack of understanding of the genetic make-up of Sars-CoV-2."[91]
A number of allegations have emerged supposing a link between the virus and Wuhan Institute of Virology (WIV); among these is that the virus was an accidental leakage from WIV.[92] In 2017, U.S. molecular biologist Richard H. Ebright expressed caution when the WIV was expanded to become mainland China's first biosafety level 4 (BSL-4) laboratory, noting previous escapes of the SARS virus at other Chinese laboratories.[93] While Ebright refuted several conspiracy theories regarding the WIV (e.g., bioweapons research, or that the virus was engineered), he told BBC China this did not represent the possibility that the virus can be "completely ruled out" from entering the population due to a laboratory accident.[92] Various researchers contacted by NPR concluded there was "virtually no chance" (in NPR's words) that the pandemic virus had accidentally escaped from a laboratory.[94] Disinformation researcher Nina Jankowicz from Wilson Center indicates the lab leakage claim entered mainstream media in United States during April, propagated by pro-Trump news outlet.[43]
On February 14, 2020, Chinese scientists explored the possibility of accidental leakage and published speculations on scientific social networking website ResearchGate. The paper was neither peer-reviewed nor presented any evidence for its claims.[95] On March 5, the author of paper told Wall Street Journal in an interview why he decided to withdrew the paper by the end of February, stating: "the speculation about the possible origins in the post was based on published papers and media, and was not supported by direct proofs."[96][97] Several newspapers have referenced the paper.[95] Scientific American reported that Shi Zhengli, the lead researcher at WIV, started investigation on mishandling of experimental materials in the lab records, especially during disposal. She also tried to cross-check the novel coronavirus genome with the genetic information of other bat coronaviruses her team had collected. The result showed none of the sequences matched those of the viruses her team had sampled from bat caves.[98]
In February, it was alleged that the first person infected may have been a researcher at the institute named Huang Yanling.[99] Rumours circulated on Chinese social media that the researcher had become infected and died, prompting a denial from WIV, saying she was a graduate student enrolled in the Institute until 2015 and is not the patient zero.[100][99] In April, the conspiracy theory started to circulate around on Youtube and got picked up by conservative media, National Review.[101][6]
The South China Morning Post (SCMP) reported that one of the WIV's lead researchers, Shi Zhengli, was the particular focus of personal attacks in Chinese social media alleging that her work on bat-based viruses was the source of the virus; this led Shi to post: "I swear with my life, [the virus] has nothing to do with the lab". When asked by the SCMP to comment on the attacks, Shi responded: "My time must be spent on more important matters".[102] Caixin reported Shi made further public statements against "perceived tinfoil-hat theories about the new virus's source", quoting her as saying: "The novel 2019 coronavirus is nature punishing the human race for keeping uncivilized living habits. I, Shi Zhengli, swear on my life that it has nothing to do with our laboratory".[103] Immunologist Vincent Racaniello stated that virus leaking theory "reflect a lack of understanding of the genetic make-up of Sars-CoV-2 and its relationship to the bat virus". He says the bat virus researched in the institution "would not have been able to infect humans—the human Sars-CoV-2 has additional changes that allows it to infect humans."[91]
On April 14, the U.S. Chairman of the Joint Chiefs of Staff, General Mark Milley, in response to questions about the virus being manufactured in a lab, said "... it's inconclusive, although the weight of evidence seems to indicate natural. But we don't know for certain."[104] On that same day, Washington Post columnist Josh Rogin detailed a leaked cable of a 2018 trip made to the WIV by scientists from the U.S. Embassy. The article was referenced and cited by conservative media to push the lab leakage theory.[43] Rogin's article went on to say that "What the U.S. officials learned during their visits concerned them so much that they dispatched two diplomatic cables categorized as Sensitive But Unclassified back to Washington. The cables warned about safety and management weaknesses at the WIV lab and proposed more attention and help. The first cable, which I obtained, also warns that the lab's work on bat coronaviruses and their potential human transmission represented a risk of a new SARS-like pandemic."[105] Rogin's article pointed out there was no evidence that the coronavirus was engineered, "But that is not the same as saying it didn't come from the lab, which spent years testing bat coronaviruses in animals."[105] The article went on to quote Xiao Qiang, a research scientist at the School of Information at the University of California, Berkeley, "I don't think it's a conspiracy theory. I think it's a legitimate question that needs to be investigated and answered. To understand exactly how this originated is critical knowledge for preventing this from happening in the future."[105] Washington Post's article and subsequent broadcasts drew criticism from virologist Angela Rasmussen of Columbia University, which she states "It's irresponsible for political reporters like Rogin [to] uncritically regurgitate a secret 'cable' without asking a single virologist or ecologist or making any attempt to understand the scientific context."[43] Rasmussen later compared biosafety procedure concerns to "having the health inspector come to your restaurant. It could just be, ‘Oh, you need to keep your chemical showers better stocked.’ It doesn’t suggest, however, that there are tremendous problems.”[106]
Days later, multiple media outlets confirmed that U.S. intelligence officials were investigating the possibility that the virus started in the WIV.[107][108][109][110] On April 23, Vox presented disputed arguments on lab leakage claims from several scientists.[111] Scientists suggested that virus samples cultured in the lab have significant amount of difference compare to SARS-CoV-2. The virus institution sampled RaTG13 in Yunnan, the closest known relative of the novel coronavirus with 96% shared genome. Edward Holmes, SARS-CoV-2 researcher at the University of Sydney, explained 4% of difference "is equivalent to an average of 50 years (and at least 20 years) of evolutionary change."[111][112] Virologist Peter Daszak, president of the EcoHealth Alliance, which studies emerging infectious diseases, noted the estimation that 1–7 million people in Southeast Asia who live or work in proximity to bats are infected each year with bat coronaviruses. In the interview with Vox, he comments, "There are probably half a dozen people that do work in those labs. So let's compare 1 million to 7 million people a year to half a dozen people; it's just not logical."[94][111]
On April 30, The New York Times reported the Trump administration demanded intelligence agencies to find evidence linking WIV with the origin of SARS-Cov-2. Secretary of State and former Central Intelligence Agency (C.I.A) director Mike Pompeo was reportedly leading the push on finding information regarding the virus origin. Analysts were concerned that pressure from senior officials could distort assessments from the intelligence community. Anthony Ruggiero, the head of the National Security Council which responsible for tracking weapons of mass destruction, expressed frustration during a video conference that C.I.A. was unable to form conclusive answer on the origin of the virus. According to current and former government officials, as of April 30, C.I.A has yet to gather any information beyond circumstantial evidence to bolster the lab theory.[113][114] US intelligence officers suggested that Chinese officials tried to conceal the severity of the outbreak in early days, but no evidence had shown China attempted to cover up a lab accident.[115] One day later, Trump claimed he has evidence of the lab theory, but offers no further details on it.[116][117] Jamie Metzl, a senior fellow at the Atlantic Council, claimed the SARS-CoV-2 virus "likely" came from a Wuhan virology testing laboratory, based on "circumstantial evidence". He was quoted as saying, "I have no definitive way of proving this thesis."[118]
On April 30, 2020, the U.S. intelligence and scientific communities issued a public statement dismissing the idea that the virus was not natural, while the investigation of the lab accident theory was ongoing.[119][120] The White House suggested an alternative explanation, along with a seemingly contradictory message, that the virus was man-made. In an interview with ABC News, Secretary of State Pompeo said he has no reason to disbelieve the intelligence community that the virus was natural. However, this contradicted the comment he made earlier in the same interview, in which he said "the best experts so far seem to think it was man-made. I have no reason to disbelieve that at this point."[121][122][123] On May 4, Australian tabloid The Daily Telegraph claimed a reportedly leaked dossier from Five Eyes, which alleged the probable outbreak was from the Wuhan lab.[124] Fox News and national security commentators in the US quickly followed up The Telegraph story,[125][126] rising the tension within international intelligence community.[127] Australian government, which is part of the Five Eyes nations, determined the leaked dossier was not a Five Eyes document, but a compilation of open-source materials that contained no information generated by intelligence gathering.[128] German intelligence community denied the claim of the leaked dossier, instead supported the probability of a natural cause.[129][130] Australian government sees the promotion of the lab theory from the United States counterproductive to Australia’s push for a more broad international-supported independent inquiry into the virus origins.[127] Senior officials in Australian government speculated the dossier was leaked by US embassy in Canberra to promote a narrative in Australia media that diverged from the mainstream belief of Australia.[127][128][125]
Beijing rejected the White House's claim, calling the claim "part of an election year strategy by President Donald Trump’s Republican Party".[131] Hua Chunying, Chinese Foreign Ministry spokeswoman, urged Mike Pompeo to present evidence for his claim. "Mr. Pompeo cannot present any evidence because he does not have any," Hua told a journalist during a regular briefing, "This matter should be handled by scientists and professionals instead of politicians out of their domestic political needs."[131][132] The Chinese ambassador, in an opinion published in the Washington Post, called on the White House to end the "blame game" over the coronavirus.[133][134] As of May 5, assessments and internal sources from the Five Eyes nations indicated that the coronavirus outbreak was the result of a laboratory accident was "highly unlikely", since the human infection was "highly likely" a result of natural human and animal interaction. However, to reach such a conclusion with total certainty would still require greater cooperation and transparency from the Chinese side.[135]
Anti-Israeli and antisemitic
Further information: Antisemitic canard
Iran's Press TV asserted that "Zionist elements developed a deadlier strain of coronavirus against Iran".[14] Similarly, various Arab media outlets accused Israel and the United States of creating and spreading COVID-19, avian flu, and SARS.[136] Users on social media offered a variety of theories, including the supposition that Jews had manufactured COVID-19 to precipitate a global stock market collapse and thereby profit via insider trading,[137] while a guest on Turkish television posited a more ambitious scenario in which Jews and Zionists had created COVID-19, avian flu, and Crimean–Congo hemorrhagic fever to "design the world, seize countries, [and] neuter the world's population".[138]
Israeli attempts to develop a COVID-19 vaccine prompted mixed reactions. Grand Ayatollah Naser Makarem Shirazi denied initial reports that he had ruled that a Zionist-made vaccine would be halal,[139] and one Press TV journalist tweeted that "I'd rather take my chances with the virus than consume an Israeli vaccine".[140] A columnist for the Turkish Yeni Akit asserted that such a vaccine could be a ruse to carry out mass sterilization.[141]
An alert by the U.S. Federal Bureau of Investigation regarding the possible threat of far-right extremists intentionally spreading the coronavirus mentioned blame being assigned to Jews and Jewish leaders for causing the pandemic and several statewide shutdowns.[142]
Anti-Muslim
Further information: 2020 Tablighi Jamaat coronavirus hotspot in Delhi
In India, Muslims have been blamed for spreading infection following the emergence of cases linked to a Tablighi Jamaat religious gathering.[143] There are reports of vilification of Muslims on social media and attacks on individuals in India.[144] Claims have been made Muslims are selling food contaminated with coronavirus and that a mosque in Patna was sheltering people from Italy and Iran.[145] These claims were shown to be false.[146] In the UK, there are reports of far-right groups blaming Muslims for the coronavirus outbreak and falsely claiming that mosques remained open after the national ban on large gatherings.[147]
Bioengineered virus
It has been repeatedly claimed that the virus was deliberately created by humans.
Nature Medicine published an article arguing against the conspiracy theory that the virus was created artificially. The high-affinity binding of its peplomers to human angiotensin-converting enzyme 2 (ACE2) was shown to be "most likely the result of natural selection on a human or human-like ACE2 that permits another optimal binding solution to arise".[148] In case of genetic manipulation, one of the several reverse-genetic systems for betacoronaviruses would probably have been used, while the genetic data irrefutably showed that the virus is not derived from a previously used virus template.[148] The overall molecular structure of the virus was found to be distinct from the known coronaviruses and most closely resembles that of viruses of bats and pangolins that were little studied and never known to harm humans.[149]
In February 2020, the Financial Times quoted virus expert and global co-lead coronavirus investigator Trevor Bedford: "There is no evidence whatsoever of genetic engineering that we can find", and "The evidence we have is that the mutations [in the virus] are completely consistent with natural evolution".[150] Bedford further explained, "The most likely scenario, based on genetic analysis, was that the virus was transmitted by a bat to another mammal between 20–70 years ago. This intermediary animal—not yet identified—passed it on to its first human host in the city of Wuhan in late November or early December 2019".[150]
On February 19, 2020, The Lancet published a letter of a group of scientists condemning "conspiracy theories suggesting that COVID-19 does not have a natural origin".[151]
Chinese biological weapon
India
Amidst a rise in Sinophobia, there have been conspiracy theories reported on India's social networks that the virus is "a bioweapon that went rogue" and also fake videos alleging that Chinese authorities are killing citizens to prevent its spread.[152]
Ukraine
According to the Kyiv Post, two common conspiracy theories online in Ukraine are that American author Dean Koontz predicted the pandemic in his 1981 novel The Eyes of Darkness, and that the coronavirus is a bioweapon leaked from a secret lab in Wuhan.[153]
United Kingdom
Tobias Ellwood said, "It would be irresponsible to suggest the source of this outbreak was an error in a Chinese military biological weapons programme ... But without greater Chinese transparency we cannot entirely completely sure."[154]
In February, Conservative MP Tobias Ellwood, chair of the Defence Select Committee of the UK House of Commons, publicly questioned the role of the Chinese Army's Wuhan Institute for Biological Products and called for the "greater transparency over the origins of the coronavirus".[154][non-primary source needed] The Daily Mail reported in early April 2020 that a member of COBRA (an ad-hoc government committee tasked with advising on crises[citation needed]) has stated while government intelligence does not dispute that the virus has a zoonotic origin, it also does not discount the idea of a leak from a Wuhan laboratory, saying "Perhaps it is no coincidence that there is that laboratory in Wuhan"; the Asia Times reported the story as if it were factual,[155] perhaps unaware of the reputation of the Daily Mail.
United States
Further information: Cyberwarfare in the United States and Propaganda in the United States
In January 2020, BBC News published an article about coronavirus misinformation, citing two January 24 articles from The Washington Times that said the virus was part of a Chinese biological weapons program, based at the Wuhan Institute of Virology (WIV).[1] The Washington Post later published an article debunking the conspiracy theory, citing U.S. experts who explained why the WIV was unsuitable for bioweapon research, that most countries had abandoned bioweapons as fruitless, and that there was no evidence the virus was genetically engineered.[156]
On January 29, financial news website and blog ZeroHedge suggested without evidence that a scientist at the WIV created the COVID-19 strain responsible for the coronavirus outbreak. Zerohedge listed the full contact details of the scientist supposedly responsible, a practice known as doxing, by including the scientist's name, photo, and phone number, suggesting to readers that they "pay [the Chinese scientist] a visit" if they wanted to know "what really caused the coronavirus pandemic".[157] Twitter later permanently suspended the blog's account for violating its platform-manipulation policy.[158]
Logo of the fictional Umbrella Corporation, which some internet rumours linked to the pandemic. The corporation was invented for the Resident Evil game series.
In January 2020, Buzzfeed News reported on an internet meme of a link between the logo of the WIV and "Umbrella Corporation", the agency that created the virus responsible for a zombie apocalypse in the Resident Evil franchise. Posts online noted that "Racoon [sic]" (the main city in Resident Evil) was an anagram of "Corona".[159] Snopes noted that the logo was not from the WIV, but a company named Shanghai Ruilan Bao Hu San Biotech Ltd (located some 500 miles (800 km) away in Shanghai), and that the correct name of the city in Resident Evil was "Raccoon City".[159]
In February 2020, U.S. Senator Tom Cotton (R-AR) suggested the virus may have originated in a Chinese bioweapon laboratory.[160] Francis Boyle, a law professor, also expressed support for the bioweapon theory suggesting it was the result of unintended leaks.[161] Cotton elaborated on Twitter that his opinion was only one of "at least four hypotheses". Multiple medical experts have indicated there is no evidence for these claims.[162] Conservative political commentator Rush Limbaugh said on The Rush Limbaugh Show—the most popular radio show in the U.S.—that the virus was probably "a ChiCom laboratory experiment" and the Chinese government was using the virus and the media hysteria surrounding it to bring down Donald Trump.[163][164]
On February 6, the White House asked scientists and medical researchers to rapidly investigate the origins of the virus both to address the current spread and "to inform future outbreak preparation and better understand animal/human and environmental transmission aspects of coronaviruses".[165] American magazine Foreign Policy said Xi Jinping's "political agenda may turn out to be a root cause of the epidemic" and that his Belt and Road Initiative has "made it possible for a local disease to become a global menace".[90]
The Inverse reported that "Christopher Bouzy, the founder of Bot Sentinel, conducted a Twitter analysis for Inverse and found [online] bots and trollbots are making an array of false claims. These bots are claiming China intentionally created the virus, that it's a biological weapon, that Democrats are overstating the threat to hurt Donald Trump and more. While we can't confirm the origin of these bots, they are decidedly pro-Trump."[166]
Conservative commentator Josh Bernstein claimed that the Democratic Party and the "medical deep state" were collaborating with the Chinese government to create and release the coronavirus to bring down Donald Trump. Bernstein went on to suggest those responsible should be locked in a room with infected coronavirus patients as punishment.[167][168]
Jerry Falwell Jr., the president of Liberty University, promoted a conspiracy theory on Fox News that North Korea and China conspired together to create the coronavirus.[169] He also said people were overreacting to the coronavirus outbreak and that Democrats were trying to use the situation to harm President Trump.[170]
Hospital ship attack
The hospital ship USNS Mercy (T-AH-19) deployed to the Port of Los Angeles to provide backup medical services for the region. On March 31, 2020, a Pacific Harbor Line freight train was deliberately derailed by its onboard engineer in an attempt to crash into the ship, but the attack was unsuccessful and no one was injured.[171][172] According to U.S. federal prosecutors, the train's engineer "[...] was suspicious of the Mercy, believing it had an alternate purpose related to COVID-19 or a government takeover".[173]
Population control scheme
See also: List of conspiracy theories § RFID chips
According to the BBC, Jordan Sather, a conspiracy theory YouTuber supporting the far-right QAnon conspiracy theory and the anti-vax movement, has falsely claimed the outbreak was a population control scheme created by Pirbright Institute in England and by former Microsoft CEO Bill Gates. This belief is held mostly by right-wing libertarians, NWO conspiracy theorists, and Christian Fundamentalists.[1][174]
Spy operation
Some people have alleged that the coronavirus was stolen from a Canadian virus research lab by Chinese scientists. Health Canada and the Public Health Agency of Canada said that conspiracy theory had "no factual basis".[175] The stories seem to have been derived[176] from a July 2019 news article[177] stating that some Chinese researchers had their security access to a Canadian Level 4 virology facility revoked in a federal police investigation; Canadian officials described this as an administrative matter and "there is absolutely no risk to the Canadian public."[177]
This article was published by the Canadian Broadcasting Corporation (CBC);[176] responding to the conspiracy theories, the CBC later stated that "CBC reporting never claimed the two scientists were spies, or that they brought any version of the coronavirus to the lab in Wuhan". While pathogen samples were transferred from the lab in Winnipeg, Canada to Beijing, China, on March 31, 2019, neither of the samples was a coronavirus, the Public Health Agency of Canada says the shipment conformed to all federal policies, and there has not been any statement that the researchers under investigation were responsible for sending the shipment. The current location of the researchers under investigation by the Royal Canadian Mounted Police is not being released.[175][178][179]
In the midst of the coronavirus epidemic, a senior research associate and expert in biological warfare with the Begin-Sadat Center for Strategic Studies, referring to a NATO press conference, identified suspicions of espionage as the reason behind the expulsions from the lab, but made no suggestion that coronavirus was taken from the Canadian lab or that it is the result of bioweapons defense research in China.[180]
U.S. biological weapon
Arab world
According to Washington DC-based nonprofit Middle East Media Research Institute, numerous writers in the Arabic press have promoted the conspiracy theory that COVID-19, as well as SARS and the swine flu virus, were deliberately created and spread to sell vaccines against these diseases, and it is "part of an economic and psychological war waged by the U.S. against China with the aim of weakening it and presenting it as a backward country and a source of diseases".[181] Iraqi political analyst Sabah Al-Akili on Al-Etejah TV, Saudi daily Al-Watan writer Sa'ud Al-Shehry, Syrian daily Al-Thawra columnist Hussein Saqer, and Egyptian journalist Ahmad Rif'at on Egyptian news website Vetogate, were some examples given by MEMRI as propagators of the U.S. biowarfare conspiracy theory in the Arabic world.[181]
China
Further information: Cyberwarfare by China, Propaganda in China, and Chinese information operations and information warfare
The Xinhua News Agency is among the news outlets that have published false information about COVID-19's origins.
According to London-based The Economist, plenty of conspiracy theories exist on China's internet about COVID-19 being the CIA's creation to keep China down.[182] NBC News however has noted that there have also been debunking efforts of U.S.-related conspiracy theories posted online, with a WeChat search of "Coronavirus is from the U.S." reported to mostly yield articles explaining why such claims are unreasonable.[183] According to an investigation by ProPublica, such conspiracy theories and disinformation have been propagated under the direction of China News Service, the country's second largest government-owned media outlet controlled by the United Front Work Department.[184] Global Times and Xinhua News Agency have similarly been implicated in propagating disinformation related to COVID-19's origins.[185][186]
Multiple conspiracy articles in Chinese from the SARS era resurfaced during the outbreak with altered details, claiming SARS is biological warfare. Some said BGI Group from China sold genetic information of the Chinese people to the U.S., which then specifically targeted the genome of Chinese individuals.[187]
On January 26, Chinese military enthusiast website Xilu published an article, claimed how the U.S. artificially combined the virus to "precisely target Chinese people".[188][189] The article was removed in early February. The article was further distorted on social media in Taiwan, which claimed "Top Chinese military website admitted novel coronavirus was Chinese-made bio-weapons".[190] Taiwan Fact-check center debunked the original article and its divergence, suggesting the original Xilu article distorted the conclusion from a legitimate research on Chinese scientific magazine Science China Life Sciences, which never mentioned the virus was engineered.[190] The fact-check center explained Xilu is a military enthusiastic tabloid established by a private company, thus it doesn't represent the voice of Chinese military.[190]
Some articles on popular sites in China have also cast suspicion on U.S. military athletes participating in the Wuhan 2019 Military World Games, which lasted until the end of October 2019, and have suggested they deployed the virus. They claim the inattentive attitude and disproportionately below-average results of American athletes in the games indicate they might have been there for other purposes and they might actually be bio-warfare operatives. Such posts stated that their place of residence during their stay in Wuhan was also close to the Huanan Seafood Wholesale Market, where the first known cluster of cases occurred.[191]
In March 2020, this conspiracy theory was endorsed by Zhao Lijian, a spokesperson from the Ministry of Foreign Affairs of the People's Republic of China.[192][193][194][195] On March 13, the U.S. government summoned Chinese Ambassador Cui Tiankai to Washington over the coronavirus conspiracy theory.[196] Over the next month, conspiracy theorists narrowed their focus to one U.S. Army Reservist, a woman who participated in the games in Wuhan as a cyclist, claiming she is "patient zero". According to a CNN report, these theories have been spread by George Webb, who has nearly 100,000 followers on YouTube, and have been amplified by a report by CPC-owned newspaper Global Times.[197][198]
Iran
Further information: Propaganda in Iran
Reza Malekzadeh, deputy health minister, rejected bioterrorism theories.
According to Radio Farda, Iranian cleric Seyyed Mohammad Saeedi accused U.S. President Donald Trump of targeting Qom with coronavirus "to damage its culture and honor". Saeedi claimed that Trump is fulfilling his promise to hit Iranian cultural sites, if Iranians took revenge for the airstrike that killed of Quds Force Commander Qasem Soleimani.[199]
Iranian TV personality Ali Akbar Raefipour claimed the coronavirus was part of a "hybrid warfare" programme waged by the United States on Iran and China.[200] Brigadier General Gholam Reza Jalali, head of Iranian Civil Defense Organization, claimed the coronavirus is likely a biological attack on China and Iran with economic goals.[201][202]
Hossein Salami, the head of Islamic Revolutionary Guard Corps (IRGC), claimed the coronavirus outbreak in Iran may be due to a U.S. "biological attack".[203] Several Iranian politicians, including Hossein Amir-Abdollahian, Rasoul Falahati, Alireza Panahian, Abolfazl Hasanbeigi and Gholamali Jafarzadeh Imanabadi, also made similar remarks.[204] Iranian Supreme Leader, the Ayatollah Ali Khamenei, made similar suggestions.[205]
Former Iranian president Mahmoud Ahmadinejad sent a letter to the United Nations on March 9, claiming that "it is clear to the world that the mutated coronavirus was produced in lab" and that COVID-19 is "a new weapon for establishing and/or maintaining political and economic upper hand in the global arena".[206]
The late[207] Ayatollah Hashem Bathaie Golpayegani claimed that "America is the source of coronavirus, because America went head to head with China and realised it cannot keep up with it economically or militarily."[208]
Reza Malekzadeh, Iran's deputy health minister and former Minister of Health, rejected claims that the virus was a biological weapon, pointing out that the U.S. would be suffering heavily from it. He said Iran was hard-hit because its close ties to China and reluctance to cut air ties introduced the virus, and because early cases had been mistaken for influenza.[205]
Philippines
In the Philippine Senate, Tito Sotto has promoted his belief that COVID-19 is a bioweapon.
A Filipino Senator, Tito Sotto, played a bioweapon conspiracy video in a February 2020 Senate hearing, suggesting the coronavirus is biowarfare waged against China.[209][210]
Russia
Further information: Cyberwarfare by Russia and Propaganda in the Russian Federation
On February 22, U.S. officials alleged that Russia is behind an ongoing disinformation campaign, using thousands of social media accounts on Twitter, Facebook and Instagram to deliberately promote unfounded conspiracy theories, claiming the virus is a biological weapon manufactured by the CIA and the U.S. is waging economic war on China using the virus.[211][12][212] The acting assistant secretary of state for Europe and Eurasia, Philip Reeker, said "Russia's intent is to sow discord and undermine U.S. institutions and alliances from within" and "by spreading disinformation about coronavirus, Russian malign actors are once again choosing to threaten public safety by distracting from the global health response."[211] Russia denies the allegation, saying "this is a deliberately false story".[213]
According to U.S.-based The National Interest magazine, although official Russian channels had been muted on pushing the U.S. biowarfare conspiracy theory, other Russian media elements do not share the Kremlin's restraint.[214] Zvezda, a news outlet funded by the Russian Defense Ministry, published an article titled "Coronavirus: American biological warfare against Russia and China", claiming that the virus is intended to damage the Chinese economy, weakening its hand in the next round of trade negotiations.[214] Ultra-nationalist politician and leader of the Liberal Democratic Party of Russia, Vladimir Zhirinovsky, claimed on a Moscow radio station that the virus was an experiment by the Pentagon and pharmaceutical companies. Politician Igor Nikulin made rounds on Russian television and news media, arguing that Wuhan was chosen for the attack because the presence of a BSL-4 virus lab provided a cover story for the Pentagon and CIA about a Chinese bio-experiment leak.[214] An EU-document claims 80 attempts by Russian media to spread disinformation related to the epidemic.[215]
According to the East StratCom Task Force, the Sputnik news agency was active publishing stories speculating that the virus could've been invented in Latvia, that it was used by Communist Party of China to curb protests in Hong Kong, that it was introduced intentionally to reduce the number of elder people in Italy, that it was targeted against the Yellow Vests movement, and making many other speculations. Sputnik branches in countries including Armenia, Belarus, Spain, and in the Middle East came up with versions of these stories.[216]
Venezuela
Constituent Assembly member Elvis Méndez declared that the coronavirus was a "bacteriological sickness created in '89, in '90 and historically" and that it was a sickness "inoculated by the gringos". Méndez theorized that the virus was a weapon against Latin America and China and that its purpose was "to demoralize the person, to weaken to install their system".[217]
COVID-19 recovery
It has been wrongly claimed that anyone infected with COVID-19 will have the virus in their bodies for life. While there is no curative treatment, infected individuals can recover from the disease, eliminating the virus from their bodies; getting supportive medical care early can help.[279]
COVID-19 xenophobic blaming by ethnicity and religion
Main article: List of incidents of xenophobia and racism related to the 2019–20 coronavirus pandemic
File:IOM - Fighting Stigma and Discrimination against Migrants during COVID-19.webm
UN video warns that misinformation against groups may lower testing rates and increase transmission.
COVID-19-related xenophobic attacks have been made against people the attacker blamed for COVID-19 on the basis of their ethnicity. People who are considered to look Chinese have been subjected to COVID-19-related verbal and physical attacks in many other countries, often by people accusing them of transmitting the virus.[281][282][283] Within China, there has been discrimination (such as evictions and non-service in shops) against people from anywhere closer to Wuhan (where the pandemic started) and against anyone perceived as being non-Chinese (especially those considered African), as the Chinese government has blamed continuing cases on re-introductions of the virus from abroad (90% of reintroduced cases were by Chinese passport-holders). Neighbouring countries have also discriminated against people seen as Westerners.[284][285][286] People have also simply blamed other local groups along the lines of pre-existing social tensions and divisions, sometimes citing reporting of COVID-19 cases within that group. For instance, Muslims have been widely blamed, shunned, and discriminated against in India (including some violent attacks), amid unfounded claims that Muslims are deliberately spreading COVID-19, and a Muslim event at which the disease did spread has received far more public attention than many similar events run by other groups and the government.[287] White supremacist groups have blamed COVID-19 on non-whites and advocated deliberately infecting minorities they dislike, such as Jews.[288]
False causes
5G
5G towers have been burned by people wrongly blaming them for COVID-19.
Openreach engineers appealed on anti-5G Facebook groups, saying they aren't involved in mobile networks, and workplace abuse is making it difficult for them to maintain phonelines and broadband.
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In February 2020 BBC News reported that conspiracy theorists on social media groups alleged a link between coronavirus and 5G mobile networks, claiming that Wuhan and Diamond Princess outbreaks were directly caused by electromagnetic fields and by the introduction of 5G and wireless technologies. Some conspiracy theorists also alleged that the coronavirus outbreak was a cover-up for a 5G-related illness.[33] In March 2020, Thomas Cowan, a holistic medical practitioner who trained as a physician and operates on probation with Medical Board of California, alleged that coronavirus is caused by 5G, based on the claims that African countries were not affected significantly by the pandemic and Africa was not a 5G region.[289][290] Cowan also falsely alleged that the viruses were wastes from cells that are poisoned by electromagnetic fields and historical viral pandemics coincided with the major developments in radio technology.[290] The video of his claims went viral and was recirculated by celebrities including Woody Harrelson, John Cusack, and singer Keri Hilson.[291] The claims may also have been recirculated by an alleged "coordinated disinformation campaign", similar to campaigns used by the Internet Research Agency in Saint Petersburg, Russia.[292] The claims were criticized on social media and debunked by Reuters,[293] USA Today,[294] Full Fact[295] and American Public Health Association executive director Georges C. Benjamin.[289][296]
Professor Steve Powis, national medical director of NHS England, described theories linking 5G mobile phone networks to COVID-19 as the "worst kind of fake news".[297] Viruses cannot be transmitted by radio waves. COVID-19 has spread and continues to spread in many countries that do not have 5G networks.[279]
After telecommunications masts in several parts of the United Kingdom were the subject of arson attacks, British Cabinet Office Minister Michael Gove said the theory that COVID-19 virus may be spread by 5G wireless communication is "just nonsense, dangerous nonsense as well".[298] Vodafone announced that two Vodafone masts and two it shares with O2 had been targeted.[299][300]
By Monday April 6, 2020 at least 20 mobile phone masts in the UK had been vandalised since the previous Thursday.[301] Because of slow rollout of 5G in the UK, many of the damaged masts had only 3G and 4G equipment.[301] Mobile phone and home broadband operators estimated there were at least 30 incidents of confronting engineers maintaining equipment in the week up to April 6.[301] There have been eleven incidents of attempted arson at mobile phone masts in the Netherlands, including one case where "Fuck 5G" was written, as well as in Ireland and Cyprus.[302][303] Facebook has deleted multiple messages encouraging attacks on 5G equipment.[301]
Engineers working for Openreach posted pleas on anti-5G Facebook groups asking to be spared abuse as they are not involved with maintaining mobile networks.[304] Mobile UK said the incidents were affecting attempts to maintain networks that support home working and provide critical connections to vulnerable customers, emergency services and hospitals.[304] A widely circulated video shows people working for broadband company Community Fibre being abused by a woman who accuses them of installing 5G as part of a plan to kill the population.[304]
YouTube announced that it would reduce the amount of content claiming links between 5G and coronavirus.[299] Videos that are conspiratorial about 5G that do not mention coronavirus would not be removed, though they might be considered "borderline content", removed from search recommendations and losing advertising revenue.[299] The discredited claims had been circulated by British conspiracy theorist David Icke in videos (subsequently removed) on YouTube and Vimeo, and an interview by London Live TV network, prompting calls for action by Ofcom.[305][306]
On April 13, 2020, Gardaí were investigating fires at 5G masts in County Donegal, Ireland.[307] Gardaí and fire services had attended the fires the previous night in an attempt to put them out.[307] Although Gardaí were awaiting results of tests they were treating the fires as deliberate.[307]
There were 20 suspected arson attacks on phone masts in the UK over the Easter 2020 weekend.[297] These included an incident in Dagenham where three men were arrested on suspicion of arson, a fire in Huddersfield that affected a mast used by emergency services and a fire in a mast that provides mobile connectivity to the NHS Nightingale Hospital Birmingham.[297]
Ofcom issued guidance to ITV following comments by Eamonn Holmes after comments made by Holmes about 5G and coronavirus on This Morning.[308] Ofcom said the comments were "ambiguous" and "ill-judged" and they "risked undermining viewers' trust in advice from public authorities and scientific evidence".[308] Ofcom also local channel London Live in breach of standards for an interview it had with David Icke who it said had " expressed views which had the potential to cause significant harm to viewers in London during the pandemic".[308]
Some telecoms engineers have reported threats of violence, including threats to stab and murder them, by individuals who believe them to be working on 5G networks.[309] West Midlands Police said the crimes in question are being taken very seriously.[309]
On April 24, 2020 The Guardian revealed that an evangelical pastor from Luton had provided the male voice on a recording blaming 5G for deaths caused by coronavirus.[310] Jonathon James claimed to have formerly headed the largest business-unit at Vodafone, but insiders at the company said that he was hired for a sales position in 2014 when 5G was not a priority for the company and that 5G would not have been part of his job.[310] He left the company after less than a year.[310]
Mosquitoes
It has been claimed that mosquitoes transmit coronavirus. There is no evidence that this is true; coronavirus spreads through small droplets of saliva and mucus.[279]
Petrol pumps
A warning claiming to be from the Australia Department of Health said coronavirus spreads through petrol pumps and that everyone should wear gloves when filling up petrol in their cars.[311]
Shoe-wearing
There were claims that wearing shoes at one's home was the reason behind the spread of the coronavirus in Italy.[312]
Resistance/susceptibility based on ethnicity
There have been claims that specific ethnicities are more or less vulnerable to COVID-19. COVID-19 is a new zoonotic disease, so no population has yet had the time to develop population immunity.[medical citation needed]
Beginning on February 11, reports, quickly spread via Facebook, implied that a Cameroonian student in China had been completely cured of the virus due to his African genetics. While a student was successfully treated, other media sources have noted that no evidence implies Africans are more resistant to the virus and labeled such claims as false information.[313] Kenyan Secretary of Health Mutahi Kagwe explicitly refuted rumors that "those with black skin cannot get coronavirus", while announcing Kenya's first case on March 13.[314] This myth was cited as a contributing factor in the disproportionately high rates of infection and death observed among African Americans.[315][316]
There have been claims of "Indian immunity": that the people of India have more immunity to the COVID-19 virus due to living conditions in India. This idea was deemed "absolute drivel" by Anand Krishnan, professor at the Centre for Community Medicine of the All India Institute of Medical Sciences (AIIMS). He said there was no population immunity to the COVID-19 virus yet, as it is new, and it is not even clear whether people who have recovered from COVID-19 will have lasting immunity, as this happens with some viruses but not with others.[317]
Iran's Supreme Leader Ayatollah Ali Khamenei claimed the virus was genetically targeted at Iranians by the U.S., and this is why it is seriously affecting Iran. He did not offer any evidence.[318][22]
Religious protection
A number of religious groups have claimed protection due to their faith, some refusing to stop large religious gatherings. In Israel, some Ultra-Orthodox Jews initially refused to close synagogues and religious seminaries and disregarded government restrictions because "The Torah protects and saves",[319] which resulted in an 8 times faster rate of infection among some groups.[320] The Tablighi Jamaat movement organised mass gatherings in Malaysia, India, and Pakistan whose participants believed that God will protect them resulted the biggest rise in COVID-19 cases in a number of countries.[321][29][322] In Iran, the head of Fatima Masumeh Shrine encouraged pilgrims to visit the shrine despite calls to close the shrine, saying that they "consider this holy shrine to be a place of healing."[323] In South Korea the River of Grace Community Church in Gyeonggi Province spread the virus after spraying salt water into their members' mouths in the belief that it would kill the virus,[324] while the Shincheonji Church of Jesus in Daegu where a church leader claimed that no Shincheonji worshipers had caught the virus in February while hundreds died in Wuhan later caused in the biggest spread of the virus in the country.[325][326]
In Somalia, myths have spread claiming Muslims are immune to the virus.[327]
Unproven protective and aggravating factors
Vegetarian immunity
[icon]
This section needs expansion. You can help by adding to it. (April 2020)
Claims that vegetarians are immune to coronavirus spread online in India, causing "#NoMeat_NoCoronaVirus" to trend on Twitter.[328][better source needed] Eating meat does not have an effect on COVID-19 spread, except for people near where animals are slaughtered, said Anand Krishnan.[329] Fisheries, Dairying and Animal Husbandry Minister Giriraj Singh said the rumour had significantly affected industry, with the price of a chicken falling to a third of pre-pandemic levels. He also described efforts to improve the hygiene of the meat supply chain.[330]
Efficacy of hand sanitiser, "antibacterial" soaps
Washing in soap and water for at least 20 seconds is the best way to clean hands. Second-best is a hand sanitizer that is at least 60% alcohol.[331]
Claims that hand sanitiser is merely "antibacterial not antiviral", and therefore ineffective against COVID-19, have spread widely on Twitter and other social networks. While the effectiveness of sanitiser depends on the specific ingredients, most hand sanitiser sold commercially inactivates SARS-CoV-2, which causes COVID-19.[332][333] Hand sanitizer is recommended against COVID-19,[279] though unlike soap, it is not effective against all types of germs.[334] Washing in soap and water for at least 20 seconds is recommended by the U.S. Centers for Disease Control (CDC) as the best way to clean hands in most situations. However, if soap and water are not available, a hand sanitizer that is at least 60% alcohol can be used instead, unless hands are visibly dirty or greasy.[331][335] The CDC and the Food and Drug Administration both recommend plain soap; there is no evidence that "antibacterial soaps" are any better, and limited evidence that they might be worse long-term.[336][337]
Alcohol (ethanol and poisonous methanol)
Contrary to some reports, drinking alcohol does not protect against COVID-19, and can increase health risks[279] (short term and long term). Drinking alcohol is ethanol; other alcohols, such as methanol, which causes methanol poisoning, are acutely poisonous, and may be present in badly-prepared alcoholic beverages.[338]
Iran has reported incidents of methanol poisoning, caused by the false belief that drinking alcohol would cure or protect against coronavirus;[339] alcohol is banned in Iran, and bootleg alcohol may contain methanol.[340] According to Iranian media in March 2020, nearly 300 people have died and more than a thousand have become ill due to methanol poisoning, while Associated Press gave figures of around 480 deaths with 2,850 others affected.[341] The number of deaths due to methanol poisoning in Iran reached over 700 by April.[342] Iranian social media had circulated a story from British tabloids that a British man and others had been cured of coronavirus with whiskey and honey,[339][343] which combined with the use of alcohol-based hand sanitizers as disinfectants, led to the false belief that drinking high-proof alcohol can kill the virus.[339][340][341]
Similar incidents have occurred in Turkey, with 30 Turkmenistan citizens dying from methanol poisoning related to coronavirus cure claims.[344][345]
In Kenya, the Governor of Nairobi Mike Sonko has come under scrutiny for including small bottles of the cognac Hennessy in care packages, falsely claiming that alcohol serves as "throat sanitizer" and that, from research, it is believed that "alcohol plays a major role in killing the coronavirus."[346][347]
Cocaine
Cocaine does not protect against COVID-19. Several viral tweets purporting that snorting cocaine would sterilize one's nostrils of the coronavirus spread around Europe and Africa. In response, the French Ministry of Health released a public service announcement debunking this claim, saying "No, cocaine does NOT protect against COVID-19. It is an addictive drug that causes serious side effects and is harmful to people's health." The World Health Organisation also debunked the claim.[348]
Ibuprofen
A tweet from French health minister Olivier Véran, a bulletin from the French health ministry, and a small speculative study in The Lancet Respiratory Medicine raised concerns about ibuprofen worsening COVID-19, which spread extensively on social media. The European Medicines Agency[349] and the World Health Organization recommended COVID-19 patients keep taking ibuprofen as directed, citing lack of convincing evidence of any danger.[350]
Helicopter spraying
In some Asian countries, it has been claimed that one should stay at home on particular days when helicopters spray disinfectant over homes for killing off COVID-19; no such spraying is taking place.[351][352]
Cruise ships safety from infection
Main article: COVID-19 pandemic on cruise ships
Claims by cruise-ship operators notwithstanding, there are many cases of coronaviruses in hot climates; some countries in the Caribbean, the Mediterranean, and the Persian Gulf are severely affected.
In March 2020, the Miami New Times reported that managers at Norwegian Cruise Line had prepared a set of responses intended to convince wary customers to book cruises, including "blatantly false" claims that the coronavirus "can only survive in cold temperatures, so the Caribbean is a fantastic choice for your next cruise", that "[s]cientists and medical professionals have confirmed that the warm weather of the spring will be the end of the [c]oronavirus", and that the virus "cannot live in the amazingly warm and tropical temperatures that your cruise will be sailing to".[353]
Flu is seasonal (becoming less frequent in the summer) in some countries, but not in others. While it is possible that the COVID-19 coronavirus will also show some seasonality, it is not yet known.[354][355][356][medical citation needed] The COVID-19 coronavirus spread along international air travel routes, including to tropical locations.[357] Outbreaks on cruise ships, where an older population lives in close quarters, frequently touching surfaces which others have touched, were common.[358][359]
It seems that COVID-19 can be transmitted in all climates.[279] It has seriously affected many warm-climate countries. For instance, Dubai, with an year-round average daily high of 28.0 Celsius (82.3°F) and the airport said to have the world's most international traffic, has had thousands of cases.
Vaccine pre-existence
It was reported that multiple social media posts have promoted a conspiracy theory claiming the virus was known and that a vaccine was already available. PolitiFact and FactCheck.org noted that no vaccine currently exists for COVID-19. The patents cited by various social media posts reference existing patents for genetic sequences and vaccines for other strains of coronavirus such as the SARS coronavirus.[360][4] The WHO reported as of February 5, 2020, that amid news reports of "breakthrough" drugs being discovered to treat people infected with the virus, there were no known effective treatments;[361] this included antibiotics and herbal remedies not being useful.[362] Scientists are working to develop a vaccine, but as of March 18, 2020, no vaccine candidates have completed Phase II clinical trials.[citation needed]
Miscellaneous
Name of the disease
Social media posts and internet memes claimed that COVID-19 means "Chinese Originated Viral Infectious Disease 19", or similar, as supposedly the "19th virus to come out of China".[477] In fact, the WHO named the disease as follows: CO stands for corona, VI for virus, D for disease and 19 for when the outbreak was first identified (31 December 2019).[478]
Bat soup
Some media outlets, including Daily Mail and RT, as well as individuals, disseminated a video showing a Chinese woman eating a bat, falsely suggesting it was filmed in Wuhan and connecting it to the outbreak.[479][480] However, the widely circulated video contains unrelated footage of a Chinese travel vlogger, Wang Mengyun, eating bat soup in the island country of Palau in 2016.[479][480][481][482] Wang posted an apology on Weibo,[481][482] in which she said she had been abused and threatened,[481] and that she had only wanted to showcase Palauan cuisine.[481][482] The spread of misinformation about bat consumption has been characterized by xenophobic and racist sentiment toward Asians.[90][483][484] In contrast, scientists suggest the virus originated in bats and migrated into an intermediary host animal before infecting people.[90][485]
en.wikipedia.org/wiki/Misinformation_related_to_the_COVID...
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This photo offers a better view of the bird-of-paradise. Aside from the curious "tear" (the shot was taken on a hot, sunny day), this closeup is simply a straight forward shot of a beautiful and colorful tropical flower. The photo was taken in March 2013, with my trusty Olympus digital camera. Enjoy.
French postcard by Editions P.I., Paris, no. 876, offered by Les Carbones Korès 'Carboplane'. Photo: Paramount Pictures.
American film star Lizabeth Scott (1922-2015) starred as the bad girl — or the good girl gone bad - in hard-boiled Film Noirs like The Strange Love of Martha Ivers (1946) with Barbara Stanwyck, Dead Reckoning (1947) with Humphrey Bogart, and I Walk Alone (1948) opposite Burt Lancaster. With her blonde hair, smouldering eyes and her deep smoky voice, she was a sultry femme fatale in a world of crime, tough talk and dark secrets. Of her 22 feature films, she was the leading lady in all but one. In addition to stage and radio, she appeared on television from the late 1940s to the early 1970s.
Lizabeth Scott was born Emma Matzo in 1922, in Scranton, Pennsylvania, where her parents, John Matzo and Mary (nee Pennock), had a grocery store. Despite her parents’ opposition to an acting career, she went to the Alviene Master School of the Theatre and Academy of Cultural Arts in New York in her late teens. Here she adopted the stage name of Elizabeth Scott. She landed a small role in a touring company of the hit stage comedy Hellzapoppin'. Back in New York, unable to get an acting job, she landed work as a fashion model with Harper’s Bazaar at $25 an hour. In 1942, she got a small part in the original Broadway production of Thornton Wilder's The Skin of Our Teeth. Scott also understudied Tallulah Bankhead, who played the lead role. The tempestuous Bankhead, who did not get along with Scott, stubbornly never missed a performance. In Boston Scott finally got to play the lead role, taking over from Miriam Hopkins. She decided to remove the 'E' from Elizabeth Scott to be more distinctive. It would be either this performance or a four-picture spread in an issue of Harper’s Bazaar (the sources differ about this) that led to a long-term Hollywood contract with Hal Wallis, who had his own producing organisation through Paramount Studios. Scott": It was off-season on Broadway and since I wasn’t able to find a job there, I thought it might be a good experience to come to Hollywood and find out what it was all about.” Wallis introduced his 22-year-old discovery as “beautiful, blonde, aloof and alluring”. Scott's film debut was the comedy-drama You Came Along (John Farrow, 1945) opposite Robert Cummings. In her second film, The Strange Love of Martha Ivers (Lewis Milestone, 1946), she played a young woman wrongly jailed, opposite Barbara Stanwyck, Kirk Douglas and Van Heflin. She made more of an impression in Dead Reckoning (John Cromwell, 1947) as a gangster’s wife, almost luring Humphrey Bogart into her corruptive trap. Her mysterious character was shot in oblique angles and low-key lighting. Stylishly dressed by Edith Head, she played the good girl gone bad becoming good again in the melodrama Desert Fury (Lewis Allen, 1947). Billed as “the blonde with the brown voice”, Scott played a nightclub singer in I Walk Alone (Byron Haskin, 1948), also starring Kirk Douglas and Burt Lancaster. She was more decadent than ever in Too Late for Tears (Byron Haskin, 1949), having killed two husbands because she wanted “to move out of the ranks of the middle-class poor”. Scott was her own woman in the world of hard-boiled film crime. Ronald Bergan at The Observer: "Scott was strong and sultry, her heavy dark eyebrows contrasting with her blonde hair. Like [Lauren] Bacall, she had a low and husky voice, but she was far harder; in fact, she was able to suggest hidden depths of depravity – the ideal femme fatale of the 1940s."
In her films, Lizabeth Scott made some memorable quotes. In Pitfall (André De Toth, 1948), she described herself to Dick Powell as "a girl whose first engagement ring was bought by a man stupid enough to embezzle and stupid enough to get caught." In The Racket (John Cromwell, 1951), she asked Robert Mitchum: "Who said I was an honest citizen, and where would it get me if I was?" In another Film Noir, Dark City (William Dieterle, 1950), she is a nightclub singer again who drifts on the edges of a shadowy criminal world, though her love for a gambler (Charlton Heston in his Hollywood debut ) is uplifting. Heston and Scott were reunited for Bad for Each Other (Irving Rapper, 1953). She played several similar roles of a woman willing to change her louche ways but doomed to find a worthwhile man to love her only when she had already passed the point of redemption. After several years of making one Film Noir after another — sometimes at a pace of two or three in a year — Scott was ready for a change. She got it in the comedy Scared Stiff (George Marshall, 1953), starring Dean Martin and Jerry Lewis. In September 1954, a front-page story in the magazine Confidential claimed that Scott was a lesbian and was linked to “the little black books kept by Hollywood prostitutes”. It was also said that on a trip to Paris she had taken up with Frédérique 'Frédé' Baulé, manager of Carroll's, an upper-class, cabaret-type nightclub in Paris. One of the owners was Marlene Dietrich. Two months before the issue's printed publication, her lawyer had instituted a $ 2.5m suit against Confidential, accusing the magazine of “holding the plaintiff up to contempt and ridicule and implying in the eyes of every reader indecent, unnatural and illegal conduct in her private and public life”. Scott lost her suit on a technicality, however, and, given the witch-hunting atmosphere of the times, the case certainly harmed her. Compounding her plight was her rebellious nature, having never paid conventional homage to the film establishment and to gossip columnists Louella Parsons and Hedda Hopper. In 1955, Scott went to Great Britain to film The Weapon (Val Guest, 1957). As with other European films of the 1950s- 1970s period aimed at a US audience, Scott starred with another American actor, Steve Cochran, who played US Army CID officer Mark Andrews. Scott also played a publicity woman in the Elvis Presley vehicle Loving You (Hal Kanter, 1957). In 1957, she also released an album of torch songs and romantic ballads titled 'Lizabeth'. She had a few TV roles in the 1960s. Her last credited movie appearance was as a man-eating cougar in Pulp (Mike Hodges, 1972), a sendup of the Film Noir starring Michael Caine. One of her ex-husbands in the film is played by Mickey Rooney. Scott lived quietly in Hollywood, sometimes accepting invitations to attend film festivals and other events. In a 1996 interview with documentary filmmaker Carole Langer, Scott said she had liked the grittiness of Film Noir and didn't lament the fact that she wasn't cast in studio blockbusters: "The films that I had seen growing up were always, boy meets girl, the boy ends up marrying girl, they go off into the sunset," Scott said. After the war, films got more in touch with "the psychological, emotional things that people feel and people do. It was a new realm, and it was very exciting because suddenly you were coming closer and closer to reality." Lizabeth Scott died in 2015 at Cedars-Sinai Medical Center in Los Angeles. She was 92. The cause was congestive heart failure, said her long-time friend Mary Goodstein. Scott's survivors include her brother Gus Matzo and sister Justine Birdsall.
Sources David Colker (Los Angeles Times), Ronald Bergan (The Observer), Mike Barnes (Hollywood Reporter), Variety, Wikipedia and IMDb.
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French postcard by Imp. Georges Lang, Paris, offered by Chocolats Tobler. Image: Walt Disney.
Michael Darling is the brother of Wendy and John Darling in Disney's classic animation film, Peter Pan (Clyde Geronimi, Wilfred Jackson, Hamilton Luske, 1953). He is the youngest child of the three Darling children.
Michael has strawberry blonde hair, blue eyes, and fair skin. He wears pink footie pajamas and carries a brown teddy bear. He is clumsy, innocent, observant, and playful. Michael looks up to his older siblings, John and Wendy. He is also very sensitive as seen at the beginning of the film, he cries when their father, George Darling declares that night is Wendy's last night in the nursery and kicks Nana out of the house and in the climax when he, John, Peter Pan, and the Lost Boys returned to their hideout he starts to feel homesick after Wendy sings Your Mother and Mine and he cries in her arms.
Michael and his older brother John believe that Peter Pan, whom they have learned about from Wendy's stories, is a real person. Thus, they often make-believe that they are Captain Hook and Peter Pan in their nursery games. At the beginning of the film, Michael and John are playing one of these games, with Michael as Peter Pan. They are having a fake swordfight, as their father comes in looking for his cuff links, as he is getting ready for a party. John realizes that the cuff links were used as a buried treasure in their game, but they can't remember where they are and they have lost the treasure map they made. George finds the map, which turns out to have been made out of his shirt front, much to his horror. This upsets George, and he begins scolding all the children for having their heads filled with silly stories. Michael's sister, Wendy protests, and as a result she is told that she will no longer be allowed to stay in the nursery, which upsets Michael. As George goes to leave, he trips over Nana, and thus ties her up outside, which greatly upsets Michael. Michael's mother comforts him as she tucks him in bed. As she goes to leave, he hands over the cuff links and two rings belonging to her.
Source: Disney Wiki and IMDb.
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Lugo's Grill is a highly rated, cash-only Cuban eatery located at 20583 W Pennsylvania Ave, Dunnellon, FL 34431.
Menu Highlights
Cuban Sandwich: Pressed Cuban bread with slow-roasted pork, ham, Swiss cheese, mustard, and pickles.
Pollo Relleno: Breaded chicken breast stuffed with shrimp and Swiss cheese, topped with lemon garlic sauce.
Ropa Vieja: Shredded beef simmered with garlic, onions, peppers, and tomatoes.
Tostones Rellenos: Fried plantain cups topped with seasoned beef (picadillo), cheddar, and pico de gallo.
Desserts: Traditional flan, coconut pecan crusted flan, and guava puff pastries.
Quick Details
Vibe: Casual, cozy, family-friendly, and BYOB (Bring Your Own Beverage).
Payment: Strictly cash-only, so plan ahead before visiting.
Price: Budget-friendly, typically averaging $10–$20 per person.
Service: Dine-in and takeout options are available; they do not offer delivery.
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French postcard by Editions P.I., Paris, offered by Victoria, Bruxelles/Brussel, no. 270. Photo: Metro-Goldwyn-Mayer. Publicity still for Lured (Douglas Sirk, 1947).
American red-haired actress Lucille Ball (1911-1989) was well-known as the crazy, accident-prone, lovable Lucy Ricardo in the television series I Love Lucy (1951-1957). She appeared in numerous films in Hollywood in the 1930s and 1940s before becoming one of America's most popular television comedians in 1951. She was also a producer on I Love Lucy and subsequent television series featuring the character of "Lucy" with her company Desilu Productions, making her the first head of a major film studio in the American show business.
Lucille Désirée Ball was born in Jamestown, New York, in 1911. Her father was Henry Durrell Ball and her mother Desiree Eve Hunt. Her father died in 1915 before she was four. Lucille and her younger brother Fred were raised by their grandparents while their mother worked several jobs. Her grandfather was an avid supporter of the theatre and encouraged Lucy to participate in plays at school. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She enrolled in the John Murray Anderson School for the Dramatic Arts. There, however, she had a tough competitor who trumped her, Bette Davis. The teachers said she was 'too shy' and had no future and Ball returned home. In 1932, she moved to New York to become an actress and had success there as a mannequin and revue dancer. But her acting career did not take off till she was chosen to be a "Goldwyn Girl" and appeared in the film Roman Scandals (Frank Tuttle, 1933) starring Eddie Cantor. She was put under contract with RKO Radio Pictures and several bit roles, including one in Top Hat (Mark Sandrich, 1935). She became friends with Ginger Rogers. In the 1930s she was under contract to RKO and Columbia Pictures and slowly worked her way up from small roles, unnamed in the credits, to more substantial parts. One of her first supporting roles was in Chatterbox (George Nichols Jr., 1936) in which she plays a temperamental actress. It was one of the first times her name was mentioned in the credits. She also got a good role in the A-picture Stage Door (Gregory La Cava, 1937) with Katharine Hepburn and Ginger Rogers. She played more supporting roles, including in Room Service (William A. Seiter, 1938) with the Marx Brothers, but she rarely got leading roles in major films, however, and usually when all the major film stars at RKO had already turned down the part. In 1940, Lucille Ball met Cuban bandleader-actor, Desi Arnaz, while filming the musical Too Many Girls (George Abbott, 1940). Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. The couple received a lot of media attention. Two years later, Arnaz had to join the army and was unfaithful. A knee injury allowed him to leave the army. In 1944, Ball filed for divorce but later recanted.
In the 1940s Lucille Ball moved to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (Roy Del Ruth, 1943) with Red Skelton and Gene Kelly, Best Foot Forward (Edward Buzzell, 1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (Harold S. Bucquet, 1945). She failed to achieve major film success there either and returned to Columbia. She was known in Hollywood circles as the "B-movie queen" with Macdonald Carey as her "king". In 1948, she got a role in the radio comedy 'My Favorite Husband', in which she played the scatterbrained wife of a Midwestern banker. The show became a success and CBS asked her to turn it into a television series. She only wanted to do this if she could work with her husband, and they had creative control over the series. Ball wanted to work with Arnaz to save her marriage. So 'I Love Lucy' was born, the most popular and universally beloved sitcom of all time. The couple had started their own production company: Desilu Productions. CBS, however, was not impressed with the TV pilot episode, but after Ball and Arnaz toured vaudeville theatre with great success, the series came to television. As a side effect, she practically invented the sitcom and was one of the first stars to film with a live audience. The show was shot directly to film stock, unlike most other television shows of the time, which used the low-quality kinescope process to film images from a television monitor. The better quality of the Lucy show allowed it to be repeated via syndication (on independent television stations not affiliated with one of the major television networks ABC, CBS or NBC). During the production of I Love Lucy, German-born cameraman Karl Freund invented the "3-camera setup", now standard in television. Another unusual technique used on the Lucy show was to paint over unwanted shadows and hide lighting defects with paint that was kept in the studio in various shades from white to medium grey for this purpose. In 1951 her first child was born, Lucie Arnaz, followed a year later by Desi Arnaz Jr. The pregnancy was also supposed to be televised but CBS was not in favour of that, eventually, they were allowed to do it but they were not allowed to use the word "pregnant" but had to say "expecting". In 1953, Ball had to appear before the House Committee on Un-American Activities because, at the insistence of her socialist grandfather, she had registered as a supporter of the Communist Party for the 1936 primaries. In 1956, Desilu bought the RKO lot and moved there. In 1957, the last episode of I Love Lucy was aired and was followed by its sequels The Lucy-Desi Comedy Hour (1957-1960) and The Lucy Show (1962-1968), which was later renamed Here's Lucy (1968-1974).
In 1960, Lucille Ball and Desi Arnaz's marriage was divorced after problems Arnaz had with alcohol, drugs and other women. Lucille Ball bought his share in Desilu, making her the sole owner of the studio. In the following years, Desilu developed such popular television series as The Untouchables (1959-1963), Star Trek (1966-1969), Mission: Impossible (1966-1973) and Mannix (1967-1975). In 1967, Desilu was sold to Gulf and Western Industries, which merged Desilu with Paramount Studios, located on the property next door. Arnaz and Ball remained good friends until his death in 1986. In 1961, Ball married stand-up comedy actor Gary Morton who was 12 years younger. He had never seen her on television because he himself performed on primetime when Lucy was on TV. He got a job at Desilu. After The Lucy-Desi Comedy Hour, Lucille got a series of her own, The Lucy Show (1962-1968) with Gale Gordon and Vivian Vance. It was again a success. Vivian Vance was given the name Viv, which she got because she was tired of being addressed as Ethel on the street. In 1968, after Lucille sold Desilu, she founded Lucille Ball Production. Lucille's third sitcom was Here's Lucy (1968-1974), played with her real children, Lucie Arnaz and Desi Arnaz Jr. Also in this series, Gale Gordon was her co-star. After I Love Lucy, Lucille starred in several more films including Yours, Mine, and Ours (Melville Shavelson, 1968) with Henry Fonda, the musical Mame (Gene Saks, 1974) and the TV movie Stone Pillow (George Schaefer, 1985). In 1986, she made a comeback with the series Life with Lucy, but it flopped with critics and viewers alike. After playing for less than two months, the series was cancelled by ABC. Ball was a guest on several shows. In 1989 at the 61st Academy Awards, she presented the Academy Awards with Bob Hope, she then received a standing ovation. A month later in 1989, Lucille Ball died of aortic dissection at the age of 77. She was buried in Forest Lawn - Hollywood Hills Cemetery in Los Angeles but was later moved by her children, Desi Arnaz Jr. and Lucie Arnaz, to Lake View Cemetery in her native Jamestown.
Source: Wikipedia (Dutch, German and English) and IMDb.
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French postcard by Publistar, offered by Corvisart, Epinal, no. 919. Photo: United-Press.
American actor, artist, and author Gardner McKay (1932- 2001) was best known for the lead role in the TV series Adventures in Paradise (1959-1962), based loosely on the writings of James Michener. He quit acting and became a writer in 1970.
George Cadogan Gardiner McKay was born in 1932 in New York City. 'Gard' was the son of ad executive Hugh Deane McKay and socialite Catherine "Kitty" Gardner McKay. His father's business took the family to Paris, where McKay attended private schools. The family returned to the United States shortly before the outbreak of World War II; McKay and his older brother, Hugh, lived with grandparents in Lexington, Kentucky. He attended Cornell University in Ithaca, New York for two years, where he majored in art. He wrote for The Cornell Daily Sun and the campus magazine. He dropped out of school at the age of 19 following the death of his father and moved to Greenwich Village where he worked as a sculptor and writer. McKay also took up photography and saw some of his work published in The New York Times and Life magazine. McKay's sculpting appeared in the Museum of Modern Art in New York, and at an exhibit of his work, McKay attracted the attention of photographer Richard Avedon. Avedon invited McKay to Paris to shoot a series of photographs with models Suzy Parker and Barbara Mullen, cavorting in Paris bistros and nightclubs. The photo series led to a modelling career. Town and Country magazine did a piece on McKay and his sculptures in its Man About Town section, which led to an offer from an agent. McKay impressed Dore Schary, who signed him to a contract with MGM. For that studio, he appeared in episodes of The Thin Man (1957) and appeared uncredited in the film Raintree County (Edward Dmytryk, 1957), with Elizabeth Taylor and Montgomery Clift. McKay left MGM and had television guest roles on Death Valley Days (1958), The Silent Service (1958), and Jefferson Drum (1958). In 1957–1958, McKay played United States Army Lieutenant Dan Kelly in the 38-episode syndicated western series Boots and Saddles, with co-stars Jack Pickard and Patrick McVey. At 20th Century Fox, he screen-tested for a TV series based on The Gunslinger but failed to get the role. The test did, however, net him a long-term contract at the studio.
Gardner McKay was spotted at the studio coffee shop by Dominick Dunne who was searching for an actor to star in his planned TV series Adventures in Paradise. Dunne later said, "I didn't know who he was. He was an extraordinarily handsome guy. I said, 'Are you an actor?' I gave him my card and said, 'If you're interested, call me.'" McKay called, and ten actors were tested for the role. Dunne said of McKay: "His (test) was the worst, but everybody reacted to him, I mean everybody – especially the women." Although previously unknown to the public, McKay was featured on the cover of the 6 July 1959 issue of Life just two months before the series premiered. The article noted that he had been around boats since childhood and was an experienced seaman. His character, Adam Troy, is a Korean War veteran who purchased the two-masted 82-foot (25 m) schooner Tiki III and sailed the South Pacific. The show ran for three seasons on ABC from 1959–1962, for a total of 91 episodes. During the series' run, McKay had bit roles in the Fox films Holiday for Lovers (Henry Levin, 1959) with Clifton Webb and The Right Approach (David Butler, 1961) starring Frankie Vaughan. McKay returned to Hollywood in 1963 and had a support role in Fox's The Pleasure Seekers (Jean Negulesco, 1964) starring Ann-Margret. "It took me 100 hours to become a good actor," McKay later said. "Then I committed professional suicide." McKay had just decided to end his acting career, when he got a phone call from the noted director George Cukor, offering him the opportunity to star in a romantic comedy film opposite Marilyn Monroe. The film was Something's Got to Give. McKay had made up his mind and turned it down. Cukor and Monroe were shocked. Monroe phoned him to see if she could get him to change his mind. McKay said, "She was so delightful on the phone, so winning, so seductive in a way," but he said no. He added, "I didn’t belong in acting." The part went to Dean Martin and the film was never completed. McKay's final film was I Sailed to Tahiti with an All Girl Crew (Richard L. Bare, 1968).
Gardner McKay went sailing in the Caribbean and South America for a year and a half. "Not doing anything really," he said later. "I didn't give myself an excuse for being there." He moved to Paris, where he had lived as a boy.
McKay left Hollywood to pursue his interest in photography, sculpture, and writing. He exhibited his sculpture at the Museum of Modern Art in New York City, besides holding individual exhibitions. His lifeboat rescue photographs of the Andrea Doria were published internationally. McKay wrote many plays and novels and was a literary critic for the Los Angeles Herald Examiner between 1977 and 1982. He taught writing classes at the University of California at Los Angeles, the University of Southern California, the University of Alaska, and the University of Hawaii. He wrote and co-directed the TV film Me (Gardner McKay, Allan Muir, 1973) and wrote the script for another TV movie, Sea Marks (Ron Maxwell, Steven Robman, 1976), based on his play. 'Sea Marks' His play 'Toyer' was produced by the Arena Players Repertory Theater in New York in 1993 and in London at the Arts Theatre in 2009. Gardner bought a wooded property in Beverly Hills and kept a menagerie of animals including lions, cheetahs, dogs, and a monkey which he brought back from his sojourn to South America. McKay's awards included three National Endowment for the Arts fellowships for playwriting, the Drama Critics Circle Award for Best Play, and Sidney Carrington Prize. He was a winner of the Canadian Regional Drama Festival and runner-up in the Hemingway Short Story Contest. Gardner McKay settled in Hawaii, where he died in Honolulu from prostate cancer in 2001 at the age of 69. He was survived by his wife since 1980, Madeleine Madigan, a painter, and two children, son Tristan and daughter Liza. Gardner is buried in Kentucky. Gardner Mckay is immortalised in the Jimmy Buffett song 'We Are the People Our Parents Warned Us About' (1983) that appeared on his 'One Particular Harbour' album with the line "Hey hey, Gardner McKay... Take us on the Leaky Tiki with you... Clear skies bound for Shanghai".
Sources: Wikipedia and IMDb.
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The Cadillac Eldorado is a personal luxury car that was manufactured and marketed by Cadillac from 1953 to 2002 over ten generations. Competitors and similar vehicles included the Lincoln Mark series, Buick Riviera, Oldsmobile Toronado and Chrysler's Imperial Coupe.
The Eldorado was at or near the top of the Cadillac line during early model years. The original 1953 Eldorado convertible and the Eldorado Brougham models of 1957–1960 were the most expensive models that Cadillac offered those years, and the Eldorado was never less than second in price after the Cadillac Series 75 until 1966. Eldorados carried the Fleetwood designation from 1965 through 1972.
NAME
The nameplate Eldorado is a contraction of two Spanish words that translate as "the gilded (i.e., golden) one" — and also refers to El Dorado, the mythical South American "Lost City of Gold" that fascinated Spanish explorers.
Chosen in an internal competition for a 1952 concept vehicle celebrating the company's golden anniversary, the name Eldorado was proposed by Mary-Ann Marini (née Zukosky), a secretary in Cadillac's merchandising department — and was subsequently adopted for a limited-edition convertible for model year 1953.
Palm Springs Life magazine incorrectly attributes the name to the Eldorado Country Club in Indian Wells, California, a favorite resort of General Motors executives in the Coachella Valley — though the resort opened in 1957, five years after Cadillac's own naming competition.
Cadillac began using the nameplates 'Eldorado Seville' and 'Eldorado Biarritz' to distinguish between the hardtop and convertible models (respectively) while both were offered, from 1956 through 1960 inclusively. The 'Seville' name was dropped when the hardtop was initially discontinued (1961), but the Biarritz name continued through 1964. Beginning 1965, the Eldorado became the 'Fleetwood Eldorado'. 'Biarritz' returned as an up level trim package for the Eldorado for 1977.
FIRST GENERATION (1953)
The Cadillac Series 62 Eldorado joined the Oldsmobile 98 Fiesta and Buick Roadmaster Skylark as top-of-the-line, limited-production specialty convertibles introduced in 1953 by General Motors to promote its design leadership. A special-bodied, low-production convertible (532 units in total), it was the production version of the 1952 El Dorado "Golden Anniversary" concept car. Along with borrowing bumper bullets (aka dagmars) from the 1951 GM Le Sabre show car, it featured a full assortment of deluxe accessories and introduced the wraparound windshield and a cut-down beltline to Cadillac standard production.
The expansive frontal glass and distinctive dip in the sheetmetal at the bottom of the side windows (featured on one or both of GM's other 1953 specialty convertibles) were especially beloved by General Motors' styling chief Harley Earl and subsequently widely copied by other marques. Available in four unique colors (Aztec red, Alpine white, azure blue and artisan ochre — the last is a yellow hue, although it was shown erroneously as black in the color folder issued on this rare model). Convertible tops were available in either black or white Orlon. AC was an option, as were wire wheels. The car carried no special badging other than a gold-colored "Eldorado" nameplate in the center of the dash. A hard tonneau cover, flush with the rear deck, hid the convertible top in the open car version.
Although technically a subseries of the Cadillac Series 62 based on the regular Series 62 convertible, sharing its engine, it was nearly twice as expensive at US$7,750. The 5,610 mm long, 2,030 mm wide vehicle came with such standard features as windshield washers, a signal seeking radio, power windows, and a heater. The Eldorado comprised only 5% of Cadillac's sales in 1953.
SECOND GENERATION (1954–1956)
In 1954, Eldorado lost its unique sheet metal and shared its basic body shell with standard Cadillacs. Distinguished now mainly by trim pieces, this allowed GM to lower the price and see a substantial increase in sales. The Eldorados had golden identifying crests centered directly behind the air-slot fenderbreaks and wide fluted beauty panels to decorate the lower rear bodysides. These panels were made of extruded aluminum and also appeared on a unique one of a kind Eldorado coupé built for the Reynolds Aluminum Corporation. Also included in the production Eldorado convertible were monogram plates on the doors, wire wheels, and custom interior trimmings with the Cadillac crest embossed on the seat bolsters. Two thousand one hundred and fifty Eldorados were sold, nearly four times as many as in 1953.
For 1955, the Eldorado's body gained its own rear end styling with high, slender, pointed tailfins. These contrasted with the rather thick, bulbous fins which were common at the time and were an example of the Eldorado once again pointing the way forward. The Eldorado sport convertible featured extras such as wide chrome body belt moldings and twin round taillights halfway up the fenders. Sales nearly doubled to 3,950.
For 1956, a two-door hardtop coupé version appeared, called the Eldorado Seville at which point the convertible was named the "Eldorado Biarritz". An Eldorado script finally appeared with fender crest on the car which was further distinguished by twin hood ornaments. An extra feature on the Eldorado convertible was a ribbed chrome saddle molding extending from the windshield to the rear window pillar along the beltline. With the addition of the Seville, sales rose yet again to 6,050 of which 2,150 were Sevilles. Eldorados accounted for nearly 4% of all Cadillacs sold.
THIRD GENERATION (1957-1960)
1957 saw the Eldorado (in both convertible and Seville hardtop bodystyles) with a revised rear-end design featuring a low, downswept fenderline capped by a pointed, in-board fin. The rear fenders were commonly referred to as "chipmunk cheeks". This concept was used for two years, but did not spawn any imitators. Series 62 Eldorados (as distinct from the Series 70 Eldorado Brougham) were further distinguished by the model name above a V-shaped rear deck ornament and on the front fenders. The rear fender and deck contour was trimmed with broad, sculptured stainless steel beauty panels. Also seen were "shark" style fins pointing towards the back of the cars. A three section built in front bumper was another exclusive trait of the Series 62 Eldorados, which came with a long list of standard features. Four specially-built 4-door hardtop Eldorado Sedan Sevilles were also built in 1957.
1957 was chiefly notable for the introduction of one of GM's most memorable designs, the Series 70 Eldorado Brougham. Announced in December 1956 and released around March 1957, the Eldorado Brougham was a hand-built, limited car derived from the Park Avenue and Orleans show cars of 1953-54. Designed by Ed Glowacke, it featured the first appearance of quad headlights and totally unique trim. The exterior ornamentation included wide, ribbed lower rear quarter beauty panels extending along the rocker sills and rectangularly sculptured side body "cove" highlighted with five horizontal windsplits on the rear doors. Tail styling treatments followed the Eldorado pattern. This four-door hardtop with rear-hinged rear doors was an ultra-luxury car that cost an astonishing $13,074 — twice the price of any other 1957 Eldorado and more than the Rolls-Royce Silver Cloud of the same year. It featured a stainless steel roof, self leveling air suspension, the first automatic two-position "memory" power seats, a dual four-barrel V-8, low-profile tires with thin white-walls, automatic trunk opener, cruise control, high-pressure cooling system, polarized sun visors, electric antenna, automatic-release parking brake, electric door locks, dual heating system, silver magnetized glovebox, drink tumblers, cigarette and tissue dispensers, lipstick and cologne, ladies' compact with powder puff, mirror and matching leather notebook, comb and mirror, Arpège atomizer with Lanvin perfume, automatic starter with restart function, Autronic Eye, drum-type electric clock, power windows, forged aluminum wheels and air conditioning. Buyers of Broughams had a choice of 44 full-leather interior and trim combinations and could select such items as Mouton, Karakul or lambskin carpeting.
There were serious difficulties with the air suspension, which proved troublesome in practice. Some owners found it cheaper to have it replaced with conventional coil springs.
The 1957 Eldorado Brougham joined the Sixty Special and the Series 75 as the only Cadillac models with Fleetwood bodies although Fleetwood script or crests did not appear anywhere on the exterior of the car, and so this would also mark the first time in 20 years that a Fleetwood-bodied car was paired with the Brougham name. The 1957-58 Eldorado Brougham also marked the return of the Cadillac Series 70, if only briefly. Only 400 Eldorado Broughams were sold in 1957.
An all-transistor signal-seeking car radio was produced by GM's Delco Radio and was first available for the 1957 Eldorado Brougham models, which was standard equipment and used 13 transistors in its circuitry.
For 1958, GM was promoting their fiftieth year of production, and introduced Anniversary models for each brand; Cadillac, Buick, Oldsmobile, Pontiac, and Chevrolet. The 1958 models shared a common appearance on the top models for each brand; Cadillac Eldorado Seville, Buick Roadmaster Riviera, Oldsmobile Holiday 88, Pontiac Bonneville Catalina, and the all-new Chevrolet Bel-Air Impala.
On 1958 2-door Eldorados, a V-shaped ornament and model identification script were mounted to the deck lid. Two-door Eldorados also had ten vertical chevron slashes ahead of the open rear wheel housings and crest medallions on the flank of the tailfins. Broad, sculptured beauty panels decorated the lower rear quarters on all Series 62 Eldorados and extended around the wheel opening to stretch along the body sills. All-new was a special-order Series 62 Eldorado Seville, of which only one was actually built.
The major changes to the Eldorado Brougham in 1958 were seen inside the car. The interior upper door panels were finished in leather instead of the metal finish used in 1957. New wheel covers also appeared. Forty-four trim combinations were available, along with 15 special monotone paint colors. A total of 304 Eldorado Broughams were sold in 1958. 1958 was the last year for the domestic production of the handbuilt Brougham at Cadillac's Detroit factory, as future manufacturing of the special bodies was transferred to Pininfarina of Turin, Italy.
The 1959 Cadillac is remembered for its huge sharp tailfins with dual bullet tail lights, two distinctive rooflines and roof pillar configurations, new jewel-like grille patterns and matching deck lid beauty panels. In 1959 the Series 62 became the Series 6200. De Villes and 2-door Eldorados were moved from the Series 62 to their own series, the Series 6300 and Series 6400 respectively, though they all, including the 4-door Eldorado Brougham (which was moved from the Series 70 to Series 6900), shared the same 3,302 mm wheelbase. New mechanical items were a "scientifically engineered" drainage system and new shock absorbers. All Eldorados were characterized by a three-deck, jeweled, rear grille insert, but other trim and equipment features varied. The Seville and Biarritz models had the Eldorado name spelled out behind the front wheel opening and featured broad, full-length body sill highlights that curved over the rear fender profile and back along the upper beltline region. Engine output was an even 345 hp (257 kW) from the 6.4 L engine. Standard equipment included power brakes, power steering, automatic transmission, back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six way power seats, heater, fog lamps, remote control deck lid, radio and antenna with rear speaker, power vent windows, air suspension, electric door locks and license frames. The Eldorado Brougham also came with Air conditioning, automatic headlight dimmer, acruise control standard over the Seville and Biarritz trim lines.
The 1960 Cadillacs had smoother, more restrained styling. General changes included a full-width grille, the elimination of pointed front bumper guards, increased restraint in the application of chrome trim, lower tailfins with oval shaped nacelles and front fender mounted directional indicator lamps. External variations on the Seville two-door hardtop and Biarritz convertible took the form of bright body sill highlights that extended across the lower edge of fender skirts and Eldorado lettering on the sides of the front fenders, just behind the headlamps. Standard equipment included power brakes, power steering, automatic transmission, dual back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six-way power seats, heater, fog lamps, Eldorado engine, remote control trunk lock, radio with antenna and rear speaker, power vent windows, air suspension, electric door locks, license frames, and five whitewall tires. Technical highlights were finned rear drums and an X-frame construction. Interiors were done in Chadwick cloth or optional Cambray cloth and leather combinations. The last Eldorado Seville was built in 1960.
A different Eldorado Brougham was sold for 1959 and 1960. These cars were not quite so extravagantly styled but were very unusual pieces in themselves. Priced at $13,075, they cost $1 more, each, than their older siblings. The company contracted out the assembly to Pininfarina of Italy, with whom the division has had a long-running relationship, and these Eldorados were essentially hand-built in Italy. Ironically only now did it acquire Fleetwood wheel discs and doorsill moldings, presumably because the design work and final touches were still being done by Fleetwood. Discreet, narrow taillights integrated into modest tailfins, and a squared-off rear roof line with rear ventiplanes caused the Italian-built Brougham to contrast sharply to the rounded roof lines, and especially the new "rocketship" taillights and flamboyant fins of the standard 1959 Cadillacs, which are a feature only of that year. A vertical crest medallion with Brougham script plate appeared on the front fenders and a single, thin molding ran from the front to rear along the mid-sides of the body. It did not sport Eldorado front fender letters or body sill headlights. A fin-like crest, or "skeg," ran from behind the front wheel opening to the rear of the car on the lower bodysides and there were special crest medallions on the trailing edge of the rear fenders. The Brougham's styling cues would prove to indicate where standard Cadillac styling would head from 1960 through the early-mid-1960s. The standard equipment list was pared down to match those of other Eldorados, plus Cruise Control, Autronic Eye, air conditioning and E-Z Eye glass. The Brougham build-quality was not nearly to the standard of the Detroit hand-built 1957–1958 models, and thus the 1959–1960 Broughams did not sell as well as their forebears. However, collector interest and values for these cars remain high. The Eldorado Brougham was moved to its own unique Series 6900 for its remaining two years.
The 1960 Cadillac Eldorado Biarritz 6467E is featured as Maurice Minnifield's vehicle in the 1990s television series Northern Exposure.
FOURTH GENERATION (1961–1964)
Cadillac was restyled and re-engineered for 1961. The Eldorado Biarritz convertible was technically reclassified as a subseries of the De Ville (Series 6300), a status it would keep through 1964. An Eldorado convertible would remain in the Cadillac line through 1966, but its differences from the rest of the line would be generally more modest. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plan, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. The Eldorado Biarritz featured front series designation scripts and a lower body "skeg" trimmed with a thin three quarter length spear molding running from behind the front wheel opening to the rear of the car. Standard equipment included power brakes, power steering, automatic transmission, dual back up lights, windshield washer, dual speed wipers, wheel discs, plain fender skirts, outside rearview mirror, vanity mirror, oil filter, power windows, 6-way power bench seat or bucket seats, power vent windows, whitewall tires, and remote control trunk lock. Rubberized front and rear coil springs replaced the trouble prone air suspension system. Four-barrel induction systems were now the sole power choice and dual exhaust were no longer available. With the Seville and Brougham gone sales fell to 1,450.
A mild face lift characterized Cadillac styling trends for 1962. A flatter grille with a thicker horizontal center bar and more delicate cross-hatched insert appeared. Ribbed chrome trim panel, seen ahead of the front wheel housings in 1961, were now replaced with cornering lamps and front fender model and series identification badges were eliminated. More massive front bumper end pieces appeared and housed rectangular parking lamps. At the rear tail lamps were now housed in vertical nacelles designed with an angled peak at the center. A vertically ribbed rear beauty panel appeared on the deck lid latch panel. Cadillac script also appeared on the lower left side of the radiator grille. Standard equipment included all of last year’s equipment plus remote controlled outside rearview mirror, heater and defroster and front cornering lamps. Cadillac refined the ride and quietness, with more insulation in the floor and behind the firewall.
In 1963 Eldorado Biarritz joined the Cadillac Sixty Special and the Cadillac Series 75 as the only Cadillac models with Fleetwood bodies and immediately acquired Fleetwood crests on its rear quarters[26] and Fleetwood rocker panel moldings. The 1963 Eldorado was also the first Fleetwood bodied convertible since the Cadillac Series 75 stopped offering four- and two-door convertible body styles and production of the Cadillac Series 90 (V16) ceased in 1941. In overall terms the 1963 Cadillac was essentially the same as the previous year. Exterior changes imparted a bolder and longer look. Hoods and deck lids were redesigned. The front fenders projected 4.625 inches further forward than in 1962 while the tailfins were trimmed down somewhat to provide a lower profile. Body side sculpturing was entirely eliminated. The slightly V-shaped radiator grille was taller and now incorporated outer extensions that swept below the flush-fender dual headlamps. Smaller circular front parking lamps were mounted in those extensions. The Eldorado also had a rectangular grid pattern rear decorative grille. A total of 143 options including bucket seats with wool, leather or nylon upholstery fabrics and wood veneer facings on dash, doors and seatbacks, set an all-time record for interior appointment choices. Standard equipment was the same as the previous year. The engine was entirely changed, though the displacement and output remained the same, 6.4 l and 325 hp (242 kW).
It was time for another facelift in 1964 and really a minor one. The main visual cue indicating an Eldorado Biarritz was simply the lack of fender skirts. New up front was a bi-angular grille that formed a V-shape along both its vertical and horizontal planes. The main horizontal grille bar was now carried around the body sides. Outer grille extension panels again housed the parking and cornering lamps. It was the 17th consecutive year for the Cadillac tailfins with a new fine-blade design carrying on the tradition. Performance improvements including a larger V8 engine were the dominant changes for the model run. Equipment features were same as in 1963 for the most part. Comfort Control, a completely automatic heating and air conditioning system controlled by a dial thermostat on the instrument panel, was introduced as an industry first. The engine was bumped to 7 l, with 340 hp (253.5 kW) available. Performance gains from the new engine showed best in the lower range, at 30 to 80 km/h traffic driving speeds. A new technical feature was the Turbo-Hydramatic transmission, also used in the De Ville and the Sixty Special.
FITH GENERATION (1965–1966)
The Eldorado became a Fleetwood sub-series in 1965, although there was strictly speaking no separate Fleetwood series at this time. It was consequently marketed as the Cadillac Fleetwood Eldorado, in a similar fashion to the Cadillac Fleetwood Series 75 and the Cadillac Fleetwood Sixty Special. The Biarritz nomenclature was finally dropped from sales literature, probably because there was no need to distinguish the convertible from the long absent Seville and Brougham. This was the last generation to be installed with rear wheel drive.
In 1966 changes included a somewhat coarser mesh for the radiator grille insert, which was now divided by a thick, bright metal horizontal center bar housing rectangular parking lamps at the outer ends. Separate rectangular side marker lamps replaced the integral grille extension designs. There was generally less chrome on all Cadillac models this year. Cadillac crests and V-shaped moldings, front and rear, were identifiers. Cadillac "firsts" this season included variable ratio steering and optional front seats with carbon cloth heating pads built into the cushions and seatbacks. Comfort and convenience innovations were headrests, reclining seats and an AM/FM stereo system. Automatic level control was available. Engineering improvements made to the perimeter frame increased ride and handling ease. Newly designed piston and oil rings and a new engine mounting system and patented quiet exhaust were used.
SIXTH GENERATION (1967–1970)
The Eldorado was radically redesigned in 1967 to capitalize on the burgeoning era's personal luxury car market. Promoted as a "personal" Cadillac, it shared the E-body with the second-generation Buick Riviera and the Oldsmobile Toronado, which had been introduced the previous year. To enhance its distinctiveness, Cadillac adopted the Toronado's front-wheel drive Unified Powerplant Package, adapted to a standard Cadillac 429 V8 coupled to a Turbo-Hydramatic 425 automatic transmission. Based on the Turbo-Hydramatic 400, the THM425 placed the torque converter next to the planetary gearbox, which it drove through a metal, motorcycle-style roller chain. Disc brakes were optional, and new standard safety equipment included an energy absorbing steering column and generously padded instrument panel. The Unified Powerplant Package was later shared with the GMC Motorhome starting in 1972.
The new Eldorado was a great departure from the previous generation, which had become little more than a dressed-up version of Cadillac's De Ville. Its crisp styling, initiated by GM styling chief Bill Mitchell, was distinctive and unique, more angular than the streamlined Riviera and Toronado. This was the only production Cadillac to be equipped with concealed headlights behind vacuum operated doors.
Performance was 0–60 mph (0–96 km/h) in less than nine seconds and a top speed of 120 mph (192 km/h). Roadability and handling were highly praised by contemporary reviews, and sales were excellent despite high list prices. Its sales of 17,930 units, nearly three times the previous Eldorado high, helped give Cadillac its best year ever.
In 1968, the Eldorado received Cadillac's new 375 hp (280 kW) (SAE gross) 7.7 L V8, and disc brakes became standard. Only slight exterior changes were made to comply with new federal safety legislation. Sales set another record at 24,528, with Eldorados accounting for nearly 11% of all Cadillacs sold.
In 1969 hidden headlamps were eliminated, and a halo vinyl roof was available as an option, joined later in the model year by a power sunroof.
In 1970 the Eldorado introduced the new 8.2 L V8 engine, the largest-ever production V8, rated SAE gross 400 hp (298 kW) and 550 lb·ft (746 N·m), which would remain exclusive until it became standard on all full size Cadillacs in the 1975 model year.
SEVENTH GENERATION (1971–1978)
The Eldorado underwent a substantial redesign in 1971, growing two inches in length but six in wheelbase. The result was a rounder, much heavier looking automobile, made even more rotund by the return of standard fender skirts. While Eldorado door glass remained frameless, the hardtop rear quarter windows were deleted, replaced by a fixed "opera window" in the widened "C" pillar. A convertible model rejoined the line-up. This 126.3-inch (3,210 mm) wheelbase version Eldorado would run through 1978, receiving facelifts in 1973 and 1975. Sales in 1971 set a new record at 27,368.
In 1972 sales rose to 40,074.
Performance was not competitive with contemporary premium personal luxury cars. However, none but the Lincoln were 6 passenger vehicles.
In 1973 the Eldorado was removed from the Fleetwood series and reestablished as its own series. The '73 models received a facelift featuring new front and rear bumpers, egg-crate grille, decklid, rear fenders and taillamps.
The Cadillac Eldorado was chosen as the pace car for the Indy 500 in 1973. Cadillac produced 566 of these special pace car convertibles. Thirty-three were used at the track during the race week, with the remainder distributed to U.S. Cadillac dealers one per dealership. Total sales soared to 51,451, over a sixth of all Cadillac sales.
1974 models featured a redesigned rear bumper, to meet the new 5 mile impact federal design regulation. Styling changes include horizontal taillamps, and a fine mesh grille. Inside, there was a new, redesigned instrument panel, marketed in sales literature as "space age" and shared with all 1974 Cadillacs.
For 1975, the Eldorado was given rectangular headlamps, full rear wheel openings sans fender skirts and crisper lines which resulted in a much sleeker appearance reminiscent of the 1967-70 models.
In 1976 GM heavily promoted the Eldorado convertibles as "the last American convertible". Some 14,000 would be sold, many purchased as investments. The final 200 were designated as "Bicentennial Edition" commemorating America's 200th birthday. These cars were white with a dual-color red/blue pinstripe along the upper bodyside. When GM reintroduced Eldorado convertibles for the 1984 model year, owners of 1976 Eldorados felt they had been deceived and launched an unsuccessful class action lawsuit.
In 1977 the Eldorado received a new grille with a finer crosshatch pattern. The convertible was dropped (although Custom Coach of Lima, Ohio converted a few new 1977 and 1978s Eldorados into coach convertibles using salvaged parts from earlier models). The 8.2L V8 of 1970-76 gave way to a new 7L V8 with 180 bhp (134 kW). For the first time in 1977 all GM E-body cars were front-wheel drive, as the Riviera underwent a two-year hiatus before joining them in 1979.
A new grille was the only major change in 1978. The Eldorado was totally redisigned for 1979.
ELDORADO BIARRITZ
Unlike the Cadillac Sixty Special and De Ville, Eldorado did not have a unique luxury package to provide it with a title change (such as the "d'Elegance" package). This was rectified in mid-year 1976 with the Biarritz package. A unique trim feature of Biarritz, a name that had not been used since the 1964 model year (although the Eldorado was Fleetwood bodied from the 1963 model year on, the Fleetwood designation was only applied to all Eldorados produced from the 1965 through 1972 model years) was a brushed stainless steel roof covering the front passenger compartment for model years 1979-1985. This was a styling cue reminiscent of the 1957/58 Eldorado Brougham. The rear half of the roof was covered with a heavily padded landau vinyl top accented with large "opera" lights. The interior featured "pillowed"-style, "tufted" velour or leather seating, with contrasting piping, along with an array of other options available.
The 1978 Biarritz option packages consisted of the Eldorado Custom Biarritz ($1,865.00); w/Astroroof ($2,946.00); w/Sunroof ($2,746.00) and Eldorado Custom Biarritz Classic ($2,466.00); w/Astroroof ($3,547.00); w/Sunroof ($3,347.00).
For the 1978 Eldorado model year only, 2,000 Eldorado Custom Biarritz Classics were produced in Two-Tone Arizona Beige/Demitasse Brown consisting of 1,499 with no Astroroofs or no Sunroofs; 475 with Astroroofs; 25 with Sunroofs and one (1) was produced with a Power Sliding T-Top. Only nine of the latter are known to have been retrofitted by the American Sunroof Company under the direction of General Motors' Cadillac Motor Division.
The Biarritz option stayed with the Eldorado through the 1991 model year. Some of the original styling cues vanished after the 1985 model year, such as the brushed stainless steel roofing and the interior seating designs, but the Biarritz remained unique just the same.
EIGHTH GENERATION (1979–1985)
A new, trimmer Eldorado was introduced for 1979, for the first time sharing its chassis with both the Buick Riviera and Oldsmobile Toronado. Smaller, more fuel efficient 350 and 368 in³ (5.7 and 6.0 L) V8's replaced the 500 and 425 in³ (8.2 and 7.0 L) engines. A diesel 350 was available as an option.
In 1980, the gas 350 was replaced with the 368 except in California, where the Oldsmobile 350 was used. In both the 1980 Seville and Eldorado (which shared frames) the 368s came with DEFI (later known as throttle body injection when it was later used with other GM corporate engines), whereas in the larger RWD Cadillacs it came only with a 4-barrel Quadrajet carburetor. Independent rear suspension was adopted, helping retain rear-seat and trunk room in the smaller body. The most notable styling touch was an extreme notchback roofline. The Eldorado Biarritz model resurrected the stainless-steel roof concept from the first Brougham. The Eldorado featured frameless door glass, and the rear quarter windows re-appeared as they did before 1971, without a thick "B" pillar. The cars were not true hardtops, as the rear quarter windows were fixed. Sales set a new record at 67,436.[citation needed]
For 1981, Cadillac offered the V8-6-4 variable displacement variant of the 368 engine, which was designed to deactivate some cylinders when full power was not needed, helping meet GM's government fuel economy ("CAFE") averages. It was a reduced bore version of the 1968 model-year 472, sharing that engine's stroke and also that of the model-year 1977–1979 425. The engine itself was extremely rugged and durable, but its complex electronics were the source of customer complaints.
Another engine was introduced for 1982. The 4.1 L HT-4100 was an in-house design that mated cast-iron heads to an aluminum block. Some HT-4100s were replaced under warranty.
From 1982 through 1985, Cadillac offered an 'Eldorado Touring Coupe', with heavier duty suspension, alloy wheels, blackwall tires, minimal exterior ornamentation and limited paint colors. These were marketed as 'driver's cars' and included bucket seats and a center console.
In 1984, Cadillac also introduced a convertible version of Eldorado Biarritz. It was 91 kg heavier featuring the same interior as other Biarritz versions. The model year of 1985 was the last year for the ASC, Inc., aftermarket conversion Eldorado convertible. Total sales set an all-time record of 77,806, accounting for about 26% of all Cadillacs sold.
Prior to the 'official' 1984 and 1985 Eldorado convertibles marketed by Cadillac, some 1979-83 Eldorados were made into coach convertibles by independent coachbuilders e.g. American Sunroof Corporation, Custom Coach (Lima, Ohio - this coachbuilder turned a few 1977 and 1978 Eldorados into convertibles), Hess & Eisenhardt. The same coachbuilders also converted the Oldsmobile Toronado and Buick Riviera into a ragtop.
Late in the 1985 model year, an optional 'Commemorative Edition' package was announced, in honor of the last year of production for this version of the Eldorado. Exclusive features included gold-tone script and tail-lamp emblems, specific sail panel badges, gold-background wheel center caps, and a "Commemorative Edition" badge on the steering wheel horn pad. Leather upholstery (available in Dark Blue or White, or a two-tone with Dark Blue and White) was included in the package, along with a Dark Blue dashboard and carpeting. Exterior colors were Cotillion White or Commodore Blue.
NINTH GENERATION (1986–1991)
The Eldorado was downsized again in 1986. In a fairly extreme makeover it lost about 16" in length and some 350 pounds in weight. Just like in previous generations, the Eldorado shared its chassis with the Oldsmobile Toronado and Buick Riviera, as well as Eldorado's four-door companion, the Cadillac Seville. However, the coupés from Buick and Oldsmobile both utilized Buick's 3.8 liter V6 engine, while Cadillac continued to use their exclusive 4.1 liter V8. The convertible bodystyle was ceded to the Cadillac Allanté roadster.
The $24,251 Eldorado was now the same size that GM's own compact cars had been only a few years earlier, and considerably smaller than Lincoln's competing Mark VII, and no similar offering from Chrysler as the Imperial coupe was discontinued in 1983. Its styling seemed uninspired and stubby, and in a final unfortunate flourish, for the first time the Eldorado abandoned its "hardtop" heritage and featured framed door glass. News reports later indicated that GM had been led astray by a consultant's prediction that gasoline would be at $3 per gallon in the U.S. by 1986, and that smaller luxury cars would be in demand. In fact, gasoline prices were less than half that. With a sales drop of 60%, seldom has any model experienced a more precipitous fall. Production was only about a fifth of what it had been just two years earlier.
Aside from a longer, 5 year/50,000 mile warranty, Eldorado received very few changes for 1987. A price drop, to $23,740, did not raise sales any, as only 17,775 were made this year (21,342 for 1986). The standard suspension, with new taller 75 series (previously 70) tires and hydro-elastic engine mounts, was slightly retuned for a softer ride, while the optional ($155) Touring Suspension, with deflected-disc strut valves and 15" alloy wheels, remained for those desiring a firmer ride. As part of a federal requirement to discourage "chop-shop" thieves, major body panels were etched with the VIN. Also new, a combination cashmere cloth with leather upholstery, and locking inertia seat belt reels for rear seat passengers, which allowed for child-seat installation in the outboard seating positions in back. The formal cabriolet roof was added this year. Available for $495 on the base Eldorado, it featured a padded covering over the rear half of the roof, and turned the rear side glass into smaller opera windows. One of Eldorado's most expensive singluar options was the Motorola cellular telephone mounted inside the locking center arm rest. Priced at $2,850, it had been reworked this year for easier operation, and featured a hidden microphone mounted between the sun visors for hands-free operation. Additionally, the telephone featured a clever radio mute control: activated when the telephone and radio were in use at the same time, it automatically decreased the rear speaker's audio volume, and over-rode the front music speakers to be used for the hands-free telephone. On an interesting note, the square marker lamp, located on the bumper extension molding just behind the rear wheel well on 1986 and '87 Eldorado models, would suddenly re-appear on the 1990 & '91 Seville (base models only) and Eldorado Touring Coupé.
1988 was met with an extensive restyle, and sales nearly doubled from the previous year, up to 33,210. While the wheelbase, doors, roof, and glass remained relatively unchanged, new body panels gave the 1988 model a more identifiable "Eldorado" appearance. Now available in just 17 exterior colors (previously 19), the new Eldorado was 3" longer than last year. Underneath the restyled hood was Cadillac's new 155 horsepower 4.5 liter V8. A comprehensive anti-lock braking system, developed by Teves, was newly available. Longer front fenders held "bladed" tips, and a new grille above the revamped front bumper. In back, new three-sided tail lamps - reminiscent of the 1987 Deville - appeared along with a new bumper and trunk lid. Bladed 14" aluminum wheels remained standard, while an optional 15" snowflake-pattern alloy wheel was included with the Touring Suspension option. The interior held wider front seat headrests and swing-away door pull handles (replacing the former door pull straps). New upholstery patterns, along with shoulder belts for outboard rear-seat passengers, appeared for both base and Biarritz models, with the latter bringing back the tufted-button design - last seen in the 1985 Eldorado Biarritz. A new vinyl roof option, covering the full roof top, featured a band of body color above the side door and windows - similar to the style used until 1978. This replaced the "cabriolet roof" option, which covered the rear half of the roof, introduced just a year earlier. With the Biarritz option package, the padded vinyl roof covered just the rear quarter of the roof top, behind the rear side windows. Biarritz also included slender vertical opera lamps, as in 1986 and '87, but now added a spear molding (similar to the style used on the 1976 - 1985 Eldorado Biarritz) that ran from the base of the roof top, continuing horizontally along the door, and down to the front fender tip. The standard power antenna was moved from the front passenger fender to the rear passenger fender. Pricing went up this year - to $24,891. This 1988 restyle would be the last, until the model was replaced by an all-new Eldorado for 1992.
TENTH GENERATION (1992–2002)
The 1992 Eldorado was all new, drawing both interior and exterior styling cues from the 1988 Cadillac Solitaire show car. It was significantly larger than its predecessor – approximately 11" longer, 3" wider, and substantially heavier. Window glass was once again frameless, and shortly after introduction Cadillac's new Northstar V8 became available in both 270 and 295 hp (220 kW) variants, replacing the 200 hp (150 kW) 4.9 L. Sales were up, though never again at record heights.
The Eldorado continued for the rest of the decade with incremental changes and tapering sales. A passenger side airbag was added as standard equipment in 1993. Styling was freshened in 1995, with updated bumpers front and rear, side cladding, and a new grille. In 1996, the interior received attention, with a new upholstery style, larger analog gauge cluster, relocated climate control system, updated stereo faces and standard daytime running lights. The ETC receives rain-sensing wipers called "Rainsense."
In 1997, the Integrated Chassis Control System was added. It involved microprocessor integration of engine, traction control, Stabilitrak electronic stability control, steering, and adaptive continuously variable road sensing suspension CVRSS, with the intent of improving responsiveness to driver input, performance, and overall safety. Similar to Toyota/Lexus Vehicle Dynamics Integrated Management VDIM.
In the wake of declining sales, circulating reports that the Eldorado would get a redesign for 1999 — similar to that which the Seville underwent for 1998 — would prove false as the car soldiered on largely unchanged into the new millennium, although it did get some upgrades from the 1999 Seville.
The car was sold under Cadillac ETC (Eldorado Touring Coupe) and ESC (Eldorado Sport Coupe) trim.
In 2001 GM announced that the Eldorado's 50th model year (2002) would be its last. To mark the end of the nameplate, a limited production run of 1,596 cars in red or white - the colors available on the original 1953 convertible - were produced in three batches of 532, signifying the Eldorado's first year of production. These last cars featured specially tuned exhaust notes imitating their forerunners from a half-century earlier, and a dash-mounted plaque indicating each car's sequence in production.
Production ended on April 22, 2002, with the Lansing Craft Centre retooled to build the Chevrolet SSR.
WIKIPEDIA
French postcard by Editions P.I., Paris, offered by Les Carbones Multiplane, no. 270. Photo: Clarence Sinclair Bull / Metro-Goldwyn-Mayer, 1945.
American red-haired actress Lucille Ball (1911-1989) was well-known as the crazy, accident-prone, lovable Lucy Ricardo in the television series I Love Lucy (1951-1957). She appeared in numerous films in Hollywood in the 1930s and 1940s before becoming one of America's most popular television comedians in 1951. She was also a producer on I Love Lucy and subsequent television series featuring the character of "Lucy" with her company Desilu Productions, making her the first head of a major film studio in the American show business.
Lucille Désirée Ball was born in Jamestown, New York, in 1911. Her father was Henry Durrell Ball and her mother Desiree Eve Hunt. Her father died in 1915 before she was four. Lucille and her younger brother Fred were raised by their grandparents while their mother worked several jobs. Her grandfather was an avid supporter of the theatre and encouraged Lucy to participate in plays at school. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She enrolled in the John Murray Anderson School for the Dramatic Arts. There, however, she had a tough competitor who trumped her, Bette Davis. The teachers said she was 'too shy' and had no future and Ball returned home. In 1932, she moved to New York to become an actress and had success there as a mannequin and revue dancer. But her acting career did not take off till she was chosen to be a "Goldwyn Girl" and appeared in the film Roman Scandals (Frank Tuttle, 1933) starring Eddie Cantor. She was put under contract with RKO Radio Pictures and several bit roles, including one in Top Hat (Mark Sandrich, 1935). She became friends with Ginger Rogers. In the 1930s she was under contract to RKO and Columbia Pictures and slowly worked her way up from small roles, unnamed in the credits, to more substantial parts. One of her first supporting roles was in Chatterbox (George Nichols Jr., 1936) in which she plays a temperamental actress. It was one of the first times her name was mentioned in the credits. She also got a good role in the A-picture Stage Door (Gregory La Cava, 1937) with Katharine Hepburn and Ginger Rogers. She played more supporting roles, including in Room Service (William A. Seiter, 1938) with the Marx Brothers, but she rarely got leading roles in major films, however, and usually when all the major film stars at RKO had already turned down the part.
In 1940, Lucille Ball met Cuban bandleader-actor, Desi Arnaz, while filming the musical Too Many Girls (George Abbott, 1940). Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. The couple received a lot of media attention. Two years later, Arnaz had to join the army and was unfaithful. A knee injury allowed him to leave the army. In 1944, Ball filed for divorce but later recanted.
In the 1940s Lucille Ball moved to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (Roy Del Ruth, 1943) with Red Skelton and Gene Kelly, Best Foot Forward (Edward Buzzell, 1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (Harold S. Bucquet, 1945). She failed to achieve major film success there either and returned to Columbia. She was known in Hollywood circles as the "B-movie queen" with Macdonald Carey as her "king". In 1948, she got a role in the radio comedy 'My Favorite Husband', in which she played the scatterbrained wife of a Midwestern banker. The show became a success and CBS asked her to turn it into a television series. She only wanted to do this if she could work with her husband, and they had creative control over the series. Ball wanted to work with Arnaz to save her marriage. So 'I Love Lucy' was born, the most popular and universally beloved sitcom of all time. The couple had started their own production company: Desilu Productions. CBS, however, was not impressed with the TV pilot episode, but after Ball and Arnaz toured vaudeville theatre with great success, the series came to television. As a side effect, she practically invented the sitcom and was one of the first stars to film with a live audience. The show was shot directly to film stock, unlike most other television shows of the time, which used the low-quality kinescope process to film images from a television monitor. The better quality of the Lucy show allowed it to be repeated via syndication (on independent television stations not affiliated with one of the major television networks ABC, CBS or NBC). During the production of I Love Lucy, German-born cameraman Karl Freund invented the "3-camera setup", now standard in television. Another unusual technique used on the Lucy show was to paint over unwanted shadows and hide lighting defects with paint that was kept in the studio in various shades from white to medium grey for this purpose. In 1951 her first child was born, Lucie Arnaz, followed a year later by Desi Arnaz Jr. The pregnancy was also supposed to be televised but CBS was not in favour of that, eventually, they were allowed to do it but they were not allowed to use the word "pregnant" but had to say "expecting". In 1953, Ball had to appear before the House Committee on Un-American Activities because, at the insistence of her socialist grandfather, she had registered as a supporter of the Communist Party for the 1936 primaries. In 1956, Desilu bought the RKO lot and moved there. In 1957, the last episode of I Love Lucy was aired and was followed by its sequels The Lucy-Desi Comedy Hour (1957-1960) and The Lucy Show (1962-1968), which was later renamed Here's Lucy (1968-1974).
In 1960, Lucille Ball and Desi Arnaz's marriage was divorced after problems Arnaz had with alcohol, drugs and other women. Lucille Ball bought his share in Desilu, making her the sole owner of the studio. In the following years, Desilu developed such popular television series as The Untouchables (1959-1963), Star Trek (1966-1969), Mission: Impossible (1966-1973) and Mannix (1967-1975). In 1967, Desilu was sold to Gulf and Western Industries, which merged Desilu with Paramount Studios, located on the property next door. Arnaz and Ball remained good friends until his death in 1986. In 1961, Ball married stand-up comedy actor Gary Morton who was 12 years younger. He had never seen her on television because he himself performed on primetime when Lucy was on TV. He got a job at Desilu. After The Lucy-Desi Comedy Hour, Lucille got a series of her own, The Lucy Show (1962-1968) with Gale Gordon and Vivian Vance. It was again a success. Vivian Vance was given the name Viv, which she got because she was tired of being addressed as Ethel on the street. In 1968, after Lucille sold Desilu, she founded Lucille Ball Production. Lucille's third sitcom was Here's Lucy (1968-1974), played with her real children, Lucie Arnaz and Desi Arnaz Jr. Also in this series, Gale Gordon was her co-star. After I Love Lucy, Lucille starred in several more films including Yours, Mine, and Ours (Melville Shavelson, 1968) with Henry Fonda, the musical Mame (Gene Saks, 1974) and the TV movie Stone Pillow (George Schaefer, 1985). In 1986, she made a comeback with the series Life with Lucy, but it flopped with critics and viewers alike. After playing for less than two months, the series was cancelled by ABC. Ball was a guest on several shows. In 1989 at the 61st Academy Awards, she presented the Academy Awards with Bob Hope, she then received a standing ovation. A month later in 1989, Lucille Ball died of aortic dissection at the age of 77. She was buried in Forest Lawn - Hollywood Hills Cemetery in Los Angeles but was later moved by her children, Desi Arnaz Jr. and Lucie Arnaz, to Lake View Cemetery in her native Jamestown.
Source: Wikipedia (Dutch, German and English) and IMDb.
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