View allAll Photos Tagged Panic-Button
Taken at Winter Moon. SLurl: maps.secondlife.com/secondlife/Winter%20Moon/52/35/22
With my spring, my oasis, my morning rain, and also my panic button :p Thank you, for being you :)
Dutch postcard by Art Unlimited, Amsterdam, no. A 10573. Photo: Ben van Meerendonk. In 1957 Jayne Mansfield made a legendary promotional visit to the Netherlands. The film she promoted, Kiss Them for Me (Stanley Donen, 1957), was quickly forgotten, but forty years later her visit was dearly remembered with an exhibition, a book and a TV documentary. Jayne shocked the nation while showing her voluptuous figure in a tight sweater and doing her interviews with her lisp, breathless voice. During her visit, photographers went wild. A highlight was her visit to the Dutch newspaper De Telegraaf, where she posed near the presses and on the table of the editors.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard), which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Rodney Richmond, shown in a photograph circa 1974, became the first black full-time officer of Amalgamated Transit Union (ATU) Local 689 in Washington, D.C. when he was elected to financial secretary-treasurer in December 1973.
The union represented the vast majority of employees of the Washington Metropolitan Area Transit Authority (WMATA, often called Metro) that had recently acquired four private bus companies and was operating exclusively bus service prior to the Metrorail system inaugurating service in 1976.
Richmond ran on a ticket with George Davis for president, Robert Delaney for Recording Secretary, Harvey Lee for first vice president and James Buckner for second vice president, the latter two also being black—the first fully integrated ticket for the top offices of the union.
Davis had been secretary-treasurer under the man he was challenging for the presidency, George Apperson, so Richmond was running for an open seat. Richmond had previously served as second vice president, replacing the first black officer--James Shipman--who resigned.
Davis campaigned agains the incumbent president George Apperson for "spending too much time on Capitol Hill" and neglecting Local 689 business. The Davis-Richmond team swept the top offices.
Richmond tied his fate closely to Davis and the pair seemed to get off on a good start, leading a strike in 1974 that was declared illegal and the union fined, but not before the judge ordered arbitration and directed the arbitrator to give “great weight” to the union’s position on a disputed cost-of-living clause.
Arbitration proved unnecessary after the judge’s direction and Metro and union negotiated an agreement that included the disputed COLA clause.
In November 1975, Metro also imposed a new, harsher disciplinary policy that the union administration objected to.
The aging buses Metro acquired were badly in need of major maintenance and Davis led a work-to-the rule safety check and halted any buses leaving the garages that lacked horns, turn signals, speedometers, brake lights and other safety features, causing about one-third of the service to be cut and forced delays on the other two-thirds.
The direct action forced Metro to make some minor repairs and modify their dictionary policy.
Davis and Richmond negotiated a supplemental rail agreement in 1975 that assured Local 689 of blue collar rail representation and provided that disabled employees could fill station attendant (later manager) positions under certain circumstances whereas previously they simply terminated or forced to retire on disability, if eligible.
Davis and Richmond were re-elected without opposition in 1976.
However things had begun to turn for the pair that year with their failure to wage a fight around the new Montgomery County Ride On service that was replacing Metrobus routes or to organize the Ride On workers once the service became operational.
They failed to arbitrate the issue of COLA payments in July 1976 due under a rollover provision in the contract that said all terms of the contract would remain “undisturbed” while the contract was being arbitrated.
While the cost of living clause was retained in arbitration that year, the arbitrator ruled that Metro did not have to make one of the payments that came due during the arbitration process. Davis and Richmond were blamed for lost payment.
In May 1978 a woman operator was raped and bus operators staged a one-day wildcat strike protesting the lack of security on the buses. The union leadership was seen as playing no role in the strike or subsequent gains made.
Police patrols were increased, radios on the buses made operational, a “panic button” to summon police was activated and a plexiglass shield was placed behind the driver. When the union leadership attempted to take credit for the changes, many rank-and-file were offended.
Shortly afterward in July 1978, the contract was again in arbitration and Metro again failed to pay the COLA that was due in July.
This time workers staged a seven day wildcat strike that resulted in a judge ordering the disputed money put in escrow and expedited arbitration of the issue—a clear indication from the judge favoring the workers position.
Within days after the strike’s end, the expedited arbitration was held and a ruling issued that WMATA must pay the disputed COLA money—vindicating the workers and embarrassing Davis and Richmond.
Dozens of workers were disciplined by Metro for strike activities, including nine who were fired. While many had discipline modified in the grievance procedure, including reinstatement after lengthy suspensions for those who were fired, workers blamed Davis and Richmond for not fighting the issue of the COLA payment and thereby spurring an illegal strike.
Later, the main contract arbitration retained the COLA clause, but the arbitrator ordered part-time work without benefits or seniority. Richmond defended the inclusion of part-time in the arbitration award, believing it would forestall Ride On type operations in other jurisdictions. Subsequent events would prove him wrong.
Despite it being an arbitration award, Davis and Richmond were blamed for the introduction of substandard part-time work.
As the 1979 election neared, a rank-and-file committee investigating the union’s finances found that many disbursements had been made without back-up. While no theft of funds was alleged, the report tarnished Richmond just two months out from the election.
A dispute over which candidates for union office were qualified to run postponed the election to January 1980. Richmond lost to a rank-and-file candidate, John A. “Jack” Thomas, who had no previous union experience by a 2-1 margin.
A run-off election was required at that time under the bylaws for offices where no candidate received an absolute majority and a week after Richmond was defeated, Davis lost 2-1 in a runoff election to Charles Boswell, another rank-and-file member with no previous union experience.
Richmond made a comeback. He went back to work as a bus operator at Bladensburg garage and rebuilt his base. He ran for president of the union in December 1982 against Boswell but both were defeated by James M. Thomas Jr who became the first black president.
However, Richmond had support at Bladensburg and a few other locations. Instead of continuing to try to run for a top office, Richmond went back and ran for shop steward/executive board member at Bladensburg in the following election and won.
He was poised to run against Thomas again for president, but Thomas instead obtained the support of ATU International President James LaSala and offered Richmond an International vice president position. Richmond accepted and was elected at the convention that followed.
He continued to serve as ATU International vice president until his retirement and in 2020 lives in New Orleans, LA.
Richmond had a mixed legacy early in his career. The Davis-Richmond leadership integrated the top ranks of the transit union, retained the cost-of-living clause in the union contract during a period of high inflation and insured that the union was the exclusive representative of rail operations and maintenance.
However, Davis’s lackluster response to the introduction of low-wage county-run bus service that supplanted Metrobus, the failure to fight to enforce the rollover clause of the contract concerning the COLA and support for the introduction of part-time work stained their legacy and cost Richmond.
Richmond’s come-back, however, was successful. As an international vice-president he was able to use his experiences in the large Local 689 unit to help smaller locals across the country wage contract fights and organize new workers.
For a blog post on the turmoil in the D.C. transit union from 1974-80, see washingtonareaspark.com/2020/03/16/george-davis-and-the-t...
For more information and related images, see flic.kr/s/aHsmLRWRyd
The photographer is unknown. The image was donated by Craig Simpson
SOOC.
First of all, birthday shout-outs to Dakota and Jang.
Today has been insane. I went to church as usual, you know, blahblahblah, got picked up by Sarah to go to Denton for Lydia's birthday, and so we went out to eat at this place called Hannah's. And then Kroger to pick up the cake, and went back to their house. I love the atmosphere of Denton, it's really cool. Well, then after, we went to Lydia's work at an old folks' home, which was really really awesome. Sharon and I met a few women, and they were pretty cool. I really might consider doing some volunteer work there. I WAS OUT FOR TWELVE HOURS, guys. That's a whole half of a day!
Oh, and I got tagged by Nat.
1. I'm kind of a lot rude, sorry.
2. My favorite painter is Vermeer.
3. I wish camera remotes came with a panic button.
4. I don't fight girls. Basically, I try to steer clear from girl drama, because it's all just ridiculous.
5. I hate when people drop their friends for their significant others.
6. I don't need much sleep to function.
7. I start on books that I'll probably never finish.
8. I get claustrophobic in crowds. And my claustrophobia leads to anger.
9. I know when people want me to react a certain way, and I don't give them the satisfaction of doing so.
10. I'm not a good person. Ugh.
1. Stu Walks Shizandra Every Morning 30/366, 2. She Loves Playing Buggy, 3. Washing Dishes 28/366, 4. Listen to my iPad 27/366, 5. Cleaning Out The Dishwasher 26/366, 6. Tree Bark, 7. Together At Last 23/366, 8. Abstraction In Brown, 9. Drama In The Shadows, 10. Leaves In Abstract 20/366, 11. Stained Glass English Ivy 19/366, 12. Diamond Abstraction 18/366, 13. Tagine, 14. It's What's For Breakfast 16/366, 15. I have to wash my Jeep 15/366, 16. The Morning Sky 13/366, 17. Mrs. Potato Head-black and white 13/366, 18. Over Flowing Spice Rack. 12/366, 19. Drink More Liquids 11/366, 20. The Panic Button! 10/366, 21. Sunrising Over the Mountains 10/366, 22. Saturday Sunrise 9/366, 23. The Blue Hour 7/366, 24. At The Gym 6/366, 25. First Of Four-5/366, 26. Morning Coffee-Starting My Day 4/366, 27. A New Day 3/366, 28. Putting Away The Ornaments -HCS!- 2/366, 29. An Impending Storm! 1/366, 30. Homemade Pizza-31/366
Created with fd's Flickr Toys
. . . I wondered if Bill had pressed this panic button when he left his magical piano-filled house and into his private dreams and worry . . .
he square and straight-lined Granada '78 appeared in August 1977 and was produced until April 1985 following a mild facelift and attention to drivetrain NVH in 1982. It was a development of the previous car, the main differences being the "Cologne" V6 engine in 2.0 L, 2.3 L and 2.8 L forms replacing the older "Essex" unit (which had never been offered in the Cologne built Granadas), and the introduction of features such as air conditioning and, for the top-price 2.8-litre versions, fuel-injection. In mainland Europe, a 1.7 L V4 was originally available. By the time of its introduction, UK Granada production had been quietly abandoned "for some time": UK market Granada IIs were imported from Germany.[16] Internally within Ford, the "Cologne" 1.7, 2.0, 2.3 and 2.8 units were the last derivatives of the 'V-Taunus' range of engines. The coupé was discontinued when the new model began production, although there was a two-door saloon version in certain European markets. A relatively low number of vehicles were also produced with the Peugeot 504 / 505 four-cylinder diesel engine in 1.9-, 2.1- and 2.5-litre capacities.[17] Originally only available as four-door sedans (the later 2.5 also as an estate), most of these went to taxi operators, and few survive. The smallest 1.9 was quite underpowered and was soon replaced by the somewhat more powerful 2.1, which was presented as the "Granada GLD" in March 1979 at Geneva.[18] By 1982, this was replaced by the more capable 2.5.[17]
As the range matured another two models were introduced. A sports based Granada was introduced as the Granada 2.8 Injection which had white alloy wheels and a black bootlid spoiler. This model borrowed the 2.8i "injected" engine from the Ghia model range. Towards the end of its production run, the introduction of the 2.0 and 2.3 LX saloon and estate UK marketing packs provided versions with a slightly higher specification than the "base" L models.
A special Ford of Britain only marketing pack edition of the Ghia X model was later introduced as the "Ford Granada Ghia X Executive" which standardised luxury appointments such as the high grade Connolly Leather interior that had previously been an optional fitment. Further refinements such an electric sunroof, electric opening boot on saloons, electric seat adjustment, heated seats, trip computer and air conditioning set the Granada Ghia X above most other cost comparable executive cars available in the UK in the early eighties. There was also a special "Taxi" edition, available only in black, which included a foot-operated "panic button" in the drivers' footwell which would operate the alarm system. In addition to these two models the range was complemented by estate models which reflected the same appointment levels as the entire saloon range including the Ghia X, but not the Ghia X Executive model.
Special models
Italian postcard by Rotalcolor, no. N 38.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard) , which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Rotalfoto, Milano, no. N. 107.
American actress Eleanor Parker (1922-2013) appeared in some 80 films and television series. She was nominated three times for the Academy Award for Best Actress, for Caged (1950), Detective Story (1951) and Interrupted Melody (1955). Her role in Caged also won her the Volpi Cup for Best Actress at the Venice Film Festival. One of her most memorable roles was that of the Baroness in The Sound of Music (1965). Her biographer Doug McClelland called her ‘Woman of a Thousand Faces’, because of her versatility.
Eleanor Jean Parker was born in 1922, in Cedarville, Ohio. She was the daughter of Lola (Isett) and Lester Day Parker. Her family moved to East Cleveland, Ohio, where she attended public schools and graduated from Shaw High School. She appeared in a number of school plays. When she was 15 she started to attend the Rice Summer Theatre on Martha's Vineyard in Massachusetts. After graduation, she moved to California and began appearing at the Pasadena Playhouse. There she was spotted by a Warners Bros talent scout, Irving Kumin. The studio signed her to a long-term contract in June 1941. She was cast that year in They Died with Their Boots On (Raoul Walsh, 1941), but her scenes were cut. Her actual film debut was as Nurse Ryan in the short Soldiers in White (B. Reeves Eason, 1942). She was given some decent roles in B films, Busses Roar (D. Ross Lederman, 1942) and The Mysterious Doctor (Benjamin Stoloff, 1943) opposites John Loder. She also had a small role in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (Michael Curtiz, 1943) as Emlen Davies, daughter of the U.S. ambassador to the U.S.S.R (Walter Huston). On the set, she met her first husband, Navy Lieutenant. Fred L. Losse, but the marriage turned out to be a brief wartime affair. Parker had impressed Warners enough to offer her a strong role in a prestige production, Between Two Worlds (Edward A. Blatt, 1944), playing the suicidal wife of Paul Henreid's character. She played support roles for Crime by Night (William Clemens, 1944) and The Last Ride (D. Ross Lederman, 1944). Then she got the starring role opposite Dennis Morgan in The Very Thought of You (Delmer Daves, 1944). She was considered enough of a ‘name’ to be given a cameo in Hollywood Canteen (Delmer Daves, 1944). Warners gave her the choice role of Mildred Rogers in a new version of Somerset Maugham's Of Human Bondage (Edmund Goulding, 1946), but previews were not favourable and the film sat on the shelf for two years before being released. She had her big break when she was cast opposite John Garfield in Pride of the Marines (Delmer Daves, 1945). However two films that followed with Errol Flynn, the romantic comedy Never Say Goodbye (James V. Kern, 1946) and the drama Escape Me Never (Peter Godfrey, 1947), were box office disappointments. Parker was suspended twice by Warners for refusing parts in films – in Stallion Road (James V. Kern, 1947), where she was replaced by Alexis Smith and Love and Learn (Frederick De Cordova, 1947). She made the comedy Voice of the Turtle (Irving Rapper, 1947) with Ronald Reagan, and the mystery The Woman in White (Peter Godfrey, 1948). She refused to appear in Somewhere in the City (Vincent Sherman, 1950) so Warners suspended her again; Virginia Mayo played the role. Parker then had two years off, during which time she married and had a baby. She turned down a role in The Hasty Heart (Vincent Sherman, 1949) which she wanted to do, but it would have meant going to England and she did not want to leave her baby alone during its first year.
Eleanor Parker returned in Chain Lightning (Stuart Heisler, 1950) with Humphrey Bogart. Parker heard about a women in prison film Warners were making, Caged (John Cromwell, 1950), and actively lobbied the role. She got it, and won the 1950 Volpi Cup for Best Actress at the Venice Film Festival and was nominated for an Academy Award. She also had a good role in the melodrama Three Secrets (Robert Wise, 1950). In February 1950, Parker left Warner Bros. after having been under contract there for eight years. Parker had understood that she would star in a film called Safe Harbor, but Warner Bros. apparently had no intention of making it. Because of this misunderstanding, her agents negotiated her release. Parker's career outside of Warners started badly with Valentino (Lewis Allen, 1951) playing a fictionalised wife of Rudolph Valentino for producer Edward Small. She tried a comedy at 20th Century Fox with Fred MacMurray, A Millionaire for Christy (George Marshall, 1951). In 1951, Parker signed a contract with Paramount for one film a year, with an option for outside films. This arrangement began brilliantly with Detective Story (William Wyler, 1951) playing Mary McLeod, the woman who doesn't understand the position of her unstable detective husband (Kirk Douglas). Parker was nominated for the Oscar in 1951 for her performance. Parker followed Detective Story with her portrayal of an actress in love with a swashbuckling nobleman (Stewart Granger) in Scaramouche (George Sidney, 1952), a role originally intended for Ava Gardner. Wikipedia: “Parker later claimed that Granger was the only person she didn't get along with during her entire career. However, they had good chemistry and the film was a massive hit. “MGM cast her into Above and Beyond (Melvin Frank, Norman Panama, 1952), a biopic of Lt. Col. Paul W. Tibbets, Jr. (Robert Taylor), the pilot of the aircraft that dropped the atomic bomb on Hiroshima. It was a solid hit. While Parker was making a third film for MGM, Escape from Fort Bravo (John Sturges, 1953), she signed a five-year contract with the studio. She was named as star of a Sidney Sheldon script, My Most Intimate Friend and of One More Time, from a script by Ruth Gordon and Garson Kanin directed by George Cukor, but neither film was made. Back at Paramount, Parker starred with Charlton Heston as a 1900s mail-order bride in The Naked Jungle (Byron Haskin, 1954), produced by George Pal. Parker returned to MGM where she was reunited with Robert Taylor in an Egyptian adventure film, Valley of the Kings (Robert Pirosh, 1954), and a Western, Many Rivers to Cross (Roy Rowland, 1955). MGM gave her one of her best roles as opera singer Marjorie Lawrence struck down by polio in Interrupted Melody (Curtis Bernhardt, 1955). This was a big hit and earned Parker a third Oscar nomination; she later said it was her favourite film. Also in 1955, Parker appeared in the film adaptation of the National Book Award-winner The Man with the Golden Arm (Otto Preminger, 1955), released through United Artists. She played Zosh, the supposedly wheelchair-bound wife of heroin-addicted, would-be jazz drummer Frankie Machine (Frank Sinatra). It was a major commercial and critical success. In 1956, she co-starred with Clark Gable for the Western comedy The King and Four Queens (Raoul Walsh, 1956), also for United Artists. It was then back at MGM for two dramas: Lizzie (Hugo Haas, 1957), in the title role, as a woman with a split personality; and The Seventh Sin (Ronald Neame, 1957), a remake of The Painted Veil in the role originated by Greta Garbo and, once again, intended for Ava Gardner. Both films flopped at the box office and, as a result, Parker's plans to produce her own film, L'Eternelle, about French resistance fighters, did not materialise.
Eleanor Parker supported Frank Sinatra in a popular comedy, A Hole in the Head (Frank Capra, 1959). She returned to MGM for Home from the Hill (Vincente Minnelli, 1960), co-starring with Robert Mitchum, then took over Lana Turner's role of Constance Rossi in Return to Peyton Place (José Ferrer, 1961), the sequel to the hit 1957 film. That was made by 20th Century Fox who also produced Madison Avenue (H. Bruce Humberstone, 1961) with Parker. In 1960, she made her TV debut, and in the following years, she worked increasingly in television, with the occasional film role such as Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier and Jayne Mansfield. Parker's best-known screen role is Baroness Elsa Schraeder in the Oscar-winning musical The Sound of Music (Robert Wise, 1965). The Baroness was famously and poignantly unsuccessful in keeping the affections of Captain Georg von Trapp (Christopher Plummer) after he falls in love with Maria (Julie Andrews). In 1966, Parker played an alcoholic widow in the crime drama Warning Shot (Buzz Kulik, 1967), a talent scout who discovers a Hollywood star in The Oscar (Russell Rouse, 1966), and a rich alcoholic in An American Dream (Robert Gist, 1966). However, her film career seemed to go downhill. A Playboy Magazine reviewer derided the cast of The Oscar as "has-beens and never-will-bes". From the late 1960s, she focused on television. In 1963, Parker had appeared in the medical TV drama about psychiatry The Eleventh Hour in the episode Why Am I Grown So Cold?, for which she was nominated for an Emmy Award. She also appeared in episodes of Breaking Point (1964). And The Man from U.N.C.L.E. (1968). In 1969–1970, Parker starred in the television series Bracken's World, for which she was nominated for a 1970 Golden Globe Award. Parker also appeared on stage in the role of Margo Channing in Applause, the Broadway musical version of the film All About Eve. In 1976, she played Maxine in a revival of The Night of the Iguana. Her last film role was in a Farrah Fawcett bomb, Sunburn (Richard C. Sarafian, 1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (Mark Cullingham, 1991). Eleanor Parker was married four times. Her husbands were Fred Losee (1943-1944), Bert E. Friedlob (1946-1953; the marriage produced three children Susan Eleanor Friedlob (1948), Sharon Anne Friedlob (1950), and Richard Parker Friedlob (1952)), Paul Clemens, American portrait painter (1954-1965; the marriage produced one child, actor Paul Clemens (1958)), and Raymond N. Hirsch (1966- 2001 when Hirsch died of esophageal cancer). She was the grandmother of actor/director Chasen Parker. Eleanor Parker died in 2013 at a medical facility in Palm Springs, California of complications of pneumonia. She was 91.Parker was raised a Protestant and later converted to Judaism, telling the New York Daily News columnist Kay Gardella in August 1969, "I think we're all Jews at heart ... I wanted to convert for a long time."
Sources: Jon C. Hopwood (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
- I got my half case, and my shutter button in today from my Korean Friends over at Luxecase
* The half case is a perfect fit, a bit cheaper than Luigi's cases.
* The red shutter button is much better feeling than the tinier panic button I had.
- The camera strap is from Gordon's camera straps. Super Solid stuff..
Today's story and sketch "by me" we see Gorse Gofish piloting his B&B Anion Anti Gravity Drive Corvair
in front of his Famous Ale House, here in Bandon Oregon. This story all began many hundreds of years ago,
when Gorse was on a Fly about around Earth on vacation from his job at "CCB" Cork Crater Brewery, on his
home moon Lippo the Blue Moon. Gorse had been the brew master for six hundred years, until he had that landing
mishap, on a beach not to far from the Ale house. It was not so much a crash but more of a flying error,
You see Gorse was distracted when he saw the young Indian Maiden "Tilla" jogging on the beach, He had never seen
such a beautiful and graceful creature on this Planet Earth. Well Gorse was not watching the large rock formation
in front of him, and collided with a biggie sticking out of the water, it was Wizard Hat Rock. Tilla could not help
but to see Gorse or hear the unforgettable horrendous sound of his rental Galaxy Glider as it struck the humongous
rock and feel into the ocean below. "Wow that was exciting". Tilla being the Coquilla Tribes best swimmer was a
lucky day for Gorse, she swam to the craft as it was going under, she hit the red button labeled "escape hatch release",
She could not of course read (gofish symbols) but was impressed with the big red button figuring it was a panic
button she hit it, the roof swung up, and she saw Gorse who had struck his head pretty bad and had past out.
Tilla swam with Gorse to shore which was pretty easy, he was light in weight and she was not to taken back with
his also light grey complexion or that he was about the height of a wheat stalk. She swam with him back to shore,
reaching the beach, she began "CAR" Cardiopul Alien Resuscitation. She breathed life back into Gorse's little itty bitty
mouth. Gorse began to breath on his own, he was scared and cold, but was in love at that first kiss, well not really a
kiss, but she did stick her tongue in his little pie hole, (Term used to describe where moon pies disappear).
The two became inseparable, they talked as if they had known each other, in another life or on another planet maybe?
(Gorse picked up any spoken or sign language very quickly). Tilla took Gorse to the village to meet the folks,
and to have her father the Chief, give them the "Big Mook Ceremony". And soon they began there life together.
Gorse found all of the needed local ingredients to begin brewing his now famous "IPA" Intergalactic Pale Ale.
Tilla was so happy being with Gorse and milking sheep for her Cheese. They lived a happy life together. Taa taa the Rod Blog
Love is doing something you don't want to do, for the sake of "HWHL) happy wife happy life.
West German postcard by UFA, Berlin-Tempelhof, no. CK 444. Photo: Terb Agency.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard) , which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
First outing with the Olympus E-P1: the streets of New York City. I have no µ4/3 lenses; this was accompanied by my 4/3 25mm f/1.4. I thought it would be a nice opportunity to test the better low-light capabilities of the E-P1 sensor.
The silver E-P1 with the oversized Summilux certainly doesn't make for an inconspicuous street shooter setup, and I received a few looks as I wandered the streets. 25mm (50mm for film shooters) is also a bit too close for most street scenes, in my opinion - I have no idea how most street shooters do it. It's definitely not my area.
Pictured here is something found around certain New York City street corners, a relic from times before the cellular phone. I don't know if these stations are even operational - I've certainly never seen anyone use or test them. Their weathered appearances seemingly hint at abandonment, but it could just be age and lack of city budget for a new coat of paint.
Focus distance to subject was ~1.4 m (~4.7 ft). White balance was shifted far to the cool end of the spectrum, and the colors were desaturated slightly to further knock out the ugly glow of the street lights. (The city has funded an expensive project to replace all of these sulfur-based lights with energy-efficient, white lights - that will be interesting.) Some noise removal was performed with Noise Ninja. Cropped to match my preferred aspect ratio. Please see tags and EXIF for other technical details.
These are the night-time streets of New York City's Upper East Side.
I made this card for my sister. The front (pictured) is cut out from the back of the sunday paper - an ad for a panic button for the elderly.
Inside there is the simple caption: "Time for a crafty wank"
I mention this only because I laughed at this so hard that i honestly doubted I'd ever be able to stop. (Which i think is reflected in the low quality of this photo)
Project "On The Go" - Image 282/365
The keyfobber of our hirescar here in Oregons has one of my favourites buttoner on it, the panics buttoner, it's great funs for scaring the craps out of peoples as they walks past the cars!
Todays steps = 8,234
The 2014 grand total = 1,611,155
From the Uglydoll blog at blog.adventuresinuglyworld.com/
And on Twitter at - @uglyadventures
On Google at - plus.google.com/110890957394686361214/posts
51/52 - 52 Weeks of 2014. "Contre Jour."
Well, this hasn't exactly been the best week to attempt a "contre jour" style, or "against the day," type of shot, with days being a bit shorter, and weather has not exactly been cooperative some days. Throw in a few obligatory appearances at some Christmas parties this week, and basically I have had to hit the figurative "panic button" on this theme and used artificial light. On second thought, there have been many times when I have hit that panic button and come up with images which I feel could have used some more forethought or work on my end.
Is your home a safe place to live in? If ask you a question like this, you are bound to find it pretty irrelevant because the time you call it your home, you are sure that you are safe. Now, what if I were to ask you, is your home safe – especially when you are not at home?
At Zeus, www.axrppl.com/smarthomes_villaments_luxuryhomes.html every villament is equipped with Smart Home Technology. Harmoniously bringing together the charm of the old with convenience of the new. Enabling the smart networking of all digital appliances together with super-high speed internet and artificial intelligence. Providing you with an unparalleled and futuristic living culture that is bound to impress even the gods.
Increasingly senior citizens, especially those living on their own, are becoming targets of crime. The number of house thefts has gone up; women staying alone for their careers in urban areas are also prime targets. Can you really feel secure is such an environment? Are your house, your family, and your grandparents really safe when you are not a home?
While a double door and a watchman are a few measures, they cannot be entirely relied upon. Today’s criminals have found techniques to surpass all these. Today it is imperative to install a home security system for the following reasons;
Peace of Mind: The variety, flexibility and high – tech features offered by today’s security systems make it possible to cover concerns beyond breaking and entering. One can be aware of instances taking place at home when in office or on tours.
Emergency notification: These systems typically include an alarm that alerts you in case of any untoward incident, such as fires.
Safety of belongings: Installing a camera is really recommended if you keep valuables in your house.
Some home security systems you can install
Intrusion Alarm System:
These usually consist of a Main Panel, Magnetic Contact and Hooter. The magnetic door sensor can be attached to doors and glass break detectors on windows. These detectors sense break-in via doors/windows and sends a message to the main panel which in turn triggers the hooter, which acts a deterrent to whoever attempts to break in. Systems such as Glass Break Detectors, Gas Leak and Fire detectors are some examples. The IAS systems can also be connected to Central Monitoring Stations via telephone lines.
CCTV Video Cameras/Video Surveillance System: Depending upon how large and valuable your property is, one may want security cameras installed inside and outside. The images captured by security cameras can be recorded on Digital Video Recorders and played back. Technological enhancements have also enabled viewing of images over cell phones, tablets and desktops.
Fingerprint Door Locks: These systems ensure that only those persons whose fingerprints are registered in the system can operate the locks.
Video Door Phones: It is a device where a camera is installed outside the door and the display monitoring placed inside. It also has a speaker phone where a person standing inside the house can see the person standing outside and also converse with him. The major highlight of this system is that it comes with a night vision that enables the person inside the house to see what is happening outside the door even when it is dark. VDPs can also be connected to electronic door locks can be used to open doors remotely.
Systems backed by central monitoring system
These are security packages backed by a Monitoring Facility as well. In this case, activities are monitored by a Central Monitoring Station (CMS) that keeps your home under 24X7 surveillance for a minimal monthly charge. The best feature in these packages is the “Panic Button”. In case of any emergency, the person inside the house can pres a panic button and avail instant help from the response centre. The system is best suited if there is an elderly person or children at home. What next? What are the things that you should consider while buying a Home Security system?
Site Survey
It is important to determine your exact needs after a thorough survey of the area. While installing Home Security systems you need to determine the exact number of doors and windows that would be protected with detectors. You should try to protect every entry / exit of the house that could be vulnerable. Efficient security companies will always under take a site survey before recommending anything. If you are unsure about your exact requirements, you should ideally approach companies which offer a site survey before installation.
Location of the control panel
Home alarms systems have a Control Panel and a Keypad that control the entire set-up. The control panel commands the entire security system and the keypad allows the owners to program the system, like when to automatically turn it on, for instance, keypads can be used to turn the system off during false alarms and on during emergency situations.
Determining the location of the keypad is an important factor. Some people like to place it near the main entrance close to the front door whereas some like to place it in the master bedroom for ease of operation during the night and other such times.
Hardwired or wireless home alarms
Another important thing to determine is whether you want Hardwired or Wireless Home alarms. Hardwired alarms are advised to e installed when the house is under construction. Wireless alarms are easier to install as they do not require wiring and communicate through sensors. However, in both case, determining the distance of all the doors and windows to be integrated into the alarm system, from each other, as well as the control panel and keypad, is important. Hence expert advice from a security solutions provider is needed for a customized system to suit your home.
Customisation
In security, the golden rule – “ One size fits all” doesn’t work. Thorough research before buying is a must. One should have a complete understanding about the fine print instead of just going by many of the bargain-priced security packages. Things that look simple bases may actually needs is to get an onsite assessment done by a home system representative. It is advised to avoid such purchases without an expert opinion.
While security systems are a way to ensure additional protection for you home, proactive measures cannot be ruled out completely. Informing your security company if you are going to be away for some time, keeping your neighbours informed, checking the battery of your alarm system, and keeping your valuables in a safe are advisable.
At AXR Properties we believe our people to be our greatest asset. AXR comprises of a team of dedicated professionals committed to constantly create excellence. Driven by passion and motivated by the will to excel, their collective expertise is sure to create many memorable milestones in the near future.
For more details please visit www.axrppl.com
AXR Properties Pvt. Ltd.
4th Floor, SBI Building, Centre Point,
26-A, Electronic City, Hosur Road,
Bangalore-560 100.
T: 080-40950555
M: 9845380188
E: info@axrppl.com
The Toyota Matrix, officially referred to as the Toyota Corolla Matrix, is a compact hatchback manufactured by Toyota Motor Manufacturing Canada in Cambridge, Ontario and derived from the Toyota Corolla. Introduced in 2002 as a 2003 model, the Matrix is the result of a joint venture between Toyota and General Motors, with the GM version being the Pontiac Vibe, which was assembled by New United Motor Manufacturing, Inc. (NUMMI) in Fremont, California.
XR (2003–2008)
The Matrix's XR mid-grade trim level added features like color-matched mirrors and door handles, a leather-wrapped steering wheel, and a panic button on the key fob. Options available with the XR trim included a sunroof, body kit, and 16-inch (410 mm) alloy wheels. A 2003 XR started at US$16,180 and 2,701 lb (1,225 kg), but when equipped with AWD cost at least $18,445 (only $305 less than an XRS) and weighed in at 2,965 lb (1,345 kg). Like the base model, the XR's AWD engine was detuned. Again, the car's price for its sophomore year stayed the same, but in the four years after that, it rose to $16,990
French postcard by M.D., Paris, no. 106.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard) , which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
St Patrick's Well (Pozzo di S. Patrizio)
Orvieto, Italy
______
Not photography related but this was a pretty memorable visit. Since Orvieto is a medieval fortress town built on stone, the folks back in the day had to find a way to draw water in case of an attack. Enter St. Patrick's Well, an engineering marvel from the 16th century.
The descent into the well was uncomfortable at best since the only way in and out was to go all the way to the bottom of the well, and then all the way back up to the top. The stairs are designed in a double helix so that those going up and down would not run into each other.
After making my way out, I took a breather by the entrance. And during my break, I saw several groups of visitors had to backtrack and press the panic button to request the staff to reopen the entrance gate. I recommend the visit to see the fascinating architecture but it's really one of those places that you have to research a bit before opting to purchase a ticket!
Countdown Day #2
OMG, now I'm really starting to approach the PANIC button! So far, just got the camera gear packed up and ready to go - nothing else. But then again - what's the most important? LOL
Well, as I approach Alaska 2012, with a mere 34 hours to go .... though I'm pretty excited about all that our adventures might hold, I really get excited about the prospect of seeing the coastal brown bears of Katmai again. For of all of the wildlife we see there, they hold my natural fascination the most.
I think part of it is because I feel that they get a bad rap.... bears that is ... especially brown bears. Sure, they can be taught really bad behaviors from humans (ones that don't respect or maybe just don't realize they're disrespecting the bears), but I truly believe that, though they are wild animals, they are not instinctively "bad". I witness the bears of Katmai, where attacks just don't happen, though many visit the bears routinely. They seem to live in harmony with human visitors - each quite curious with each other. (OK, so there was once a very gruesome attack by at least one bear in Katmai, but that was not a normal situation by any means). I have never feared one of these bears, though I can't say that I have felt the same about the bears of Glacier or Yellowstone. Katmai bears are a special breed. I could spend my whole trip there just watching their behaviors and of course, photographing their antics and beauty.
Well, tomorrow is the last Countdown Day to Alaska 2012. Not sure where all of the time went - for with all of the longing for our return is concerned, it still came upon me quite quickly.
I hope that everyone has been enjoying the Countdown. Thanks so much for all of your comments, thoughts, and of course, your visits to my photostream.
© Debbie Tubridy / © TNWA Photography - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.
Sadly, this business has changed it's outside building decor and in the process we lost the coolest building accouterment known to man when the Nauti was decommissioned and removed. This business still houses a cafe/bar as well as full size flight simulator 'carnival ride" type entertainment installation in a large adjacent warehouse. Full size airplane cockpits with full hydraulic motion controllers and the ability to pitch and roll the cockpits a full 360 degrees adds to the realism of window mounted displays running flight simulator software in sync with the fully functional flight controls in the plane's cockpit. Motion sickness is a real problem and there's a PANIC button inside the cockpit to bail out of the experience. There is also a special room kept at near freezing which serves no other purpose than to showcase a Heineken beer dispenser built directly into the wall of the room. The place is run totally off staff using iTouches with built in card readers. You trade real money for a temporary credit card account with whatever funds you want to put on it and then you use that proprietary credit card to order and pay for your food, entertainment and drinks. I am told the business was built and is owned by a local tech millionaire with a large software development company that sits adjacent to this very unique bar and grill. When you consider that this place is in a town with only about 30k population it seems even more impressive than it already is.
Spanish postcard by Postal Oscarcolor S.L., no. 25. Jayne Mansfield and Mickey Hargitay.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard) , which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
This room is The Zone, at the FedEx Institute of Technology, University of Memphis The Zone, at the FedEx Institute of Technology, University of Memphis. It was a very good venue for this conference. The AV technican that ran this did a superb job of keeping everything running smoothly, it was tremendous.
The following two paragraphs are an excerpt from an article in Digital Content Producer
THE ZONE
The large raked-seating arena, The Zone (as in Memphis-based AutoZone, one of the institute's major corporate partners), best represents the spirit of this project and the institute in general. More than 190 seats focus on a 9½-by-17-foot, 16:9 rear-projection screen in this forum for interactive education and collaborative research.
The gooseneck microphones sprouting from the crescent-shaped work surfaces indicate that this room is meant for two-way communications. The microphones are part of the Bosch DCN , a system of ministrations that incorporate an LCD screen, a keypad, and two-way audio. There are 194 such stations in The Zone. (This is the second-largest DCN installation in the world; the largest is in the General Assembly of the United Nations.)
I030208 260
INTERIOR:
Heated Front Seats
Power Front Seats
Sport Front Seats
12-Way Driver Seat -inc: Manual Cushion Extension and Power Rear Seat Easy Entry
12-Way Passenger Seat -inc: Manual Cushion Extension and Power Rear Seat Easy Entry
40-20-40 Folding Bench Front Facing Fold Forward Seatback Rear Seat
Manual Tilt/Telescoping Steering Column
Gauges -inc: Speedometer, Odometer, Tachometer, Oil Temperature, Trip Odometer and Trip Computer
Fixed Rear Windows
ConnectedDrive Services Full Service Internet Access
Sport Leather Steering Wheel
Front Cupholder
Rear Cupholder
Proximity Key For Doors And Push Button Start
Interior Lock Disable
Valet Function
Power Fuel Flap Locking Type
Remote Keyless Entry w/Integrated Key Transmitter, 2 Door Curb/Courtesy, Illuminated Entry and Panic Button
Remote Releases -Inc: Power Cargo Access
Garage Door Transmitter
Cruise Control w/Steering Wheel Controls
Dual Zone Front Automatic Air Conditioning
Rear HVAC w/Separate Controls
HVAC -inc: Underseat Ducts, Residual Heat Recirculation and Console Ducts
Illuminated Locking Glove Box
Driver Foot Rest
Interior Trim -inc: Carbon Fiber Instrument Panel Insert, Piano Black Door Panel Insert, Carbon Fiber Console Insert and Metal-Look Interior Accents
Full Cloth Headliner
Leatherette Door Trim Insert
Leather/Metal-Look Gear Shift Knob
Cloth/Leather Upholstery
Day-Night Auto-Dimming Rearview Mirror
Driver And Passenger Visor Vanity Mirrors w/Driver And Passenger Illumination
Full Floor Console w/Covered Storage, Rear Console w/Storage and 4 12V DC Power Outlets
Front And Rear Map Lights
Fade-To-Off Interior Lighting
Full Carpet Floor Covering -inc: Carpet Front And Rear Floor Mats
Carpet Floor Trim and Carpet Trunk Lid/Rear Cargo Door Trim
Cargo Area Concealed Storage
Cargo Net
Cargo Features -inc: Spare Tire Mobility Kit
Cargo Space Lights
Memory Settings -inc: Driver Seat and Door Mirrors
FOB Controls -inc: Trunk/Hatch/Tailgate and Windows
Tracker System
Smart Device Integration
Navigation System
Advanced Real-Time Traffic Information
Driver And Passenger Door Bins
Power 1st Row Windows w/Driver And Passenger 1-Touch Up/Down
Delayed Accessory Power
Power Door Locks w/Autolock Feature
Systems Monitor
Trip Computer
Outside Temp Gauge
Analog Display
Fixed Front Head Restraints and Manual Adjustable Rear Head Restraints
Sliding Front Center Armrest and Rear Center Armrest
2 Seatback Storage Pockets
Lumbar Support
Perimeter Alarm
Engine Immobilizer
4 12V DC Power Outlets
Air Filtration
Full Folding Bench Front Facing Fold Forward Seatback Rear Seat
Power Rear Windows
Extended Merino Leather Upholstery
Trunk/Hatch Auto-Latch
FOB Controls -inc: Trunk/Hatch/Tailgate, Windows and Sunroof/Convertible Roof
Power 1st Row Windows w/Front And Rear 1-Touch Up/Down
Sliding Front Center Armrest and Rear Center Armrest w/Pass-Thru
EXTERIOR:
Wheels: 18" x 9" Front & 18" x 10" Rear -inc: M ferric gray, V-spoke, style 513M
Tires: P255/40R18 Front & P275/40R18 Rear -inc: Mixed performance
Wheels w/Silver Accents
Spare Tire Mobility Kit
Clearcoat Paint
Body-Colored Front Bumper
Body-Colored Rear Bumper
Black Side Windows Trim and Black Front Windshield Trim
Body-Colored Door Handles
Body-Colored Power Heated Auto Dimming Side Mirrors w/Manual Folding and Turn Signal Indicator
Fixed Rear Window w/Defroster
Light Tinted Glass
Speed Sensitive Rain Detecting Variable Intermittent Wipers w/Heated Jets
Front Windshield -inc: Sun Visor Strip
Galvanized Steel/Aluminum/Composite Panels
Black Grille w/Chrome Surround
Trunk Rear Cargo Access
Tailgate/Rear Door Lock Included w/Power Door Locks
Fully Automatic Aero-Composite Led Low/High Beam Auto-Leveling Daytime Running Lights Preference Setting Headlamps w/Delay-Off
Front Fog Lamps
Perimeter/Approach Lights
Power Convertible Retractable Hard Top w/Lining, Glass Rear Window, Automatic Roll-Over Protection and Manual Wind Blocker
MECHANICAL:
Engine: 3.0L 6-Cylinder TwinPower Turbo w/o ZCP-inc: automatic start/stop function w/ZCP-inc: automatic start/stop function with 444 HP
Transmission: 6-Speed Manual
Rear-Wheel Drive
3.46 Axle Ratio
Engine Oil Cooler
90-Amp/Hr 900CCA Maintenance-Free Battery
Regenerative 210 Amp Alternator
4500# Gvwr 860# Maximum Payload
Gas-Pressurized Shock Absorbers
Front And Rear Anti-Roll Bars
Automatic w/Driver Control Ride Control Sport Tuned Adaptive Suspension
Electric Power-Assist Speed-Sensing Steering
15.9 Gal. Fuel Tank
Dual Stainless Steel Exhaust w/Chrome Tailpipe Finisher
Strut Front Suspension w/Coil Springs
Multi-Link Rear Suspension w/Coil Springs
4-Wheel Disc Brakes w/4-Wheel ABS, Front And Rear Vented Discs, Brake Assist and Hill Hold Control
Electro-Mechanical Limited Slip Differential
4800# Gvwr 680# Maximum Payload
PACKAGE
SAFETY:
Electronic Stability Control (ESC)
ABS And Driveline Traction Control
Side Impact Beams
Dual Stage Driver And Passenger Seat-Mounted Side Airbags
BMW Assist eCall Emergency Sos
Tire Specific Low Tire Pressure Warning
Dual Stage Driver And Passenger Front Airbags
Curtain 1st And 2nd Row Airbags
Airbag Occupancy Sensor
Driver And Passenger Knee Airbag
Outboard Front Lap And Shoulder Safety Belts -inc: Pretensioners
Back-Up Camera
Driver And Passenger Side Airbag Head Extension, Driver And Passenger Knee Airbag
Outboard Front Lap And Shoulder Safety Belts -inc: Pretensioners and Front Seat-Integrated
ENTERTAINMENT:
Radio: AM/FM Audio System
Radio w/Seek-Scan, In-Dash Mounted Single CD, MP3 Player, Clock, Speed Compensated Volume Control, Aux Audio Input Jack, Steering Wheel Controls, Voice Activation, Radio Data System, DVD-Audio and 20 Gb Internal Memory
600w Premium Amplifier
Audio Theft Deterrent
Digital Signal Processor
Streaming Audio
Window Grid Diversity Antenna
HD Radio
SiriusXM Satellite Radio -inc: 1 year All Access subscription
harman/kardon Surround Sound System
Hands-Free Bluetooth & USB Audio Connection
1 LCD Monitor In The Front
I gave you one of these last year...........but it's worn out and doesn't work any longer. Here is a new one. Try not to hit this button so hard, or so often.
Spanish postcard by Postal Oscarcolor, no. 487.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard) , which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
In My Bag
I keep all my stuff in there, including my panic button :)...I think someone should invent a purse with a light in it so we can see down to the bottom, it's awfully dark down there!
Italian postcard by Rotalcolor, no. N 59.
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne was a sensation whenever she came to Europe to promote her films. During the 1960s, when Hollywood lost interest in her, Jayne continued to appear cheerfully in several European films.
Jayne Mansfield was born Vera Jayne Palmer in Bryn Mawr, Pennsylvania, in 1933. She was the only child of Herbert William, a successful attorney of German ancestry, and Vera Jeffrey Palmer of English descent. While attending the University of Texas at Austin, Mansfield won several beauty contests. However, her prominent breasts were considered problematic and led to her losing her first professional assignment—an advertising campaign for General Electric. A natural brunette, Mansfield had her hair bleached and coloured platinum blonde when she moved to Los Angeles. She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This helped launch Mansfield's career, and that year, she became a major Broadway star as Marilyn Monroe-like actress Rita Marlowe in the Broadway version of George Axelrod's play 'Will Success Spoil Rock Hunter?' This role won her a contract at 20th Century Fox. The following year, she reprised the role in the film version, Will Success Spoil Rock Hunter? (Frank Tashlin, 1957), with Tony Randall, and became a major Hollywood star. She showcased her comedic skills in The Girl Can't Help It (Frank Tashlin, 1956), and her dramatic assets in The Wayward Bus (Victor Vicas, 1957) opposite Joan Collins. Hal Erickson at AllMovie: “Despite good dramatic performances in such films as The Wayward Bus (1957), Kiss Them for Me (1957), and The Burglar (1957), Mansfield was forever typed as a parody of Marilyn Monroe.” By the late 1950s, with the decrease in the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been.
While Hollywood studios lost interest in her, Jayne Mansfield’s film career continued in Europe with films in the United Kingdom, Italy, Germany, and Greece. 20th Century Fox loaned her out for the British Neo-Noir thriller Too Hot to Handle/Playgirl After Dark (Terence Young, 1960). Jayne played a nightclub dancer opposite Leo Genn, Karlheinz Böhm and Christopher Lee. In Britain, she also appeared in The Challenge/It Takes a Thief (John Gilling, 1960) with Anthony Quayle and Carl Möhner. Hollywood sent her to Italy for Gli amori di Ercole/The Loves of Hercules (Carlo Ludovico Bragaglia, 1960) opposite muscleman and husband Mickey Hargitay. Bruce Eder at AllMovie: “A fairly lavishly produced but otherwise relatively undistinguished sword-and-sandal adventure.” After her contract with 20th Century Fox ended, she made in Germany Heimweh nach St. Pauli/Homesick for St. Pauli (Werner Jacobs, 1963) starring Schlager star Freddy Quinn, and Einer frisst den anderen/Dog Eat Dog (Gustav Gavrin, 1964). Mark Deming at AllMovie describes the latter as an “offbeat but stylish crime drama”. At the time, she was photographed in Germany by legendary glamour photographer Bernard of Hollywood (a.k.a. Bruno Bernard) , which resulted in a series of very sexy and popular postcards. Jayne moved on to Italy for the comedies L'Amore Primitivo/Primitive Love (Luigi Scattini, 1964), and Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier. During the 1960s, Mansfield remained a highly visible celebrity, through her publicity antics and daring performances in international nightclubs. In early 1967, she filmed her last screen role: a cameo in A Guide for the Married Man (Gene Kelly, 1967), a comedy starring Walter Matthau. Mansfield had taken her professional name from her first husband, public relations professional Paul Mansfield, with whom she married in 1950 at age 16, and with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay (1958-1964). She married her third husband, Italian-born film director Matt Cimber/Matteo Ottaviano in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967, while driving to a club engagement in New Orleans, Jayne Mansfield died in a car accident. She was only 34 years old at the time. Her fourth child, Mariska Hargitay, would later become a well-known TV actress.
Sources: Hal Erickson (AllMovie), Joel Nickerson (IMDb), Mark Deming (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
FISSILE CORE STORAGE –
The fissile cores were stored in small buildings arranged around the large non-nuclear component stores. In total there are 57 of these buildings, which are divided into 48 Type 'A' and 9 Type 'B' stores. The fissile core stores are organised in four uneven groups around the non-nuclear stores. The two southerly groups of stores are arranged symmetrically to the south of the large non-nuclear stores, each group having sixteen small store buildings. The north-eastern group contains eleven stores and the north-west group fourteen. All but the south-east group contained a mixture of Type 'A' and Type 'B' stores.
The store buildings are linked together by pedestrian width walkways, fenced by tubular steel pipes 37in tall with strands of white between the horizontal members. The area was lit by pre-cast concrete lamp-posts, each of which had a red panic button at chest height. The Type 'A' storage buildings 1-48 are small kiosk-like structures. In plan they measure 8ft 4in by 7ft 10in and stand 9ft above ground level. The foundations of the building are constructed of 3ft thick mass concrete. The walls are of cavity wall construction and are formed of solid concrete blocks, while the roof is a flat over-hanging reinforced concrete slab with a drip mould, and is covered with bituminous felt. The design drawing (Drg. No. 3563B/52) shows a variety of irregular roof plans designed to disguise the structures from the air. These were never built, all the roofs being rectangular in plan.
Fittings on the walls indicate that they were all originally protected by copper earthing straps. On the front of many of the stores a stencilled notice records ''Date of last lightning conductor test April - 63''. Internally the walls are finished in unpainted, smooth gritless plaster. The side and rear walls are ventilated by four small controllable ventilators, two at the base of the wall and two at the top. In the floor of each of the Type 'A' stores is a single keyhole shaped cavity. Each hole is 1ft 5in in diameter and 1ft 9in deep. The shaft of the hole measures 10in wide and is 8in long and is shallower than the main hole at 3½in. A scar around the hole suggests it originally contained a vessel with the asphalt brought up around its lip. This is confirmed by the survival of the surrounding lip in similar stores at RAF Faldingworth, Lincolnshire, and by the rare survival of a number of stainless steel vessels at the bomb store at RAF Gaydon, Warwickshire.
The electrical system of each store was contained within small bore metal pipes; circular junction boxes led to other electrical fittings, which have in most cases been removed. In a number of the stores 'Walsall' Type 1174X flameproof switch boxes remained. On their covers is cast ''5 Amp 250 Volt Flameproof switchbox type Walsall 1174BX Group 2 FLP 302 Group 3 Test P60 Isolate supply elsewhere before removing this cover''. A small formica sign confirmed that ''The electrical installation in this building is standard 'A' in accordance with AP 2608A''. All the stores originally had external fuse boxes to the left of their doors.
The doors are wooden and open outwards, their outer faces being protected by a steel sheet. They are secured by a combination lock and internal vertical locking bar operated by an external handle. A metal fitting in the path allowed the door to be secured half ajar. Above the door, and attached to its frame, is a spring-loaded electrical contact, which probably recorded on the control board in building 63 whether or not the door was open or closed. Externally and internally the doors are painted light blue. On the door of building No. 1 is a 1ft diameter radiation symbol in yellow and out-lined in black, below it is a 11½in yellow square with a black star at its centre.
The Type 'B' store buildings 49-57 are slightly larger than the Type 'A' measuring 9ft 7in by 7ft 10n. Otherwise the details of the stores are identical to the smaller stores. The principle difference between the two types of structures is that the Type 'B ' had two storage holes in their floors. Each of these buildings was also equipped with a small wooden counter adjacent to the doors; the counters measure 2ft 6in by 1ft 6in and standing 4ft tall. They have been removed from stores 53 and 55. At some point during the operational life of the station the holes in the floors of all the Type 'B' stores were filled and covered by gritless asphalt. The asphalt surfaces in the stores are continuous, often with a slight depression marking the position of the holes, which implies that the original floor was lifted and new floors laid. The holes in store 52 have been reopened, as indicated by fragments of the asphalt surface thrown back into the holes. This is in contrast to RAF Faldingworth where the holes have been left open.
In total there were enough holes to store 66 fissile cores. One source states that the single hole stores contained plutonium cores, while the double-hole stores were, used for cobalt cores. Currently available documentation does not reveal if one fissile core may be equated with one bomb, or if a bomb contained more than one fissile core. Recent research has shown that Britain probably produced no more than twenty Blue Danube warheads, with this number on the active stockpile between 1957 and 1961. It is therefore likely that no more than a handful of weapons were stored at RAF Barnham at anyone time.
The significance of the filling of the holes in the Type 'B' stores is also unclear. It may coincide with the withdrawal of the first generation nuclear weapon, ''Blue Danube'', and the deployment second generation atomic bomb, ''Red Beard'' (from 1961), or it may be related to the introduction of first British hydrogen bomb, ''Yellow Sun'' (from 1958). Given the number of available nuclear warheads in the late 1950’s and early 1960’s, it is unlikely that the RAF Barnham store was ever full. Part of RAF Barnham's function, along with other bomb stores, was to convince the Soviet Union that Britain had more nuclear weapons at her disposal than was in fact the case.
Information sourced from English Heritage.
Originally a BBC radio series created by Douglas Adams in 1978, The Hitchhiker’s Guide expanded into books, TV, stage, comic books, and the computer game. The game was written by Adams and Steve Meretsky of Infocom.
Like the series, the game begins with the destruction of Arthur Dent’s house and the Earth. Among the “feelies” included in the game are Official Orders for both demolitions, with the latter written in “Vogon.” Other important items include a bag of pocket fluff (a cotton ball), an empty bag purported to contain the Official Microscopic Space Fleet, black opaque “Peril Sensitive Sunglasses,” and a “Don’t Panic!” button.
There is also an unopened package of "Invisiclues" here.
Read more at www.digitalgamemuseum.org/games/hitchhikers-guide-galaxy
West Bengal had its first drought casualty in rice bowl Burdwan on Saturday, the day chief minister Buddhadeb Bhattacharjee was visiting the district to take stock of the crisis. It was a late start by the CM who was initimated of the lack of rainfall in early August.
Yunus Seikh, a 45-year-old farmer, committed suicide because he couldn't pay up his agricultural loan. Four hours after he died at Burdwan Medical College and Hospital, the CM was in town meeting officials, who briefed him about the grim state of aridity.
On Monday, Writers' Buildings had pressed the panic button declaring 11 Bengal districts as drought-affected. On Saturday, Yunus of Basantapur village under Ausgram police station, consumed pesticide and killed himself; his family said Yunus couldn't have repaid the Rs 30, 000 he borrowed at high interest from a money-lender for kharif cultivation.
Read more: Bengal drought drives farmer to suicide - The Times of India timesofindia.indiatimes.com/india/Bengal-drought-drives-f...